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Christo & Jeanne-Claude (AMERICAN, 1935-2020; 1935-2009)The Umbrellas Offset lithograph printed in colours, 1991, on wove, signed in pencil, from the edition of an unknown size, printed by Domberger, Stuttgart, with their blindstamp, published by Carl Flach, Achenbach Art Edition, Düsseldorf, with margins; together with 'The Gates, Project for Central Park, New York', offset lithograph printed in colours, 1986, on wove, signed in pencil, from the edition of an unknown size, published by Nouvelles Images S.A. Editeurs, Lombreuil, France, with margins, 850 x 690mm (33 1/2 x 27 1/8in)(and smaller)(SH)(unframed)(2)Footnotes:Click 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

Laurence Stephen Lowry R.A. (British, 1887-1976)Britain at Play Offset lithograph printed in colours, on wove, signed in pencil, from the edition of 850, printed by Beric Press, London, published by Mainstone Publications, Norwich, with the Fine Art Trade Guild blindstamp, with margins, 450 x 600mm (17 5/8 x 23 5/8in)(I)Footnotes:Click 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

Laurence Stephen Lowry R.A. (British, 1887-1976)The Notice Board Offset lithograph printed in colours, 1975, on wove, signed in pencil, from the edition of 500, with the Fine Art Trade Guild blindstamp, with margins, 400 x 502mm (15 3/4 x 19 3/4in)(I)Footnotes:Click 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

Robert Indiana (American, 1928-2018)LOVE (Gold & Silver) Two multiples, gold chrome and silver chrome, each before the stamped edition, published by Indianapolis Museum of Art, Indiana, each 80 x 76 x 37mm (3 1/8 x 3 x 1 1/2in)(overall)(2) Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com

Graham Sutherland O.M. (British, 1903-1980)Ram's Head (facing left); Emerging Insect, from 'A Bestiary and Some Correspondences' (Tassi 87; 103) Two lithographs printed in colours, 1968, each on Arches, each signed and numbered from the edition of 70 in pencil, printed by Mourlot, Paris, published by Marlborough Fine Art Ltd., London, each with margins, 657 x 495mm (25 7/8 x 19 1/2in)(I)(and similar)(2)Footnotes:Click for an instant shipping quoteThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Kentridge (South African, born 1955)Medusa (Parkett 63; Krut p. 116) Anamorphic lithograph printed in red and black, 2001, on 'Le Nouveau Larousse Illustré Encyclopaedia', chine-collé to Rives BFK with mirror finish steel cylinder, signed and numbered XVII/XX in pencil, one of 20 artist's proofs aside from the numbered edition of 60, published by Parkett Editions, New York and Zurich, the full sheet, 762 x 756mm (30 x 29 3/4in)(SH)Footnotes:ProvenanceDavid Krut Fine Art, London.Acquired directly from the above by the current owner.Click for an instant shipping quoteThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Julian Trevelyan R.A. (British, 1910-1988)Thames (Turner 359) Etching and aquatint printed in colours, 1964, on wove, signed, titled and numbered 114/150 in pencil, printed by Studio Prints, London, published by Christie's Contemporary Art, London, with their blindstamp, with margins, 347 x 472mm (13 5/8 x 18 1/2in)(I)Footnotes:Click 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

Henry Moore O.M., C.H. (British, 1898-1986)Two Seated Women, from 'Shelter Sketchbook' (Cramer 85) Lithograph printed in colours, 1966, on Japon nacré, signed and numbered 179/180 in pencil, printed by J.E. Wolfensberger, Zurich, co-published by Marlborough Fine Art Ltd., London, and Rembrandt Verlag GmbH, Berlin, the full sheet, 370 x 310mm (14 1/2 x 12 1/4in)(SH)(unframed)Footnotes:Click 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

Richard Killgren, 'Speed 6',signed, acrylic on canvas, 92 x 61cm, framed; together with a lot card from the charity auction depicting the artist at work; two Robin Page Bentley interior designs, paper on card; and a limited edition Bentley styling print 15/100, signed by Crispin Marshfield, senior designer at Bentley to commemorate the launch of the 2006 Bentley Azure, 20 x 29cm, numbered on the mount, framed and glazed. (4)Footnotes:Richard Killgren originally painted this work in 2009 for The Bonhams and Bentley 'Design is our Passion. This is our Art' charity auction on behalf of The Christie Cancer Hospital in Manchester. The auction included sculptures, painting, digital art, and photography by staffers of Bentley's in-house design team, and was held at Bonhams New Bond Street on 1 December 2009. This painting was lot 29.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

Luna has been created to represent folk law surrounding hares and The Moon. Luna is painted all over with a celestial theme. A Prussian Blue base, with grasses and wildflowers around her haunches representing morning, moving through a gold starry night sky to the gently glowing golden full moon on her forehead. Her three crescent moons represent the power of 3: the past, the present and the future. Artist: Nicola WarnerNicola is an eclectic artist mindfully creating whimsical watercolours and mixed media pieces, with a love of gold. Nicola's abstract art is often highly textured and many pieces feature her signature gold/brass leaf in amongst the mixed media and collages to which she is drawn. Conversely, some of her smaller 'lighter' pieces feature vintage inspired watercolours and home-made botanical inks. Intuitive, and using a varied colour palette, her work appeals to a variety of tastes. Nicola is also a keen photographer and uses her digital skills to create wall art. Sponsor: Clarke & SimpsonClarke and Simpson are a multi-disciplined independent and progressive firm of chartered surveyors.  We deal in all aspects of rural property and are one of the leading firms of auctioneers in the county of Suffolk. We routinely sell chattels, property and machinery at auction, both on location and from our Campsea Ashe base.https://www.clarkeandsimpson.co.uk/ Measures approx. 17 inches deep x 12 inches wide x 36 inches high

Arcipluvia displays a kaleidoscopic hill scene wrapped around the shell of the tortoise. Arcipluvia means rainbow, and so a ROYGBIV rainbow is included amongst the other colourful hills, for viewers to find, in appreciation of the NHS and everything good that the rainbow represents. Artist: Daisy Carrick-SmithParticipating in the trail for a third year, Daisy is an artist who delights in any opportunity to partake in creative projects. Her current series depicts a self-created, imagined world called Arcipluvia, the eponym of her tortoise. Arcipluvia is a name derived from the word 'Arcipluvian' - translating to 'arch of rain' or 'rainbow' - meaning multi-coloured. Arcipluvia, the tortoise, serves to spread joy, hope, thanks and support, embodying everything good that a rainbow represents. In 2015, winning a Top 20 place in the Deutsche Bank Art Prize, the Saatchi Gallery exhibited Daisy's artwork twice, the second time, alongside the Rolling Stones in 2016 Sponsor: CDO DigitalAt CDO Digital, we pride ourselves on working closely with clients, and bringing their visions to life. We collaborate with both clients and designers to create personalised and bespoke websites which function seamlessly across multiple devices, while optimising speed, user experience, and SEO, without the limitations of templates or over-crowded admin panels.https://www.cdodigital.com/ Measures approx. 42 inches long x 19 inches wide x 18 inches high

This beautiful blue and green hare shows in abstract how the forests and rivers of Suffolk work together in synergy; recognising the complex relationship between forest and river, over time and space.  Artist: Rachael ConstantineRachael took the leap into self-employment founding Cora Studios in 2019 having worked in the education sector. She is now a full-time freelance illustrator and graphic artist and is terrified and elated in equal measure! Supporting clients with a wide range of disciplines, including graphic art, digital marketing and communication, illustration, and website design, she is never ever bored! Rachael is an East Anglian through and through; born in Cambridge, raised in Suffolk, and now living on the Norfolk Broads. Rachael feels privileged to have had the opportunity to design her own Hare this year, after designing the logo and marketing literature since the trail began. Sponsor: Healthy at HomeEvery lunchtime we deliver tasty hot meals within North Suffolk and South Norfolk. All meals and desserts are lovingly made with fresh, local products and freshly cooked each morning. Along with our lunch delivery we offer a stew or soups and sandwich or teatime tray for later in the day. There are no ties, no contracts or delivery charges.https://healthyathome.online/ Measures approx. 17 inches deep x 12 inches wide x 36 inches high

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

A box full of various sundry items to include; digital cameras; folk-art style bell; pewter tankards

TWO DEREK CORKE SINGAPORE SHOPHOUSE PRINTS Digital Fine Art prints '158 Emerald Hill', signed and dated 2000 '30 Saunders Road' numbered 26/480, signed and dated 2000 33cm x 23.5cm without the frame Condition: Minor signs of wear commensurate with age and use, some foxing spots mainly on the mats

METAL CASED PRIMA KNIFE SET, LARGE PICTURE AND FOUR BOXES OF CERAMICS, GLASS, METALWARE, PICTURES, RECORDS, etc, to include a collection of pieces of cut glass, a box of drinking glasses, silver plated and metal items, dinnerwares (with light chipping and wear), art materials, digital camera, books, jewellery box etc

Richard Wilson RA (Welsh 1714-1782) The falls of the Liri at Isola di Sora Signed R.Wilson (lower right) Pencil and black chalk 26.7 x 40.7cm; 10½ x 16in Provenance: William Lock of Norbury; I.A. Williams; Sotheby's, London, 10 July 1980, lot 137; From the collection of Edward Croft-Murray (1907-1980) Literature: Sir Brinsley Ford, Drawings of Richard Wilson (1951), p.33; W.G.Constable, Richard Wilson (1993), p.211 For a comparable drawing of the same view Paul Spencer-Longhurst, Paul Kate Lowry and David Solkin, Richard Wilson Online: A Digital Catalogue Raisonné, (London: Paul Mellon Centre for Studies in British Art, 2014), no. D337

A digital fine art artist's proof print by Israeli artist Hanna Sahar, Ash'lon Beauty series, 2010, signed by the artist. Label to the reverse, third in an edition of six. H.48 W.38cm

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

Matthew Carver (Canadian, b.1968). 'Chuo Dori', 2005. Acrylic on canvas, 244 x 340 cm. Provenance: From a reputable private collection. Acquired directly from the artist by the present owner in 2005. Literature: Saatchi Gallery Loan of Art, published by Saatchi Gallery, London, 2006 pp.33. From Saatchi Gallery Loan of Art, pp.32: Carver paints distorted views of city streets at night, based on his own digital photographs taken around the world. As if fleetingly glimpsed in your rear-view mirror or seen as a reflection in a window, his paintings capture the transient nature of city live. Carver employs art historical techniques such as anamorphosis to manipulate his images, and the work often needs external devices such as reflective cylinders to be seen distortion-free.

