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* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),HYMNoil on canvas, signed, further signed verso, titled and dated 1993 labels versoimage size 179cm x 34cm, overall size 180cm x 35cm Framed.Artist's labels verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.

* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),POEM ON A GREY DAYmixed media on board, signed verso, titled and dated 1996 labels versooverall size 199cm x 40cm Unframed, as intended.Artist's labels verso.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.

* RYAN MUTTER (SCOTTISH b. 1978),TITANICoil on canvas, signedimage size 121cm x 101cm, overall size 137cm x 117cm Framed.Note: "Titanic" is almost certainly the best-known example of Ryan Mutter's work. It was acquired soon after it was exhibited and has remained in the same private collection ever since. Note 2: Born in 1978, Ryan Mutter studied at The Glasgow School of Art, where he graduated in 2001. He has since won many distinguished awards, including a remarkable six from the Royal Glasgow Institute of Fine Arts. His inspiration comes from Britain's industrial heritage and its connection between man and the sea. In Glasgow alone, shipbuilding provided work for 70,000 men in more than 50 yards spread along 11 miles of quayside. But today these yards sit empty, a silent shadow of their former self. The advancements made in technology and design methods superseded the old, and made once important skills and craftsmanship redundant. This is what drives Ryan as he looks to capture and remind people of how important this workforce was in the development of the modern world. Ryan has built up a formidable reputation as a powerful contemporary painter of Industrial and Maritime subjects. His bold realism combined with expressionistic brushwork transports you into a world of arresting detail and mechanised splendour. Perhaps unsurprisingly, very few of Ryan Mutter's paintings appear at auction (anywhere) and his larger work is even rarer. However, in The Scottish Contemporary Art Auction of 28th March 2021, lot 517 "Cutty Sark in Moonlight" a relatively small 38 x 46cm oil on canvas (by Ryan Mutter) sold for £3000 (hammer)

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), THE FINNON SMOKER oil on board, signed, further signed verso image size 183cm x 122cm, overall size 186cm x 125cm Framed. Provenance: Acquired at the railings outside the Royal Scottish Academy in Edinburgh during John Bellany's outdoor protest exhibition with Alexander Moffat during the 19th Edinburgh International Festival in 1965. See additional images. Note: It is extraordinary to contemplate that Bellany was only in his early twenties (22/23) when he painted these exceptional works about which London Standard art critic Brian Sewell later commented ".... in the 1960s (Bellany) painted such pictures as to make us think him as a painter with Rembrandt". The Bellany/Moffat outdoor exhibition was a watershed for Scottish art in two ways: they proved that it existed, and they showed the way for a radical new direction. The works included "Allegory", later acquired by the Scottish National Gallery of Modern Art, "The Gospel Spreaders" "The Finnon Smoker" and only six other stunning tableaux, now mostly in public collections. "We were rebellious characters," remembers Moffat. "That was the period when our generation did make a stand. There was very little representation of Scottish art at the festival ... (we thought] if we can't get in the official festival, we'll put it into the streets. Scottish art didn't really exist. It existed in the studios of Edinburgh College of Art, but it didn't exist in the arts establishment, which was completely Anglicised, I believe. There has been an enormous sea-change. It's almost impossible to measure, but I think we had a hand in the beginning of that, the turn of the tide." The works were hammered together on Rose Street (where Bellany lived) before they put them up on the railings; the nail holes can still be seen. "They were mighty things, we could hardly carry them," says Moffat. "They were so big, they had to be painted in parts. You are talking about his early masterpieces ... they are priceless. It meant Port Seton, it meant fishermen, it meant working people – that had never been painted before. People had painted fishing boats, but nobody had ever painted about the life of people who did the fishing. That was John's fantastic contribution. "His place in Scottish art is defined by the Port Seton thing. That's really his life's work, the way he has mythologised the life of the fisherman. The fears, the spirit, the whole thing, the way he found the special imagery, that had never been done before, to say all those things – that puts him into the history books forever." Keith Hartley, senior curator at the Scottish National Gallery of Modern Art, agrees. "What he was doing in the mid-1960s in many ways changed the course of Scottish painting. It was like a manifesto: I don't want to do paintings for Edinburgh drawing rooms, I want to do something which moves people, about ordinary people's lives. It was very much a protest." John Bellany's very early work is highly prized by collectors and their appearances at auction are ever rarer. The "railings paintings" are the holy grail to Bellany purists and so far as we can ascertain, "The Finnon Smoker" is the first with documented provenance to be offered at auction anywhere for many years. Fresh to the market, never loaned or exhibited since 1965, the same family collection and completely in original condition. The frame is "basic" and has splashes of paint on it. The nails show through in places and thankfully, the owners have never reframed it or had it restored in any way. The frame and the nail holes are part of DNA of "The Finnon Smoker" and fundamentally, it's exactly how John Bellany painted it, exactly as he framed it and exactly how he exhibited it against the railings outside the Royal Scottish Academy in 1965.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018),NEAR JOUCAS (PROVENCE)oil on board, titled verso but obscured by the backboardimage size 41cm x 42cm, overall size 58cm x 60cm Framed and under glass.Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