TAMAR DE VRIES WINTER: a silver and enamel beakerLondon 2008 With a flaring lip, the sides enamelled in a wave design over a linear ground, height 9cm, weight 10oz.Footnotes:Born in Jerusalem to a family of immigrants from Europe, Tamar was trained in the UK, where she lives and practices her work. Personal memories inspired by two cultures have had a major impact on her life and career as an enameller, jeweller and silversmith. The art of enamelling is central to her work. Digital technology—printing and fusing her own photographic images onto her metalwork—has enabled her to transform her ideas into objects that tell a story. Her interest in the marking of important life events with objects led her to create a range of ceremonial work.Tamar's work has been commissioned and collected both by private individuals and public institutions: the Victoria and Albert Museum (which recently acquired her 'Fragment' Bowl), the Jewish Museums in London and in New York, and the National Museum of Scotland. In addition to teaching in the UK and abroad, since 1996 Tamar is a co-director of Studio Fusion, a London gallery dedicated to contemporary vitreous enamel.For further information on this lot please visit Bonhams.com

Mondrian Bike Framed art print by Sassan Filsoof Framed Art Print on Matt 250gsm conservation digital paper Sassan Filsoof combines bold use of colour, shapes and silhouettes with subjects that vary from modern sports to global issues. Initially trained as an industrial designer, Filsoof has since decided to pursue his passion for graphics. He blends imagery and quotes to create eye-catching designs inspired by vintage travel posters. 28 x 26cm

Brooklyn Bridge (yellow) Framed art print by Erin Clark Print on Matt 250gsm conservation digital paper Erin Clark has an eclectic style and works in mediums that range from photography to oil paintings. Erin's use of colour and subject matter is influenced by her global travels. She is known as a spontaneous, creative person which is reflected in her art 30 x 30cm

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

Ohne Titel (Untitled) 1915 Framed art print by Paul Klee on Matt 250gsm conservation digital paper During World War One Paul Klee worked as a clerk at the paymaster’s office. Every minute he was away from his clerical duties Klee devoted to producing art and would often paint outdoors using watercolours creating works such as ‘Ohne Titel (Untitled)’. For this painting Klee has used vivid colours and heavy abstraction, perhaps reflecting his desire to escape from the trauma and conflict of war. 36 x 28cm

3 hardback adult erotic books to include Digital Diaries by Natacha Merritt, photo art book. From Taschen 2000. Also includes Satin & Silk; A study of erotic lingerie from Guild Publishing 1987.

Celina Teague What You Lookin At, 2021 Gouache on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Teague's paintings take their cue from current affairs - particularly events that affect the wellbeing of the planet, such as bush fires, rainforest destruction, poaching and climate-change-denying politicians. She is equally interested by the dissemination of information in the digital era; how it affects the way we interpret and handle crisis events. She asks whether armchair activism is a dangerously false economy or better than no activism at all. Teague currently lives and works in Portugal. Exhibitions 2006-2007 MA Fine Art, Central Saint Martins College, London 2004-2005 Fine Art Program, Universidad de Bellas Artes, Oaxaca, Mexico 2000-2004 Trinity College Dublin, BA Double First Class Honours in English and Drama 3rd year abroad at The Freie Universität, Berlin2021 Money & Fairy Tales, Kristin Hjellegjerde Gallery, Berlin (solo) 2020 The House is On Fire, XVA Gallery, Dubai (solo) 2020 Plastic, Tashkeel, Dubai (group) 2019 The Animal Ball Art Show, 9 Cork Street Galleries, London (group) 2018 Not For the Kid's Room, Kristin Hjellegjerde Gallery, London (solo) 2017 Everything Exists Now, Kristin Hjellegjerde Gallery, London (group) 2016 London Art Fair, Kristin Hjellegjerde Gallery, London Business Centre (group) 2015 I Think Therefore I Hashtag, Kristin Hjellegjerde Gallery, London (solo) 2013 In Search of Lost Space, Kristin Hjellegjerde Gallery, London (solo) 2013 Brave New World Hits a Glitch, Rook and Raven Gallery, London (solo) Representation Kristin Hjellegjerde Gallery About the Postcards These two works are the first of a series of paintings and drawings of flowers and animals being overcome by human elements

Monika Maurer-Morgenstern If I knew that tomorrow the world would end, I would plant an apple tree today, 2021 Mixed Media on Paper Signed on front and verso 15.9 x 12cm (6¼ x 4½ in.) INTERNATIONAL ACADEMIE FOR FINE ARTS SALZBURG Exhibitions WEISS BERLIN 2020, ARTCRU Berlin 2016, Raitenbucher Castle Kallmünz 2011, Association for Original Etchings München 2009, Galerie Ohse Bremen, 2008, Kavaliershaus Langenargen 2005, Oberwallis Arts Association (Switzerland) 2004, Galerie Kudlek Köln 2001+2003, Galerie Albrecht München 1998,95,93, Friedrichstadt Arts Association Berlin Center 1994, Alpirsbacher Galerie 1988, Müncher Stadtmuseum 1986 2019+2018 Berlin Galerie Parterre "Drawing of Presence II", Cavin Morris Gallery NYC " Rings around theMoon" 2018, "Freshhet" Cavin Morris Gallery NYC 2014, Zink und Gegner + Kudlek "way home" 26 Postcards 2005, Düsseldorf Palace Art Museum, Hanck Collection 2000+1999 , BBK München "really unreal" 1988, Galerie Eisenmann Böblingen 1983 PARTICIPATION WITH ART FAIRS: OAF NEW YORK, OAF PARIS, BRUSSELS, ZÜRICH,KARLSRUHE , KÖLN WORKS IN COLLETIONS: Craphics Collection Berlinische Galerie, Stuttgart State Gallery Graphics Collection ( Collection Digital 80 Drawings) Munich State Graphics Collection Basel Prints and Drawings Düsseldorf Palace Art Museum ( Collection Hanck) Artohek München Artothek Köln Grcic-Ziersch Art Trade AWARDS: 2010 Golden Lion in Scholarship Kallmünz 2007,1994 Catalog Promotion in München Capital 2005 Awarded the Kavaliershaus Langenargen / Lake Constance Scholarship Baden Würtemberg for 3 Month 1994 + 1989 Free placement in the International Summer Academy for Free Arts Salzburg Gallery Representation Henry Boxer Gallery Richmond, Cavin Morris Gallery NYC    

Monika Maurer-Morgenstern Aus Dem Kosmos, 2021 Mixed Media on Paper Signed on front and verso 15.9 x 12cm (6¼ x 4½ in.) INTERNATIONAL ACADEMIE FOR FINE ARTS SALZBURG Exhibitions WEISS BERLIN 2020, ARTCRU Berlin 2016, Raitenbucher Castle Kallmünz 2011, Association for Original Etchings München 2009, Galerie Ohse Bremen, 2008, Kavaliershaus Langenargen 2005, Oberwallis Arts Association (Switzerland) 2004, Galerie Kudlek Köln 2001+2003, Galerie Albrecht München 1998,95,93, Friedrichstadt Arts Association Berlin Center 1994, Alpirsbacher Galerie 1988, Müncher Stadtmuseum 1986 2019+2018 Berlin Galerie Parterre "Drawing of Presence II", Cavin Morris Gallery NYC " Rings around theMoon" 2018, "Freshhet" Cavin Morris Gallery NYC 2014, Zink und Gegner + Kudlek "way home" 26 Postcards 2005, Düsseldorf Palace Art Museum, Hanck Collection 2000+1999 , BBK München "really unreal" 1988, Galerie Eisenmann Böblingen 1983 PARTICIPATION WITH ART FAIRS: OAF NEW YORK, OAF PARIS, BRUSSELS, ZÜRICH,KARLSRUHE , KÖLN WORKS IN COLLETIONS: Craphics Collection Berlinische Galerie, Stuttgart State Gallery Graphics Collection ( Collection Digital 80 Drawings) Munich State Graphics Collection Basel Prints and Drawings Düsseldorf Palace Art Museum ( Collection Hanck) Artohek München Artothek Köln Grcic-Ziersch Art Trade AWARDS: 2010 Golden Lion in Scholarship Kallmünz 2007,1994 Catalog Promotion in München Capital 2005 Awarded the Kavaliershaus Langenargen / Lake Constance Scholarship Baden Würtemberg for 3 Month 1994 + 1989 Free placement in the International Summer Academy for Free Arts Salzburg Gallery Representation Henry Boxer Gallery Richmond, Cavin Morris Gallery NYC  