Shepard Fairey (American, b. 1970) Obedience Problems / Obey 99', 2006 Screen Print on cotton rag archival paper Signed and numbered 6/89 in pencil with blind stamp 106 x 73 cm (41 x 28 in) Frank Shepard Fairey (born February 15, 1970) is an American contemporary artist, activist and founder of OBEY Clothing who emerged from the skateboarding scene. In 1989 he designed the "Andre the Giant Has a Posse" (...OBEY...) sticker campaign while attending the Rhode Island School of Design (RISD). Fairey designed the Barack Obama "Hope" poster for the 2008 U.S. presidential election. The Institute of Contemporary Art, Boston has described him as one of the best known and most influential street artists. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York City, the Museum of Contemporary Art San Diego, the National Portrait Gallery in Washington, D.C., the Virginia Museum of Fine Arts in Richmond, and the Victoria and Albert Museum in London. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Lucas Price (British, b. 1975) Telepathik Heights 18 Screen print on woven paper Signed in pencil Framed & glazed  72 x 53 cm (28 x 20 in) Contemporary artist Lucas Price, formerly known as Cyclops, blends the traditional and the modern, merging contemporary photo realism with antiquated styles and religious iconography. Price completed a Masters degree at the Royal College of Art, London. In 2008, he exhibited at the Tate Modern as part of their exhibition ‘Art on the Street’ and, in 2015, appeared in Bonhams’ contemporary auction. As well as working as a fine artist, Lucas Price founded the postmodernist menswear label ‘A.Four Labs’, with Tokyo-based designer Kazuki Kuraishi. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Klaus Fussmann (1938 Velbert)Landschaft mit zwei Bäumen, Öl auf Leinwand, 75 cm x 80 cm, signiert, 95 datiert, partiell Farbabplatzer, partiell leicht craqueliert."Für eine Zeit gibt das Kunstwerk das Gefühl, dass die Welt einen Sinn hat. Das, was ich mache, gibt ein Gefühl des Überlebens - jetzt im Moment. Die Tristesse des Umsonstlebens ist weg." - Klaus Fußmann Fußmann wurde 1938 in Velbert geboren und studierte an der Folkwang Schule in Essen, sowie an der Hochschule für Bildende Künste in Berlin. Von 1974 bis 2005 hatte er selbst eine Professur an der Hochschule der Künste Berlin inne. Bedeutende Präsentationen seines Werkes fanden unter anderem in der Neuen Nationalgalerie in Berlin, auf der Mathildenhöhe in Darmstadt, in der Kunsthalle Emden, in der Kunsthalle Bremen, im Museum Ostwall in Dortmund statt. Anlässlich seines 70. Geburtstags waren 2008 umfassende Ausstellungen im Schleswig-Holsteinischen Landesmuseum für Kunst und Kulturgeschichte im Schloss Gottorf, in der Freien Akademie der Künste in Hamburg sowie im Mannheimer Kunstverein zu sehen, zu seinem 80. Geburtstag 2018 im Museum Barberini in Potsdam und im Schleswig-Holsteinischen Landesmuseum für Kunst und Kulturgeschichte im Schloss Gottorf. Klaus Fußmann ist mit Werken unter anderen in den Sammlungen des Museums Gunzenhauser in Chemnitz, der Pinakothek der Moderne in München, des Museums Moderner Kunst in Frankfurt am Main und des Schleswig-Holsteinischen Landesmuseums für Kunst und Kulturgeschichte im Schloss Gottorf vertreten. Der Regisseur Wilfried Hauke hat den Maler in einem Film portraitiert, lässt dabei auch andere Stimmen sprechen und den Maler selbst erklären, wie er den Weg durch seine Werke beschreitet.Klaus Fussmann (1938 Velbert)Landscape with two trees, oil on canvas, 75 cm x 80 cm, signed, 95 dated, partially paint chipping, partially slightly craquestrated."For a time, the artwork gives the feeling that the world has meaning. What I do gives a sense of survival - right now in the moment. The dreariness of living for nothing is gone." - Klaus Fußmann Fußmann was born in Velbert in 1938 and studied at the Folkwang Schule in Essen, as well as at the Hochschule für Bildende Künste in Berlin. From 1974 to 2005 he himself held a professorship at the Berlin University of the Arts. Important presentations of his work have taken place at the Neue Nationalgalerie in Berlin, the Mathildenhöhe in Darmstadt, the Kunsthalle Emden, the Kunsthalle Bremen, the Museum Ostwall in Dortmund and elsewhere. On the occasion of his 70th birthday in 2008, comprehensive exhibitions were shown at the Schleswig-Holstein State Museum of Art and Cultural History in Gottorf Castle, at the Freie Akademie der Künste in Hamburg and at the Mannheimer Kunstverein, and on his 80th birthday in 2018 at the Museum Barberini in Potsdam and at the Schleswig-Holstein State Museum of Art and Cultural History in Gottorf Castle. Klaus Fußmann is represented with works in the collections of the Museum Gunzenhauser in Chemnitz, the Pinakothek der Moderne in Munich, the Museum of Modern Art in Frankfurt am Main and the Schleswig-Holstein State Museum of Art and Cultural History in Gottorf Castle, among others. Director Wilfried Hauke has portrayed the painter in a film, letting other voices speak and the painter himself explain the path he takes through his works.