Monika Maurer-Morgenstern Dispute on the Phone, 2021 Mixed Media on Paper Signed on front and verso 15.9 x 12cm (6¼ x 4½ in.) INTERNATIONAL ACADEMIE FOR FINE ARTS SALZBURG Exhibitions WEISS BERLIN 2020, ARTCRU Berlin 2016, Raitenbucher Castle Kallmünz 2011, Association for Original Etchings München 2009, Galerie Ohse Bremen, 2008, Kavaliershaus Langenargen 2005, Oberwallis Arts Association (Switzerland) 2004, Galerie Kudlek Köln 2001+2003, Galerie Albrecht München 1998,95,93, Friedrichstadt Arts Association Berlin Center 1994, Alpirsbacher Galerie 1988, Müncher Stadtmuseum 1986 2019+2018 Berlin Galerie Parterre "Drawing of Presence II", Cavin Morris Gallery NYC " Rings around theMoon" 2018, "Freshhet" Cavin Morris Gallery NYC 2014, Zink und Gegner + Kudlek "way home" 26 Postcards 2005, Düsseldorf Palace Art Museum, Hanck Collection 2000+1999 , BBK München "really unreal" 1988, Galerie Eisenmann Böblingen 1983 PARTICIPATION WITH ART FAIRS: OAF NEW YORK, OAF PARIS, BRUSSELS, ZÜRICH,KARLSRUHE , KÖLN WORKS IN COLLETIONS: Craphics Collection Berlinische Galerie, Stuttgart State Gallery Graphics Collection ( Collection Digital 80 Drawings) Munich State Graphics Collection Basel Prints and Drawings Düsseldorf Palace Art Museum ( Collection Hanck) Artohek München Artothek Köln Grcic-Ziersch Art Trade AWARDS: 2010 Golden Lion in Scholarship Kallmünz 2007,1994 Catalog Promotion in München Capital 2005 Awarded the Kavaliershaus Langenargen / Lake Constance Scholarship Baden Würtemberg for 3 Month 1994 + 1989 Free placement in the International Summer Academy for Free Arts Salzburg Gallery Representation Henry Boxer Gallery Richmond, Cavin Morris Gallery NYC  

Luke Elwes Spring, 2021 Mixed Media on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) 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. Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. Education 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. Following a spell working at Christie's he began to travel and write, and after meeting Bruce Chatwin in 1987 he went to the central Australian desert to explore the landscape and its use in indigenous storytelling and artforms. Since then he has continued to travel extensively, discovering and revisiting remote locations in India, Asia and North Africa. In 1998 he was artist in residence on an expedition to Mount Kailash, a holy mountain in western Tibet. Since 2000 he has worked for extensive periods on an island off the East Coast of the UK. In 2013 he was awarded a grant to study at the Vermont Studio Center and in 2015 he was resident artist at the Albers Foundation (USA). The idea of a journey is central to his painting, both its physical and temporal unfolding and its recollection in memory. The surfaces recall maps, tracing the marks of history and the fragile signs of belief, and moving between what is revealed and concealed of these often empty and distant terrains. Rooted in the particular, the images also probe an interior space. The art critic Andrew Lambirth has written about them: 'The map is nearly erased, a distressed palimpsest; it is difficult to decipher a single clear meaning. The viewer must, like a scryer, read the signs and interpret accordingly'. More recently the writer Robert Macfarlane has described how 'they hover between encryption and archetype, enigma and fabulous openness' Exhibitions 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 Camino, 2021 Mixed Media on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) 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. Luke Elwes' paintings are meditations on our place in the world. They often refer to particular journeys and to the passing of time. Education 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. Following a spell working at Christie's he began to travel and write, and after meeting Bruce Chatwin in 1987 he went to the central Australian desert to explore the landscape and its use in indigenous storytelling and artforms. Since then he has continued to travel extensively, discovering and revisiting remote locations in India, Asia and North Africa. In 1998 he was artist in residence on an expedition to Mount Kailash, a holy mountain in western Tibet. Since 2000 he has worked for extensive periods on an island off the East Coast of the UK. In 2013 he was awarded a grant to study at the Vermont Studio Center and in 2015 he was resident artist at the Albers Foundation (USA). The idea of a journey is central to his painting, both its physical and temporal unfolding and its recollection in memory. The surfaces recall maps, tracing the marks of history and the fragile signs of belief, and moving between what is revealed and concealed of these often empty and distant terrains. Rooted in the particular, the images also probe an interior space. The art critic Andrew Lambirth has written about them: 'The map is nearly erased, a distressed palimpsest; it is difficult to decipher a single clear meaning. The viewer must, like a scryer, read the signs and interpret accordingly'. More recently the writer Robert Macfarlane has described how 'they hover between encryption and archetype, enigma and fabulous openness' Exhibitions 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.  

Paul Hodgson Portrait of E, 2021 Pencil and Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paul Hodgson creates hybrid works that incorporate photography, digital print and paint, and that defy neat categorization. His work is indebted to the history of Western painting, and certain of his earlier works reference the colours, lighting, and figurative poses of iconic art historical works, but they are manipulated and restructured to bring to the fore a contemporary reading of the image. Subsequent works have seen Hodgson concentrate on historical epochs of expansion and transition, using the conventions of portraiture and figure painting to construct large-scale tableaux vivant - alongside intimate studio portraits - to explore moments of great change, but also of ambiguous merit. In recent works, he has chosen to use a relatively confined space in which to construct each scene. Working with a set of simple objects, his focus has been the placement and positioning of objects and figures in space (and in front of a camera) as a means to explore notions of gesture and intentionality within the process of image making. These works operate in an area between painting and photography, both in terms of the language that they employ and the process through which they have been made. Paul Hodgson was born in Shrewsbury in 1972 and lives and works in London.   1998 - 2000 M.A. Printmaking. Royal College of Art, London 1991 - 1995 B.A. (Hons) Fine Art. Newcastle University 1990 - 1991 Foundation Art and Design. Shrewsbury College of Art & Technology Selected Group Exhibitions 2020Summer Exhibition, Royal Academy of Arts, London 2016 Discerning Eye, the Mall Galleries, London. Invited by Michael Glover 2014 Beauty by Design: Fashioning the Renaissance, Scottish National Portrait Gallery 2013 Image Search: Photography from the Collection, Pérez Art Museum Miami 2011 Unbounded, Proje4L, Elgiz Museum of Contemporary Art, Istanbul Selected Solo Exhibitions 2010 Paul Hodgson: Art in the Entrance Hall, Cambridge University Library 2008 Rise + Fall, RISE Berlin, Berlin 2007Sovereign Rights, Marlborough Fine Art, London Awards 2010 Director's Visitor, Institute for Advanced Study, Princeton Over the past twenty years I have been represented by Marlborough Fine Art, London, Feigen Contemporary, New York, and Houldsworth, London. I am currently working with an independent dealer in London.   About the Postcards I often make works on paper as a way to reconsider motifs that have featured in larger painted and printed works, and to introduce new elements to my art practice. I like the immediacy and fluidity that working on paper can offer - the unexpected results that can occur when you use various media together, or the simplicity of limiting yourself to a few simple materials. These two portraits were made partly from observation and partly from photographs. They might appear as stages in a process - from concise and pared down, to layered and complex. They are indicative of the 'push and pull' that often happens when I'm making images in the studio.  

Paul Hodgson Portrait of E.2, 2021 Pencil, Acrylic and Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paul Hodgson creates hybrid works that incorporate photography, digital print and paint, and that defy neat categorization. His work is indebted to the history of Western painting, and certain of his earlier works reference the colours, lighting, and figurative poses of iconic art historical works, but they are manipulated and restructured to bring to the fore a contemporary reading of the image. Subsequent works have seen Hodgson concentrate on historical epochs of expansion and transition, using the conventions of portraiture and figure painting to construct large-scale tableaux vivant - alongside intimate studio portraits - to explore moments of great change, but also of ambiguous merit. In recent works, he has chosen to use a relatively confined space in which to construct each scene. Working with a set of simple objects, his focus has been the placement and positioning of objects and figures in space (and in front of a camera) as a means to explore notions of gesture and intentionality within the process of image making. These works operate in an area between painting and photography, both in terms of the language that they employ and the process through which they have been made. Paul Hodgson was born in Shrewsbury in 1972 and lives and works in London.   1998 - 2000 M.A. Printmaking. Royal College of Art, London 1991 - 1995 B.A. (Hons) Fine Art. Newcastle University 1990 - 1991 Foundation Art and Design. Shrewsbury College of Art & Technology Selected Group Exhibitions 2020Summer Exhibition, Royal Academy of Arts, London 2016 Discerning Eye, the Mall Galleries, London. Invited by Michael Glover 2014 Beauty by Design: Fashioning the Renaissance, Scottish National Portrait Gallery 2013 Image Search: Photography from the Collection, Pérez Art Museum Miami 2011 Unbounded, Proje4L, Elgiz Museum of Contemporary Art, Istanbul Selected Solo Exhibitions 2010 Paul Hodgson: Art in the Entrance Hall, Cambridge University Library 2008 Rise + Fall, RISE Berlin, Berlin 2007Sovereign Rights, Marlborough Fine Art, London Awards 2010 Director's Visitor, Institute for Advanced Study, Princeton Over the past twenty years I have been represented by Marlborough Fine Art, London, Feigen Contemporary, New York, and Houldsworth, London. I am currently working with an independent dealer in London.   About the Postcards I often make works on paper as a way to reconsider motifs that have featured in larger painted and printed works, and to introduce new elements to my art practice. I like the immediacy and fluidity that working on paper can offer - the unexpected results that can occur when you use various media together, or the simplicity of limiting yourself to a few simple materials. These two portraits were made partly from observation and partly from photographs. They might appear as stages in a process - from concise and pared down, to layered and complex. They are indicative of the 'push and pull' that often happens when I'm making images in the studio.    