Renée Sintenis (1888 Glatz/Schlesien - 1965 Berlin) (F)'Liegendes Fohlen', 1919, Bronze, braun patiniert, 6 cm x 12 cm, RS monogrammiert, Expertise von Frau Dr. Berger anbei, Literatur: WVZ. Buhlmann 129, mit Abb. S. 210.Renée Sintenis gehört zu den wichtigsten deutschen Bildhauerinnen und Graphikerinnen der klassischen Moderne. Sie wirkte vor allem in Berlin und ist für ihre Tierplastiken, Sportlerskulpturen, Portraits und Akte bekannt. 1905 zog die Familie nach Berlin, wo sie bereits in der Schulzeit Zeichenunterricht erhielt, der später von Studien in Dekorativer Plastik an der Kunstgewerbeschule Berlin weitergeführt werden sollte. Als die Künstlerin wenige Jahre später Georg Kolbe kennenlernte, wurde sie sein Modell. Durch diese Tätigkeit angeregt, begann sie selbst weibliche Akte, ausdrucksstarke Köpfe, Sportler und Selbstportraits in Zeichnungen, in Radierungen und in bildhauerischer Form zu erschaffen. "Nach 1915 entstanden die prägnanten Tierfiguren, die zu ihrem künstlerischen Lebensthema wurden. Da sie die Monumentalität in der Bildhauerkunst ablehnte, kreierte sie vornehmlich kleinformatige Skulpturen. Diese schmalen Kunstwerke wie Pferde, Rehe, Esel und Hunde erfreuten sich beim Publikum großer Beliebtheit." Diese sollten ab 1913 über Jahrzehnte in der Bildgießerei Hermann Noack in ihre Form gegossen werden. 1931 wird Renée Sintenis als zweite Frau - nach der berühmten Käthe Kollwitz - in die Preußische Akademie der Künste aufgenommen. Doch wie für viele Berliner Künstlerinnen und Künstler bedeutet die Machtübernahme durch Adolf Hitler auch für sie einen tiefgreifenden Einschnitt. Sie wurde aus der Akademie ausgeschlossen, die Ausübung und Ausstellung ihrer Werke wurden verboten. Hinzukommt, dass durch den Zweiten Weltkrieg um 1941 der Bronzeguss verboten wurde, denn das Metall war für die Rüstungsindustrie unentbehrlich. Die künstlerische Arbeit wird für Renée Sintenis spätestens zu diesem Zeitpunkt nahezu unmöglich. Im Oktober 1942 stirbt unerwartet ihr Ehemann, und 1945 zerstören alliierte Bombenangriffe ihr Atelier, wobei zahlreiche persönliche Besitztümer und viele künstlerische Arbeiten verlorengehen. Doch das Kriegsende markiert für die Künstlerin einen Neubeginn. Im Berlin der Nachkriegszeit gelingt es ihr, an ihre Erfolge aus den zwanziger und frühen dreißiger Jahren anzuknüpfen. Auch zu akademischen Ehren kommt Renée Sintenis, denn 1955 wird sie als Professorin an die Hochschule für Bildende Künste sowie an die West-Berliner Akademie der Künste berufen. Zum Markenzeichen wird ihr Berliner Bär, der als verkleinerte Nachbildung einer 1932 entstandenen Bronzeskulptur in Silber und Gold zur begehrten Trophäe der alljährlichen Filmfestspiele "Berlinale". Das kleine Fohlen kann auf das Jahr 1919 datiert werden und ist somit ein Zeichen des großartigen Erfolgs der künstlerischen Ausübung der Berliner Künstlerin. Nicht ohne Grund wurde sie ab 1920 vom Galeristen Alfred Flechtheim ausgestellt, vertrat sie bis dahin Wolfgang Gurlitt, der ihre Werke neben derer von Max Beckmann, Max Liebermann und Karl Schmidt-Rottluff ausgestellt hat. Zudem wurde sie mit Ausstellungen in der Berliner Nationalgalerie, der Tate Gallery London und dem Museum of Modern Art in New York, in Paris, Glasgow