Jules Julien Light Face, 2021 Hand punched drawing on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Jules Julien is an Amsterdam based French artist and illustrator working across many media including digital drawings, patterns, collages, installations and visual storytelling. He uses minimalist concepts to create pictural narrations. His work plays with the meaning of the images, they become symbols creating infinite stories and identities with a great enigmatic charge. Exhibitions Julien's work has been seen through solo exhibitions at Aoyama Diesel Gallery in Tokyo, La Chapelle des Calvairienne in Mayenne, Fontevraud Royal Abbey in Fontevraud, Pumpkin Film in Zürich, Archiginnasio of Bologna, Rise Berlin in Germany, Espaï Tacel in Valencia, Pocko Gallery in London and Labo. Art in Milan and through many group shows. In addition, he created stories for clients such as Apple, Cartier, Cartoon Network, Diesel, Die Zeit, Gardner Museum, GQ Italia, Louis XIII, Netflix, Nike, Seat, Sony, The New Yorker and The New York Times... High school diploma of applied Arts. Bachelor's degree Design GraphicSolo Exhibitions2015 Anatomy of Identity, Archiginnasio, Bologna.2015 Pouvoirs, Fontevraud Royal Abbey, Fontevraud.2015 Encounters, Labo Art, Milan.2015 Encounters, Labo Art, London.2014 Blue Series, Espaï Tactel, Valencia.2013 Blackout, Rise Berlin Gallery, Berlin.2011 Overall Mural, New-York.2010 Aimer mArie, Chapelle des Calvairiennes, Mayenne.2010 Met Jules Julien, Pumpkin Film, Zurich.2009 Cadavres Exquis, Diesel art Gallery, Tokyo.   About the postcard artwork   Hand-punched, this postcard depicts an ancient Greek bust. More murmured than shouted, the play of light makes the face appear or disappear.  

Kate Dunn Don Dada, 2021 Spray Paint and Oil Bar on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Kate Dunn makes work pulling on themes of renaissance, rave, light and sacred space, to create varying environments of worship. Since 2018 she has used structures reminiscent of the altar to discuss the internal archive one experiences when faced with such a shape. Recently she moved into multi-sensory experience as a means to address her concern with the potential to be passive in the age of information overload. Kate uses sight-specific installation and UV reactive materials to manipulate the display of her paintings and create a confrontation with the viewer. In June 2021 she has a solo show, THE TABERNACLE at TJ Boulting and a two-person show, FUGUE with Robert Cooper at The Tub, London. Kate Dunn (Edgware, UK, 1993) is a London based artist. She has studied at Central Saint Martins School of Art and Design, The Florence Academy of Art and City & Guilds of London Art School, where she is now a tutor.   2021 THE TABERNACLE, welcome to pharmakon (solo), TJ Boulting, UK 2021 FUGUE: Robert Cooper x Kate Dunn, The Tub, UK 2020SKIN OF LIGHT (solo), SET Alscot Rd, UK 2020when shit hits the fan, GUTS Gallery, Online 2020The House We Built, London, UK 2019The Discerning Eye Exhibition, Mall Galleries, UK 2019Seen or Seeing, Bethnal Green Railway Arches, UK 2018 Contemporary British Painting Prize, Huddersfield Art Gallery, & Menier Gallery, UK 2018 Great Women Artists x Palazzo Monti Residency, Italy 2018 MA Fine Art Show, City and Guilds of London Art School, UK 2018Interim, City and Guilds of London Art School, UK 2017The Great Women Artists Exhibition, Mother London, UK 2017 The Ruth Borchard Self-Portrait Prize, Piano Nobile Kings Place, UK 2016 The Summer Exhibition, Royal Academy of Arts, UKN/A   About the Postcards Through drawing I have been looking into the aesthetics of digital intimacy and digital touch over the past year. What does it feel like to exist intimately in a digital state, how do colour and expression equate through such a medium, and what does this look like when returned to the physicality of the studio. The colours steal from the oversaturation of the screen. The marks imitate those left by our fingers after a session of scrolling. The works question how relationships manifest spatially in this realm; how close or communicative can we be within the formally constructed programs of the digital age. When plugged in how do we burst, scream, hum or do we simply sit static. The works draw their titles from the music listened to around the time of making; they are a continuation of the conversation that began during the creation of FUGUE, a two-person show opening in June with Robert Cooper at The Tub, London.  

Kate Dunn Passion - Naked Mix, 2021 Spray Paint and Oil Bar on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Kate Dunn makes work pulling on themes of renaissance, rave, light and sacred space, to create varying environments of worship. Since 2018 she has used structures reminiscent of the altar to discuss the internal archive one experiences when faced with such a shape. Recently she moved into multi-sensory experience as a means to address her concern with the potential to be passive in the age of information overload. Kate uses sight-specific installation and UV reactive materials to manipulate the display of her paintings and create a confrontation with the viewer. In June 2021 she has a solo show, THE TABERNACLE at TJ Boulting and a two-person show, FUGUE with Robert Cooper at The Tub, London. Kate Dunn (Edgware, UK, 1993) is a London based artist. She has studied at Central Saint Martins School of Art and Design, The Florence Academy of Art and City & Guilds of London Art School, where she is now a tutor.   2021 THE TABERNACLE, welcome to pharmakon (solo), TJ Boulting, UK 2021 FUGUE: Robert Cooper x Kate Dunn, The Tub, UK 2020SKIN OF LIGHT (solo), SET Alscot Rd, UK 2020when shit hits the fan, GUTS Gallery, Online 2020The House We Built, London, UK 2019The Discerning Eye Exhibition, Mall Galleries, UK 2019Seen or Seeing, Bethnal Green Railway Arches, UK 2018 Contemporary British Painting Prize, Huddersfield Art Gallery, & Menier Gallery, UK 2018 Great Women Artists x Palazzo Monti Residency, Italy 2018 MA Fine Art Show, City and Guilds of London Art School, UK 2018Interim, City and Guilds of London Art School, UK 2017The Great Women Artists Exhibition, Mother London, UK 2017 The Ruth Borchard Self-Portrait Prize, Piano Nobile Kings Place, UK 2016 The Summer Exhibition, Royal Academy of Arts, UKN/A   About the Postcards Through drawing I have been looking into the aesthetics of digital intimacy and digital touch over the past year. What does it feel like to exist intimately in a digital state, how do colour and expression equate through such a medium, and what does this look like when returned to the physicality of the studio. The colours steal from the oversaturation of the screen. The marks imitate those left by our fingers after a session of scrolling. The works question how relationships manifest spatially in this realm; how close or communicative can we be within the formally constructed programs of the digital age. When plugged in how do we burst, scream, hum or do we simply sit static. The works draw their titles from the music listened to around the time of making; they are a continuation of the conversation that began during the creation of FUGUE, a two-person show opening in June with Robert Cooper at The Tub, London.  

Kate Dunn Baby's on Fire, 2021 Spray Paint and Oil Bar on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Kate Dunn makes work pulling on themes of renaissance, rave, light and sacred space, to create varying environments of worship. Since 2018 she has used structures reminiscent of the altar to discuss the internal archive one experiences when faced with such a shape. Recently she moved into multi-sensory experience as a means to address her concern with the potential to be passive in the age of information overload. Kate uses sight-specific installation and UV reactive materials to manipulate the display of her paintings and create a confrontation with the viewer. In June 2021 she has a solo show, THE TABERNACLE at TJ Boulting and a two-person show, FUGUE with Robert Cooper at The Tub, London. Kate Dunn (Edgware, UK, 1993) is a London based artist. She has studied at Central Saint Martins School of Art and Design, The Florence Academy of Art and City & Guilds of London Art School, where she is now a tutor.   2021 THE TABERNACLE, welcome to pharmakon (solo), TJ Boulting, UK 2021 FUGUE: Robert Cooper x Kate Dunn, The Tub, UK 2020SKIN OF LIGHT (solo), SET Alscot Rd, UK 2020when shit hits the fan, GUTS Gallery, Online 2020The House We Built, London, UK 2019The Discerning Eye Exhibition, Mall Galleries, UK 2019Seen or Seeing, Bethnal Green Railway Arches, UK 2018 Contemporary British Painting Prize, Huddersfield Art Gallery, & Menier Gallery, UK 2018 Great Women Artists x Palazzo Monti Residency, Italy 2018 MA Fine Art Show, City and Guilds of London Art School, UK 2018Interim, City and Guilds of London Art School, UK 2017The Great Women Artists Exhibition, Mother London, UK 2017 The Ruth Borchard Self-Portrait Prize, Piano Nobile Kings Place, UK 2016 The Summer Exhibition, Royal Academy of Arts, UKN/A   About the Postcards Through drawing I have been looking into the aesthetics of digital intimacy and digital touch over the past year. What does it feel like to exist intimately in a digital state, how do colour and expression equate through such a medium, and what does this look like when returned to the physicality of the studio. The colours steal from the oversaturation of the screen. The marks imitate those left by our fingers after a session of scrolling. The works question how relationships manifest spatially in this realm; how close or communicative can we be within the formally constructed programs of the digital age. When plugged in how do we burst, scream, hum or do we simply sit static. The works draw their titles from the music listened to around the time of making; they are a continuation of the conversation that began during the creation of FUGUE, a two-person show opening in June with Robert Cooper at The Tub, London.  