und Rotterdam zu einer international anerkannten Künstlerin, dessen Werke bis heute in bedeutenden Sammlungen weltweit vertreten sind. Renée Sintenis (1888 Glatz/Silesia - 1965 Berlin) (F)'Liegendes Fohlen', 1919, bronze, brown patinated, 6 cm x 12 cm, RS monogrammed, expertise of Dr. Berger attached, literature: WVZ. Buhlmann 129, with Fig. p. 210.Renée Sintenis belongs to the most important German sculptresses and graphic artists of the classical modern age. She worked mainly in Berlin and is known for her animal sculptures, sports sculptures, portraits and nudes. In 1905 the family moved to Berlin, where she took drawing lessons while still at school, which would later be followed by studies in decorative sculpture at the Kunstgewerbeschule Berlin. When the artist met Georg Kolbe a few years later, she became his model. Inspired by this activity, she herself began to create female nudes, expressive heads, athletes and self-portraits in drawings, in etchings and in sculptural form. "After 1915, she created the striking animal figures that became her artistic life's theme. Since she rejected monumentality in sculpture, she created mainly small-format sculptures. These slender works of art, such as horses, deer, donkeys and dogs, enjoyed great popularity with the public." These were to be cast into her mould at the Hermann Noack picture foundry for decades from 1913. In 1931 Renée Sintenis became the second woman - after the famous Käthe Kollwitz - to be admitted to the Prussian Academy of Arts. However, as for many Berlin artists, the seizure of power by Adolf Hitler also meant a profound break for her. She was expelled from the Academy, and the practice and exhibition of her works were banned. In addition, the Second World War banned bronze casting around 1941, as the metal was indispensable for the armaments industry. Artistic work became almost impossible for Renée Sintenis at this point at the latest. In October 1942, her husband died unexpectedly, and in 1945, Allied bombing raids destroyed her studio, causing the loss of numerous personal possessions and many artistic works. But the end of the war marked a new beginning for the artist. In post-war Berlin, she succeeded in building on her successes of the 1920s and early 1930s. Renée Sintenis also achieved academic honours: in 1955 she was appointed professor at the Hochschule für Bildende Künste and at the West Berlin Akademie der Künste. Her Berlin Bear, a scaled-down replica of a bronze sculpture she created in 1932 in silver and gold, became a coveted trophy at the annual Berlinale film festival. The little foal can be dated to 1919 and is thus a sign of the great success of the Berlin artist's artistic practice. It was not without reason that she was exhibited by the gallery owner Alfred Flechtheim from 1920 onwards. Until then, she had represented Wolfgang Gurlitt, who exhibited her works alongside those of Max Beckmann, Max Liebermann and Karl Schmidt-Rottluff. She also became an internationally recognised artist with exhibitions at the National Gallery in Berlin, the Tate Gallery London and the Museum of Modern Art in New York, in Paris, Glasgow and Rotterdam, whose works are still represented in important collections worldwide.

A pair of modern cast concrete lions in the art deco style, 23" high. Separate viewing arrangements by appointment.

A lovely example of McLarens first mainstream 'Supercar', well maintained and beautifully presented.Having astonished the world with its debut supercar of 1992 - the iconic, Le Mans-winning F1 - McLaren re-established itself at the head of the exclusive '200mph' club with the MP4-12C. Publicly unveiled in September 2009, the mid-engined MP4-12C commenced manufacture at McLaren's new state-of-the-art factory at Woking in mid-2011, just after production of the Mercedes-Benz SLR McLaren model had ceased. Its stylist was Frank Stephenson, who had been recruited from Alfa Romeo Centro Stile following spells with Ferrari and FIAT. Like its F1 and SLR predecessors, the MP4-12C used a carbon-fibre MonoCell body tub, albeit one that now took considerably less time to produce thanks to advances in composites manufacturing technology. This time the occupants' two seats were arranged conventionally side by side, unlike the F1's unusual three-abreast layout, which placed the driver in the centre, though the use of dihedral doors maintained a familial link with the F1.Presented here for auction is this beautiful McLaren MP4-12C delivered new to its first owner by McLaren Knightsbridge, London and first registered in March 2012. Finished in sparkling Ice Silver with black leather upholstery and matching black carpets, carbon roof and upgrades included electric memory seats, upgraded sound system and the latest RSR software for the II Iris information centre.Offered from a private collection of landmark collectable cars, this McLaren has been dry stored correctly and well maintained over the years with a comprehensive, mostly McLaren main agent service record. This spectacular example is offered with a history file which includes the original service book stamped up-to-date with the most recent maintenance carried out by McLaren prior to the sale. Also in the file is the original hand-book, supporting invoices, tracker paperwork, old MOTs with the most recent MOT showing 34,393 miles, no advisories and valid until June 22 and the current V5c ready for transfer.Innovative, attractive, rapid and fast becoming highly sought after, market commentators are tipping the model that marked the return of this legendary British manufacturers modern Supercar line-up to be a must have in any noteworthy classic car collection.SpecificationMake: MCLARENModel: MP4-12CYear: 2012Chassis Number: SBM11AACXCW000953Registration Number: WX12 JROEngine Number: 38JBAA111085 Drive Side: Right-hand DriveOdometer Reading: 35000 MilesMake: RHDInterior Colour: BlackClick here for more details and images

David Hockney: A Retrospective, The Metropolitan Museum of Modern Art, June - August 1988, exhibition poster, 98cm by 60cmFree from tear and marks, some colour fading as per image, not examined out of frame