Ilga Leimanis Silver Linings, Warrior Clouds, 2021 Liquid Metal, Ink, Marker, Pastel and Paper on Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Ilga Leimanis is a visual artist, educator and author based in London. She studied art history and painting at Concordia University in her native Montreal, Canada and painting and drawing at the Art Academy of Latvia. Ilga works at education institutions such as University of the Arts London and advises companies and organisations internationally in drawing, sketching and creative practice. Ilga's visual arts practice explores contemporary issues of identity, collaboration and inter- disciplinary. In addition to her solo practice, Ilga works collaboratively on two different projects: Ortelius Drew (2008-19) and Architecture of Conversation (2015-present). She is a member of Five Years, and artist-run gallery in London and contributes to its programming. Ilga founded Drawn in London, a monthly urban sketching group in 2007. She is the author of Sketching Perspective published by The Crowood Press (2021), three chapters in Creative Sketching Workshop (2015) and co-author of "Drawing as an Inclusive Practice" in Inclusion and Intersectionality in Visual Arts Education (2019). 2020 Around and Around, Copper Beech Café North Dulwich, London, UK 2019 Excess All Areas, Five Years, London, UK. 2017 Rooted in Limbo, Five Years, London, UK. 2015 Bang Your Head: Architecture of Conversation, Five Years, London, UK. (Architecture of Conversation) 2014popUp & popOFF, flutter_, London, UK. (Ortelius Drew) 2012A Plotted Affair, A Collaboration with Rochelle Fry, Five Years, London, UK. (Ortelius Drew) 2009 Profiles: Friendship in the Digital Age, Gallery Istaba, with interdisciplinary seminar at e-text-textiles, Riga, Latvia. 2008Take Off, Dokhuis Gallery, Amsterdam. (Ortelius Drew)   About the Postcards   Silver Linings, Warrior Clouds (2021) This new body of work builds on two previous series: 'Excess All Areas' (2019) where I was interested in exploring excess: overflowing vessels pour forth their contents and offer a vehicle to visualise the rhythm and energy of overflow and inundation. 'Around and Around' (2020) was an attempt to visualise journeys into and across slippery spaces. This new work returns to representation, these are recognisably clouds, their volumes punctured with slivers of paper woven into and through the surface. I see these slivers as dynamic lines, swords or daggers: ready to fight, but they can also been seen as mending a whole, the holding together of both sides of the cloud. The clouds and their silver linings represent possibility and hope.  

Shezad Dawood Overcast but Beautiful Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Shezad Dawood Shezad Dawood works across the disciplines of painting, film, neon, sculpture, performance, virtual reality and other digital media to ask key questions of narrative, history and embodiment. Using the editing process as a method to explore both meanings and forms, his practice often involves collaboration and knowledge exchange, mapping across multiple audiences and communities. Through a fascination with the esoteric, otherness, the environment and architectures both material and virtual, Dawood interweaves stories, realities and symbolism to create richly layered artworks.Shezad Dawood was born in London in 1974 and trained at Central St Martin's and the Royal College of Art before completing his PhD at Leeds Metropolitan University. Dawood is a Senior Research Fellow in Experimental Media at the University of Westminster. He lives and works in London. 2004 - 2008 Leeds Metropolitan University PhD (Fine Art) 2000 - 2003 Royal College of Art, London MPhil Fine Art (Photography) 1998 - 2000 Royal College of Art, London MA Fine Art (Photography) Unit B1, Ink Court 419 Wick Lane London E3 2PW Phone: 0208 880 7690 studio@shezaddawood.com www.shezaddawood.com 1994 - 1997 Central St Martin's College of Art & Design, London BA (Hons) Critical Fine Art Practice (First Class)Recent solo exhibitions include: Timothy Taylor, London (2020-21), Kai Art Center, Tallinn (2020), New Art Exchange, Nottingham (2020), The Bluecoat Liverpool (2019); MOCA Toronto (2019); FriezeLIVE, London (2019); Kunstverein, Munich (2019); A Lost Future: Rubin Museum of Art, New York (2018); Fondazione Querini Stampalia, Venice (2017); Timothy Taylor, London (2016); Galerist, Istanbul (2016); Pioneer Works, Brooklyn (2015); Fig.2 at the ICA studio, London (2015); Parasol Unit, London (2014); Leeds Art Gallery and OCAT Xi'an, China (both 2014), Modern Art Oxford (2012). Group exhibitions include: Guggenheim, New York (2021), Southbank Centre, London (2020-21) Boghossian Foundation - Villa Empain (2020), WIELS Bruxelles (2020), Manifesta 13 (2020), Lahore Biennial (2020), Dhaka Art Summit (2020), Sharjah Biennial 14, UAE (2019) - Jury Prize for Encroachments; Gwangju Biennale, Gwangju, South Korea (2018); Mori Art Museum, Tokyo (2016); Taipei Biennial (2014), Marrakech Biennial (2014), MACBA Barcelona (2014), Witte de With (2013), Busan Biennale (2010), Tate Triennial: Altermodern (2009), and the Venice Biennale (2009). Selected collections include Tate; UBS; LACMA, Los Angeles; National Gallery of Canada; Government Art Collection, UK; US Government Art Collection; The British Museum, London; Sharjah Art Foundation; Kiran Nadar, Delhi; Rubin Museum of Art, New York; and Mathaf, Doha. His film works have been screened internationally, including at the ICA, London; MoMA, New York and at various film festivals including CPH:DOX, Oberhausen, Aesthetica (winner of Artist's Film Prize 2015); his 2013 Feature Film, Piercing Brightness, was released theatrically and on Blu-Ray/DVD by Soda Pictures.Timothy Taylor, London; Jhaveri Contemporary, Mumbai; Barakat Contemporary, Seoul; The RYDER, Madrid. Continuing a series of pencil and watercolour studies drawing on my time spent on Fogo Island in Newfoundland in 2018 and 2019, exploring a convergence of textile traditions, esoterica and the sea.  

Shezad Dawood On a Clear Day, 2021 Watercolour on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Shezad Dawood Shezad Dawood works across the disciplines of painting, film, neon, sculpture, performance, virtual reality and other digital media to ask key questions of narrative, history and embodiment. Using the editing process as a method to explore both meanings and forms, his practice often involves collaboration and knowledge exchange, mapping across multiple audiences and communities. Through a fascination with the esoteric, otherness, the environment and architectures both material and virtual, Dawood interweaves stories, realities and symbolism to create richly layered artworks.Shezad Dawood was born in London in 1974 and trained at Central St Martin's and the Royal College of Art before completing his PhD at Leeds Metropolitan University. Dawood is a Senior Research Fellow in Experimental Media at the University of Westminster. He lives and works in London. 2004 - 2008 Leeds Metropolitan University PhD (Fine Art) 2000 - 2003 Royal College of Art, London MPhil Fine Art (Photography) 1998 - 2000 Royal College of Art, London MA Fine Art (Photography) Unit B1, Ink Court 419 Wick Lane London E3 2PW Phone: 0208 880 7690 studio@shezaddawood.com www.shezaddawood.com 1994 - 1997 Central St Martin's College of Art & Design, London BA (Hons) Critical Fine Art Practice (First Class)Recent solo exhibitions include: Timothy Taylor, London (2020-21), Kai Art Center, Tallinn (2020), New Art Exchange, Nottingham (2020), The Bluecoat Liverpool (2019); MOCA Toronto (2019); FriezeLIVE, London (2019); Kunstverein, Munich (2019); A Lost Future: Rubin Museum of Art, New York (2018); Fondazione Querini Stampalia, Venice (2017); Timothy Taylor, London (2016); Galerist, Istanbul (2016); Pioneer Works, Brooklyn (2015); Fig.2 at the ICA studio, London (2015); Parasol Unit, London (2014); Leeds Art Gallery and OCAT Xi'an, China (both 2014), Modern Art Oxford (2012). Group exhibitions include: Guggenheim, New York (2021), Southbank Centre, London (2020-21) Boghossian Foundation - Villa Empain (2020), WIELS Bruxelles (2020), Manifesta 13 (2020), Lahore Biennial (2020), Dhaka Art Summit (2020), Sharjah Biennial 14, UAE (2019) - Jury Prize for Encroachments; Gwangju Biennale, Gwangju, South Korea (2018); Mori Art Museum, Tokyo (2016); Taipei Biennial (2014), Marrakech Biennial (2014), MACBA Barcelona (2014), Witte de With (2013), Busan Biennale (2010), Tate Triennial: Altermodern (2009), and the Venice Biennale (2009). Selected collections include Tate; UBS; LACMA, Los Angeles; National Gallery of Canada; Government Art Collection, UK; US Government Art Collection; The British Museum, London; Sharjah Art Foundation; Kiran Nadar, Delhi; Rubin Museum of Art, New York; and Mathaf, Doha. His film works have been screened internationally, including at the ICA, London; MoMA, New York and at various film festivals including CPH:DOX, Oberhausen, Aesthetica (winner of Artist's Film Prize 2015); his 2013 Feature Film, Piercing Brightness, was released theatrically and on Blu-Ray/DVD by Soda Pictures.Timothy Taylor, London; Jhaveri Contemporary, Mumbai; Barakat Contemporary, Seoul; The RYDER, Madrid. Continuing a series of pencil and watercolour studies drawing on my time spent on Fogo Island in Newfoundland in 2018 and 2019, exploring a convergence of textile traditions, esoterica and the sea.  

A Swiss Art Deco nickel plated jump hour mechanical digital wrist watch, 1920s-30s, with Adolf Schild AS340 digital jump hour movement, as used in the Rolex Marconi jump hour watch, the three cream and gold rotating round dials with black Arabic numerals, displaying the hours, minutes and seconds through three shaped apertures in the 33 x 25mm. two-piece hinged case, concave back, case no. 110493, on a later black leather strap, the movement marked 'Swiss'. * Mechanical digital jump hour watches were marketed during the 1920s-30s as optimal sports and polo watches, due to their robust design which could withstand heavy use.

2012/2016 Wadkin-Snaith Brooklands Sprint SpecialTotally artisan built 500cc sprint machine constructed on the lines of a 1920’s Brooklands race bikeThe creation of specialist engineer Carl Wadkin-Snaith over a period of 4 years No castings were used for the engine and gearbox as all components were machined from solid using non C&C machines From the owner: A more complete version of this is available on Easy Live Auction.I selected the Suzuki DR800 engine as a donor for it's huge 90mm stroke and purchased one from a breaker on eBay. The plan was to use a Velocette piston for a long stroke 500cc. But on stripping the engine it turned out to be a 750 with 6mm shorter stroke, at this point my Father unfortunately died and returning the engine was obviously not a priority, so when work started again a Yamaha SR500 piston was selected for 500cc.CAD design work began in April 2012. Much midnight oil was spent with my artist's hat on to arrive at an aesthetically pleasing result, for example the cant of the engine was varied in 2° increments back and forth until I was happy.The DR engine has conventional modern gear primary drive on the right and rotates forward, I needed chain primary on the left to look period correct: As a consequence the engine had to rotate backwards, driving the upside down, flipped over DR gearbox internals in reverse for forward motion! It all sounds a little unlikely, but the gearbox dogs are not undercut and I'm relieved to say it all worked fine.Metal cutting began in late June 2012, no castings are used, everything carved from solid billet on my manual milling machines and lathes (no CNC). A vast amount of time was spent hand finishing the billetparts which I then bead blasted to give the illusion of castings. Much of the really tricky machining, of crankcase webs for example, was done on my trusty pre-WW2 Alexander Master Toolmaker milling machine, whereas the heavier work was completed on my large turret mill.After discovering period racing bike experiments with total loss battery ignition, it was decided to have the ignition on the end of the cam and drive the oil pump from the cam wheel. This pump is my own design; a simple feed and scavenge gear type. There are feeds to the end of the crankshaft and the camshaft/follower interface, scavenge from the bottom of the crankcase and the timing cover, the latter prevents excess oil leaking past the seal onto the digital ignition circuit board. I used the Pazon digital ignition; a very impressive unit with built in timing light and digital advance etc.I decided to go with the Mikuni Yamaha SR500 race carburettor as I hoped this would avoid aggravation setting up, this proved to be the case, only needing a change of pilot jet.The clutch was converted to chain driven dry operation by cutting off the primary drive gear and replacing it with a custom made sprocket incorporating the DR shock absorbing springs. The DR lifting mechanism is in the clutch cover, pulling the clutch off and obviously not suitable. By drilling right though the gearbox mainshaft I was able to convert the clutch to push off from the opposite side in the conventional manner. Despite now running dry the clutch works fine. Replicating the complex die cast interior of the Suzuki gearbox casing was probably the most difficult task in the whole construction saga. Initially I set the bike up with hand/knee change, partly because I had a nice piece of teak to make the knob; more on this later.The frame is my own design and manufacture and aimed at spinning the wheel rather than wheelying. I took a punt at the unidentified bare girder fork blades on eBay after no one showed interest, these were then bushed and a stem, spindles, links, yokes, steering damper etc made to suit. The spring is a modified auto jumble find. I bent the handlebars myself for the authentic Brooklands style, this proved to be a mistake as they were incredibly uncomfortable and impractical, they have since been replace with some flat bars. I was not happy with the quality of commercial classic style throttle and handlebar controls, the chrome plate just looked totally wrong too so I carved the clamps, choke control and a quick action throttle from billet steel. None period ball end levers are necessary to comply with ACU Regs.Front wheel is a from a Yamaha DT50 (21” rim) though I made a new period style backplate with anchor to suit my forks, plus an aluminium brake lever. Rear hub is from a Honda CB250RSA, much modified and laced into a 19” rim. Chainguards made to suit, the primary one having a quickly detachable outer plate as this is required for ACU competition events. I bent up the exhaust pipe with the characteristic large radius front bend myself and made the Brooklands can as the ones available just weren't right for the period, theoretically this should not protrude beyond the rear wheel for ACU sprints, though no one has noticed yet.The oil tank was a piece of cake compared to the petrol tanks: Fortunately only the right one needed to be leak free as the left is a dummy containing the Pazon ignition module, coil, ignition switch and gel battery (mounted upside down) for the total loss system. As a result the whole electrical system can be removed as one unit in minutes.This is secured with a couple of charity shop sourced leather belts.Apart from the exhaust pipe and handlebars I dull nickel plated everything myself. Fasteners are all stainless steel, the heads of commercial bolts were machined flat to be more in keeping with my period. Naturally I used slotted screws and traditional fabricinsulation tape where necessary.Since then I've refined various features, added an oil filter in the scavenge return and making primary chain adjusters. At the Brooklands Museum the bike flies up Test Hill, in fact the wide ratio DR750 gear set is ideally suited to the engine.The bike has proved an ideal publicity vehicle for my one man business resulting in some interesting projects, for example:A commission to design and build the new vintage style Wardill Motorcycle, subsequently officially launched at the Brooklands Museum in 2018, I recently completed the first production model. A one off fishtail silencer for the Perry Barwick/Brooklands Museum Freddie Clarke Triumph Tiger 80 replica, created using the only existing photo of the bike. A new billet front brake back plate incorporating improvements for a Parilla 175 MSDS racer.My Brooklands SS has been exhibited at two shows and won an award at both. It is always satisfying when older enthusiasts are thrown by the bike believing it to a genuine 20's racer, however when an auction house valuer said he could see it on display in a collector's house as a work of art I was delighted. I wonder what my Art School tutors would have thought?

This lot will be auctioned on Tuesday, June 29th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 30th or July 1st. An execution arena design maquette from George Lucas' Star Wars: Attack of the Clones. In the Battle of Geonosis, the Jedi faced off against Separatist forces in a Geonosian execution arena. This design maquette was created by Industrial Light & Magic (ILM) to help the production design team and art department establish the environment of the massive arena. The sequence was then brought to life with physical model miniatures as well as digital sets. This detailed foam maquette is split into four sections numbered "3" through "6" and marked "SE," "S," "SW," "W," and "NW" on top for their positions in the digital arena. The front of each piece is ornately sculpted, cast in dense foam and painted tan to resemble cavernous, carved stone, while their backs are all painted black. The maquette is in good overall condition with exposed foam, flaking paint, and scuffs throughout from production and age. Dimensions: 18" x 14" x 7" (45.75 cm x 45.75 cm x 18 cm) δ Estimate: $6,000 - 8,000

This lot will be auctioned on Tuesday, June 29th. The auction will begin at 9:00am PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on June 30th or July 1st. A Mustafar planet surface design maquette from George Lucas' Star Wars: Revenge of the Sith. After murdering the Separatist Council on the volcanic planet Mustafar, Anakin Skywalker (Hayden Christensen) fell in a lightsaber duel with his former master, Obi-Wan Kenobi (Ewan McGregor). This design maquette was created by Industrial Light & Magic (ILM) to help the production design team and art department establish the look of the molten planet's surface. It also represents the site near two small lava streams where the epic duel concluded, as Obi-Wan informed Anakin that he had the high ground. The sequence was then brought to life with a combination of live-action stunt work, digital environments effects, and physical model miniatures. This large foam and paper composite maquette is split into four sections, each of which is ornately molded and painted brown and gray to resemble craggy, mountainous stone with red and black lava running underneath. The maquette is in good overall condition with exposed foam, flaking paint, and scuffs throughout from production and age. Dimensions (each): 18" x 17" x 5" (45.75 cm x 43.25 cm x 12.75 cm) Estimate: $8,000 - 10,000

WILLIAM EVAN CHARLES MORGAN (1903-1979)Perseus Engraving, 1929, on cream laid paper, signed, dated, titled and numbered 6/70 in pencil, the full sheet; together with two other engravings, The Source, 1927, signed, dated, titled and numbered 15/50 in pencil; Nymphs Bathing, 1928, signed, dated, titled and numbered 2/83 in pencil, each on laid paper, in good condition (3)Plate 220 x 207mm. (8 5/8 x 8 1/8in.); Sheet 462 x 284mm. (18 1/4 x 11 1/4in.)Footnotes:William Morgan studied at Camberwell School of Art and the Slade. He was a key figure in the revival of interest in engraving in the 1920s and was awarded the 1924 Prix de Rome, spending four years in Italy perfecting his technique. Inspired by Renaissance engravings, particularly the work of Durer, he produced a series of allegorical subjects, including Perseus which is considered to be his masterpiece.The Source depicts the imaginary guardian of the spring of life in an enchanted forest and was selected as the artist's exhibition piece at the Royal Academy in 1928. In Nymphs Bathing he depicts three figures from three different viewpoints, doubtless influenced by the figures he would have seen in Italian paintings where the artists displayed their skill in rendering different aspects of the human form within the same image.Click for an instant shipping quoteThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