SHIHO: A FINE BRONZE OF A HAREBy Watanabe Shiho (born 1894-1972), signed ShihoJapan, Tokyo, first half of 20th centuryVery finely and naturalistically cast as a seated hare raising one paw. Note the sparse hairwork rendered with fine incision work. Signed underneath SHIHO.HEIGHT 19.3 cmWEIGHT 5,070 gCondition: Excellent condition with typical associated wear, some light surface scratches.Provenance: English private collection, purchased at Christie's London on 22nd April 2008, lot 646.Watanabe Shiho (1894-1972) studied metal casting under Oshima Joun at the Tokyo School of Fine Arts (now the Tokyo University of Fine Arts and Music), where he later also became a professor. Prior to the Pacific War, he exhibited frequently at the government-sponsored Teiten and Shin-Bunten exhibitions. His work is in the collections of the Tokyo Prefectural Museum of Modern Art.The present hare bears an uncanny resemblance to the famous painting of a hare by Albrecht Dürer (1471-1528).

RYUMIN: AN UNUSUAL IVORY AND METAL KAGAMIBUTA NETSUKEBy Serizawa Ryumin, signed Ryumin and kakihan Japan, Tokyo, late 19th centuryThe shibuichi plate set into an unusual heart-shaped ivory bowl bearing a fine patina, the plate carved in katakiri-bori with an old lady seated by a spinning wheel, the details inlaid in gold, with the signature RYUMIN and kakihan. Central himotoshi to the back.LENGTH 4.2 cmCondition: Very good condition with minor surface wear. The bowl with natural age cracks. Provenance: Ex-collection Ted Wrangham. Edward A. 'Ted' Wrangham (1928-2009) formed one of the most important collections of Japanese Art in modern times. His reference book 'The Index of Inro Artists' (1995) is considered one of the most important English-language studies on Japanese lacquer ever published.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0333).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

IMAIZUMI IMAEMON XIV: A FINE 'WAVES AND FLOWERS' NABESHIMA DISHBy Imaizumi Imaemon XIV (National living treasure, born 1962), signed ImaemonJapan, c. 2005The interior masterfully enameled with flowerheads scattered amongst rolling waves, a hallmark motif of this last living member of the noted ceramicist dynasty, executed in crisp relief, virtuoso brushstrokes and extremely fine detail.Condition: Perfect condition.Provenance: From a private collector in Toronto, Canada, by repute acquired from the artist around 2005.DIAMETER 22 cmAfter the passing of Imaizumi Imaemon XIII (1926-2001), Imaizumi Imaemon XIV became the head of the celebrated family of Iro-Nabeshima ceramicists. In 2014, at the age of 51, Imaizumi Imaemon XIV became the youngest artist in Japan to be designated a Living National Treasure for his achievements in elevating contemporary Nabeshima porcelain. Incorporating his signature Rinpa-style designs, which embrace bold, graphic renderings of allegorical iconography, and traditional techniques developed by his family over generations, Imaemon XIV's work is one of the foremost innovative examples of Nabeshima ware. Works by him are in the British Museum, London, and the National Museum of Modern Art, Tokyo, among many other public collections.

Patrick Meyer, (contemporary), Three slender pewter candlesticks, of organic spiral form, tallest 42 cm [Patrick Meyer was born in the France, in the mid-1990s, he relocated to San Francisco, California, where he established himself as a metal sculptor and designer, specializing in Judaica and pewter items for the home, drawing inspiration from nature, primitive forms, and modern art, utilizing high-grade lead-free pewter.]