OSKAR KOKOSCHKA (1886-1990)Die Träumenden Knaben (The Dreaming Youths) (Wingler & Welz 22-29) The volume comprising ten lithographs (eight in colours), 1908, on wove paper, signed, dated 1967 and dedicated to Greta in pencil on the front free endpaper, numbered 183 in ink on the justification label, from the second edition of 275 copies, published in 1917 by Kurt Wolff, Leipzig, Germany, the full sheets, with pale time staining, the colours fresh and vibrant, in good overall condition, bound (as issued), with title page, text in German, within the original hessian-covered boards with lithograph in black on the front cover and black slipcaseSheets 240 x 290mm. (9 1/2 x 11 3/8in.); Volume 243 x 298mm. (9 1/2 x 11 3/4in.)Footnotes:ProvenanceGifted by the artist to Margaret Fisher.Thence by descent to the current owner.Kokoschka was a major exponent of the Expressionist movement in Austria and was one of the great colourists of the twentieth century. Die Träumenden Knaben was his first graphic work and marks an important moment early in his career, not just as a landmark illustrated artist's book, but also representing a period of transition between the traditional Viennese ornamental style and the more emotionally charged and unconventional Expressionist style, employing intense colours and distorted figures. The work combines several of the artists' influences; medieval art where several scenes are shown within one image, folk art with its bold, flat colours, Japanese art in the use of black outlines and the intricate highly decorative imagery of Secessionist Art. The work was commissioned by Fritz Wärndorfer, the Director of the Wiener Werkstätte design cooperative, for the Kunstschau arts and handicrafts exhibition in Vienna 1908, organized by Kokoschka's friend and mentor Gustav Klimt, to whom the work is dedicated. The commission had been intended as a children's fairy-tale. However, inspired by his unrequited love for Lilith, a fellow student, Kokoschka took the liberty of producing rather more adult content to accompany his poem about a young boy's dream, in which youths travel through various exotic landscapes. The poem and images reference the awakening of adolescent sexuality which was regarded as inappropriate and very few of the 500 copies were sold. In 1917 the Wiener Werkstätte publisher, Kurt Wolff, recognizing the importance of the work in the context of the Expressionist movement and seeing that Kokoschka's reputation was in the ascendant, bought the remaining 275 copies of the book and re-issued it as a bound volume.The words and images express powerful personal emotions and Kokoschka later referred to the book as 'my first love letter'. This passion for his subject, together with his dramatic use of colour and composition, mean that this is considered to be one of the most important and beautiful artist's books of the twentieth century.This copy has a handwritten dedication to Margaret Fisher (known as Greta), who worked for her aunt, Lea Bondi-Jaray, one of the foremost dealers in Expressionist Art, first at the Galerie Würthle in pre-war Vienna and later in London, having fled the Nazi occupation in 1939.Click 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

Andy Warhol (1928-1987)Wrapping Paper (not in Feldman & Schellmann) Offset lithograph with hand-colouring, 1957, on wove paper, with the Estate of Andy Warhol and Andy Warhol Art Authentication Board Inc. stamps verso, with initials T.J.H. and number PM.24.0006 in pencil on the reverse, from an edition of unknown size, the full sheet, the pink attenuated, framed Sheet 737 x 584mm. (29 x 23in.)Footnotes:ProvenanceSotheby's Contemporary Art Day Sale, London, 27 June 2002, lot 287.Acquired from the above sale by the current owner.Click for an instant shipping quoteFor further information on this lot please visit Bonhams.com

Lucian Freud (1922-2011)Head of Bruce Bernard (Hartley 26) Etching, 1985, on cream Arches wove paper, signed with initials and inscribed 'trial proof' in pencil, a proof aside from the edition of fifty (there were also 15 artist's proofs), printed by Palm Tree Studios, co-published by James Kirkman, London, and Brooke Alexander, New York, 1986, the full sheet, in very good condition, framedPlate 295 x 295mm. (11 5/8 x 11 5/8in.); Sheet 506 x 467mm. (19 7/8 x 18 3/8in.)Footnotes:ProvenanceJames Kirkman, London. Desmond Page Limited, London.Timothy Taylor Gallery, London. Rex Irwin, Woollahra, Australia.Purchased from the above by the current owner.ExhibitedLucian Freud: Works on Paper, 1988-89, Arts council/Southbank Centre, LondonTouring Exhibition: Hayward Gallery, London; Ashmolean Museum, Oxford; The Fruitmarket Gallery, Edinburgh; Ferens Art Gallery, Hull; Walker Art Gallery, Liverpool; Royal Albert Memorial Museum, Exeter; and The Fine Arts Museums of San Francisco (illustrated in catalogue)Click for an instant shipping quoteThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Kentridge (born 1955)Reeds (Krut pp. 54-55) Etching and aquatint with drypoint printed in black and red with hand-colouring in pastel, 1996, on wove paper, signed, dated and numbered 5/40 in pencil, published by David Krut Fine Art, London, the full sheet, in very good condition, framed Sheet 1186 x 1575mm. (46 3/4 x 62in.)Footnotes:ProvenanceDavid Krut Fine Art, London.Acquired directly from the above by the current owner.Click for an instant shipping quoteThis lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

David Hockney (born 1937)Untitled No.329, from A Bigger Book: Art Edition A iPad drawing in colours, 2010/2016, printed on archival paper, signed, dated and numbered 130/ 250 in pencil, co-published by the artist and Taschen, Berlin, with their blindstamp, the full sheet, in very good condition, with the original blue fabric-covered portfolio, together with the publication A Bigger Book, copy number 130, and the accompanying Marc Newsom stand, the iPad drawing framedImage 439 x 330mm. (17 x 13in.); Sheet 559 x 432mm. (22 x 17in.)Footnotes:Click 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

CHAE KYUNG (KOREAN, B.1981) - CELL PHONE 2008 X-ray photography and Chinese ink, mounted on hanging scroll With artists seal lower right From the 'Ghost in the Machine' series Sold with certificate of authenticity 99cm x 40cm Condition: No obvious condition issues Additional Information: About the artist: Kyung Chae attempts to arrange a marriage of polarities: painting and photography, East and West, traditional and modern, analog and digital, science and art. Through these marriages, she aims to inspire a new way of introspection into our modern world of technology. She humanizes technology and uses an interesting mix of mediums such as x-ray photography, Korean paper and ink to explore the obscure organic nature in technological objects; just like organs being parts of a body, it is the same with the mechanisms of a technological gadget.

Julian Opie - - 1958 London - lebt und arbeitet in London IKA 4.2011. 2011. Inkjet auf Leinwand. Auf der umgeschlagenen Leinwand signiert. Unikat. 192 x 119 cm (75,5 x 46,8 in). • Großformatiges Anti-Porträt des britischen Meisters der Entindividualisierung. • Julian Opie war u. a. 2000 in der legendären ersten Ausstellung der Reihe 'New British Art' in der Tate Britain, London, vertreten. • Opie wird u. a. von der Lisson Gallery, London/New York, und der Opera Gallery, London, vertreten. • Arbeiten Opies befinden sich u. a. in den Sammlungen des Museum of Modern Art, New York, dem Victoria and Albert Museum, London, und dem Stedelijk Museum, Amsterdam. PROVENIENZ: Lisson Gallery, London/New York (auf dem Keilrahmen mit dem Etikett). Privatsammlung Rheinland (vom Vorgenannten erworben). 'Looking at older art led to collecting it. Not just to contemplate but to learn from, I think learning from art is an essential part of making it. Reynolds said he’d give up everything to own a good Titian.' Julian Opie, zit. nach: Julian Opie, Ausst.-Kat. Lisson Gallery, London, 15.10.–15.11.2008, o. S. Für seine stark stilisierten Werke nutzt Julian Opie, bedeutender Vertreter der New British Art, Fotografien als Grundlage, die er digital bearbeitet. Durch die Eliminierung aller überflüssigen Details vereinfacht er seine Motive auf das Wesentliche und entwickelt auf diese Weise die für ihn charakteristische, reduzierte und sehr präzise Formensprache. Opie bedient sich dabei verschiedenster Medien: Neben Serigrafien und Gemälden erstellt er auch animierte LCD- und LED-Arbeiten, die auf Flachbildschirmen oder Displays präsentiert werden. Wunderbar ist im vorliegenden Gemälde Opies radikale Auseinandersetzung mit der kunstgeschichtlichen Tradition der Porträtmalerei zu erkennen. Indem Opie uns die Dargestellte in der klassischen Pose eines Brustbildes gegenüberstellt und lediglich Schmuck und Kleidung in wiedererkennbarer Detailgenauigkeit wiedergibt, während er die individuellen Züge der dargestellten Person konsequent ausklammert und das Gesicht als leere Kreisform wiedergibt, thematisiert der Künstler elementare Fragestellungen: Was macht uns und unsere, gerade in der zeitgenössischen kapitalistischen Gesellschaft, vielbeschworene Individualität letztlich aus? Was ist besonders, was austauschbar? Opie ist mit dem vorliegenden Gemälde ein meisterhaftes Paradoxon gelungen, ein Porträt, das von der Dargestellten nur eine zeichenhaft entindividualisierte Hülle zeigt und sich damit dem zentralen Charakteristikum des traditionsreichen malerischen Genres radikal verweigert. In besonderer Weise irritierend ist darüber hinaus der fehlende Hals, der eine Art Durchblick durch den transparenten Menschen auf das eigentlich dahinter verborgene Sofa freigibt und durch diesen Verfremdungseffekt spielerisch thematisiert, dass wir hier keinen Menschen, sondern eben nur eine leere und damit austauschbare Hülle vor uns haben. Opie hat mit seinen berühmten Comic-artigen und oftmals gesichtslosen Darstellungen Tendenzen weiterentwickelt, die bereits in der Kunst der amerikanischen Pop-Art, vor allem in den augenlosen Wesselmann-Akten angelegt waren, und damit zu seiner ganz eigenen, charakteristischen künstlerischen Handschrift gefunden. Opie war u. a. im Jahr 2000 auf der legendären ersten Ausstellung der dreiteiligen Ausstellungs-Folge 'New British Art' in der Tate Britain, London, vertreten. 1995 wird Opie zum Ehrenmitglied der 'British School at Rome' ernannt. Im Jahr 2001 wird er mit dem 'Best illustration award' der Music Week CADS für die Gestaltung eines Albumcovers der britischen Band Blur ausgezeichnet. Julian Opie ist mit seinen Arbeiten weltweit in zahlreichen renommierten Museen vertreten, darunter die Tate Gallery, London, das Museum of Modern Art, New York, und das Stedelijk Museum, Amsterdam. [JS] Aufrufzeit: 18.06.2021 - ca. 20.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONJulian Opie -1958 London - lebt und arbeitet in London IKA 4.2011. 2011. Inkjet on canvas. Signed on the reverse. Unique work. 192 x 119 cm (75.5 x 46.8 in). • Large-size anti-portrait by the British master of de-individualization. • Julian Opie was part of the legendary first show of 'New British Art' at Tate Britain, London in 2000. • Opie is represented by, among others, Lisson Gallery, London/New York and Opera Gallery, London. • Works by Opie are part of, among others, the collections of the Museum of Modern Art, New York, the Victoria and Albert Museum, London, and the Stedelijk Museum, Amsterdam. PROVENANCE: Lisson Gallery, London/New York (with the label on the stretcher). Private collection Rhineland (acquired from above). 'Looking at older art led to collecting it. Not just to contemplate but to learn from, I think learning from art is an essential part of making it. Reynolds said he`d give up everything to own a good Titian.' Julian Opie, quote from: Julian Opie, ex. cat. Lisson Gallery, London, October 15 - November 15, 2008, no p. Julian Opie, an important representative of New British Art, uses photographs as a basis for his highly stylized works, which he processes digitally. By eliminating all unnecessary details he simplifies his motifs to the essentials and thus develops the reduced and very precise formal language characteristic of him. Opie uses a wide variety of media: In addition to serigraphs and paintings, he also creates animated LCD and LED works that are presented on flat-screen TV or on displays. In the present painting Opie's radical examination of the art-historical genre of portrait painting becomes quite obvious. By contrasting us with the sitter in the classic pose of a half length portrait and at the same time only rendering jewelry and clothing in recognizable detail, while excluding any individual traits of the depicted person and showing the face only as an empty circular shape, the artist addresses elementary issues: What ultimately defines us and our individuality, which is so strongly emphasized in today‘s capitalist society? What is special, what is interchangeable? With this painting offered here Opie has succeeded in creating a masterful paradox, a portrait that only shows a symbolically de-individualized shell of the sitter and thus radically rejects the central characteristic of the traditional painterly genre. What is particularly irritating is the missing neck, which allows a view through the transparent person onto the sofa that is actually hidden behind it and, through this alienation effect, playfully shows us that we are not dealing with a real person here, but just an empty and thus replaceable shell. With his famous comic-like and often faceless depictions Opie develops tendencies that we already find in American Pop Art, especially in Wesselmann‘s eyeless nudes, and thus he attained his very own signature style. Opie was represented, among others, in the legendary first exhibition of the three-part exhibition series 'New British Art' at Tate Britain, London in 2000. In 1995 Opie became honorary member of the “British School at Rome“. In 2001 he received the 'Best Illustration Award' from Music Week CADS for designing an album cover for the British band Blur. Julian Opie's work is represented in numerous renowned museums around the world, including the Tate Gallery London, the Museum of Modern Art, New York, and the Stedelijk Museum, Amsterdam. [JS] Called up: June 18, 2021 - ca. 20.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Gerhard Richter - - 1932 Dresden - lebt und arbeitet in Köln Ella. 2014. Digital Fine Art-Druck. Butin 163 (online). Signiert und nummeriert. Auf Fotopapier. 54,5 x 44 cm (21,4 x 17,3 in), Blattgröße. Das gleiche Motiv hat Richter 2007 in Öl ausgeführt (WVZ 903-1). [SM]. • Aus einer kleinen Auflage. • Selten auf dem internationalen Auktionsmarkt angeboten. • Das gleiche Motiv hat Richter in Öl ausgeführt. Aufrufzeit: 19.06.2021 - ca. 16.24 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONGerhard Richter -1932 Dresden - lebt und arbeitet in Köln Ella. 2014. Digital Fine Art-Print. Butin 163 (online). Signed and numbered. On photo paper. 54.5 x 44 cm (21.4 x 17.3 in), size of sheet. Richter executed the same motif in oil in 2007 (catalog raisonné 903-1). [SM]. • From a small edition. • Very rare on the international auction market. • Richter executed the same motif in oil. Called up: June 19, 2021 - ca. 16.24 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Mika Tajima - - 1975 Los Angeles - lebt und arbeitet in New York Negative Entropy (Edward J Darby & Son Inc., Pennsylvania Wire Works, Double). 2014. Mischtechnik. Gewebte Baumwolle, Wolle, Filz und Holz. 137 x 99 cm (53,9 x 38,9 in). Tajimas Arbeiten der Werkserie 'Negative Entropy' bestehen zu großen Teilen aus Materialien, die auch für die Schalldämmung verwendet werden. Für ihre Arbeiten lässt Tajima bei Textilfabriken Aufnahmen von Produktionsgeräuschen machen, die anschließend mithilfe einer speziellen Software in digitale Spektrogrammbilder umgewandelt werden. Den Wellenformen werden verschiedene Farben zugewiesen und von einem Webtechniker in ein Muster übersetzt, um schließlich das auch hier sichtbare sogenannte Jacquard-Gewebe zu erzeugen. So sind die Arbeiten sowohl Kunstwerke als auch materielle Dokumentationen ihrer eigenen Herstellung. PROVENIENZ: 11R Gallery, New York. Privatsammlung Großbritannien (vom Vorgenannten erworben). Aufrufzeit: 19.06.2021 - ca. 19.05 h +/- 20 Min. Dieses Objekt wird differenzbesteuert, zuzüglich einer Einfuhrumsatzabgabe in Höhe von 7 % (Ersparnis von etwa 5 % im Vergleich zur Regelbesteuerung) oder regelbesteuert angeboten (N).ENGLISH VERSIONMika Tajima -1975 Los Angeles - lebt und arbeitet in New York Negative Entropy (Edward J Darby & Son Inc., Pennsylvania Wire Works, Double). 2014. Mixed media. Cotton, wool acoustic baffling felt, and wood. 137 x 99 cm (53.9 x 38.9 in). Tajima's works in the series 'Negative Entropy' consist largely of materials that are also used for sound insulation. For his work, Tajima has recordings of production noises made at textile mills, which are then converted into digital spectrogram images with the help of special software. Different colors are assigned to the waveforms and translated into a pattern by a weaving technician in order to finally create the so-called jacquard fabric, which is also visible here. They are both works of art and material documentation of their own production . PROVENANCE: 11R, New York Private Collection, UK, acquired from the above. Called up: June 19, 2021 - ca. 19.05 h +/- 20 min. This lot can be subjected to differential taxation plus a 7% import tax levy (saving approx. 5 % compared to regular taxation) or regular taxation (N).

Art Nouveau styled lamp with shade on brass stand along with Royal Crown Derby Commemorative plate and digital picture frame in box. 

Moses, Stefan -- Oskar Maria Graf, Berg, from the series "Grosse Alte im Wald". 1964/printed circa 2000. Large-format digital art print. 59,8 x 50 cm. Signed, annotated and dated by the photographer in blue crayon and photographer's stamp on the verso.Slightly buckled, otherwise in very good condition. Lit.: Ulrich Pohlmann/ Matthias Harder (eds.). Stefan Moses. Die Monographie. Munich 2002, ill. from the same series p. 97.

Camera History Books. The Photographic Art of William Henry Fox Talbot by Larry J. Schaaf, From Daguerre to Digital 150 Years of Classic Cameras by John Wild, History of Photography Techniques and Equipment by Camfield and Deirdre Wills, Nikon F. The Camera by Uli Koch, Zeiss Ikon Cameras 1926-39 by D.B. Tubbs, a German language camera history book, Zauber Der Kamera, a Nikon Illistrated History poster and a 2002 Photographic Collectors club wall callender

Laetitia Yhap (b.1941) Conversation, 1981 Liquitex on printed Vilene 58 x 76 cm Hastings Museum and Art Gallery is celebrating Laetitia Yhap’s 80 years of ‘Vital Life’ and work this year with an exhibition of her paintings and drawings chronicling the working lives of the town’s fisherman.* Born in London during the Blitz to an Austrian mother and Chinese father, Yhap studied at Camberwell School of Arts and Crafts and in 1962 travelled to Italy for a year on a Leverhulme Scholarship studying Renaissance art and architecture. On her return, she was a postgraduate student at the Slade School of Fine Art in London before moving to Hastings. She recalls: “I had arrived in Hastings in 1967 and was making large scale watercolour and tempera paintings which excluded the human presence. For me the only way to understand the extraordinary world and work of the fishermen, was to do it the slow way by drawing from direct observation out of doors. I did not possess a camera and it would not have occurred to me to use one. The first 18 months of research was spent entirely and exclusively drawing. Later, as I became familiar with the scene, I made paintings and more complete drawings could be developed. It was always important to me that the people I depicted were recognisable.” Yhap is represented in public collections including the Arts Council of Great Britain, the British Council, the Contemporary Art Society, the Government Art Collection, Hastings Museum and Art Gallery, Hove Museum and Art Gallery, New Hall Cambridge, the Nuffield Foundation, Rugby Museum, South East Arts Collection, Tate, Unilever, University College London and the Walker Art Gallery in Liverpool. * My Vital Life: Laetitia Yhap at 80 at the Hastings Museum & Art Gallery. The Covid-19 pandemic necessitated a digital version of the exhibition and the artist’s gallery tour can be viewed on the website. However, now selected watercolour paintings and drawings will be on view in Museum’s Walkway Gallery until 2 January 2022.