Two Boxes of Modern Books on Art and Antiques, to include Millers guides, Lyles guides, English domestic, furniture 1100 - 1837 etc,

Vinyl & Memorabilia / Pop Art - The Popular Image Exhibition - Andy Warhol, Roy Lichtenstein. Rare 1963 US record of interviews with artists participating in the Popular Image Exhibition at The Washington Gallery of Modern Art April 18 - June 2, 1963. Including Andy Warhol and Roy Lichtenstein. The package comes in paper cover with Jim Dine design and includes catalog booklet for the exhibition including Andy Warhol art, and a vinyl record (PB 474). Paper cover is VG, Booklet is EX, Vinyl is EX

An Egyptian Gilt Cartonnage Mummy MaskPtolemaic Period, 304-30 B.C.Height 18 1/2 inches (47 cm).Provenance: Henri Smeets, Weert, Netherlands, prior to 1975. Published: E. Godet, et al., A Private Collection: A Catalogue of The Henri Smeets Collection, Weert, 1975, no. 32.Note: From as early as Napoleon's Egyptian Campaign, ancient Egypt has enchanted the Western world. In 1922, the British Egyptologist Howard Carter discovered the intact tomb of the Pharaoh Tutankhamun. It was the best-preserved pharaonic tomb ever found in the Valley of the Kings. According to Howard, "It was a sight surpassing all precedent, and one we never dreamed of seeing." News of the finding spread fast and sparked an immediate craze for all things ancient Egyptian. Egyptomania swept across Europe and the United States influencing the next century of art, architecture, and popular culture.Initially a collector of 20th Century sculpture and paintings, it is undoubtable that the amazing discovery of Tutankhamun's tomb would have influenced the collecting habits of the young and still impressionable bookmaker, Henri E. Smeets (1905-1980). Indeed, Smeets would later spend a great deal of time and resources collecting important objects from ancient Egypt. In 1973, he lent a limestone head of an Amarna princess to the Brooklyn Museum, and in 1977, three years before his death, had a single owner sale of his entire antiquities collection in London, in which the sarcophagus mask seen here was included.Apart from quality and date, the conventionalized facial features of this exquisite sarcophagus mask share stylistic traits with the mask of Tutankhamun, chief among them the gold face, calcite eyes, and lapis lazuli-colored inlays. Well-preserved and elaborately decorated with two images of Osiris, a winged scarab, and hieroglyphic inscription, this iconic mummy mask is emblematic of our modern-day fascination with the land of the ancient pharaohs and Nile River.

A Western Asiatic Banded Agate Necklace Circa Late 3rd-Early 2nd Millennium B.C.Length 20 3/8 inches (31.7 cm).Provenance:Sarkis & Haddad, Beirut.Private Collection, acquired from the above in 1971; thence by descent.Christie's, New York, Ancient Jewelry: Wearable Art, 29 November - 8 December 2016, Lot 66.Modern gold beads.

A Byzantine Gold Necklace with Molded Green Glass CameoCirca 5th-6th Century A.D. Length with chain 10 3/8 inches (26.5 cm); Length of cameo 1 inch (2.5 cm).Property from a New Jersey Private CollectionProvenance:Art Market, Germany, 1980s.Fortuna Fine Arts, Ltd., New York.Private Collection, New York, acquired in 1996.Christie's, New York, Ancient Jewelry: Wearable Art, 29 November- 8 December 2016, Lot 32.Note:This cameo depicts the Virgin Orans with an inscription above her head in Greek letters translating to, "Mother of God."Intact. Mounted as a pendant in a modern gold setting with a woven gold chain. The lower right edge of the cameo lost, possibly a casting flaw. Very minor chips to the edges on the reverse; minor wear and iridescence throughout. Overall in very fine, attractive, and stable condition. Length with chain 10 3/8 inches (26.5 cm). 22k gold.

Kelmscott Press.- Morris (William) A Note On His Aims in Founding the Kelmscott Press, Together with a Short Description of the Press by S. C. Cockerell & An Annotated List of the Books Printed Thereat, one of 525 copies on Flower paper, printed in red and black in Golden Type, half-title, woodcut frontispiece designed by Edward Burne-Jones and borders and initials by William Morris, without erratum slip, later dark blue morocco by Manuel Bueno, decoratively tooled in gilt, t.e.g., others uncut, original blue printed wrappers bound in, slip-case, [Peterson A53], 8vo, Kelmscott Press, 1898.⁂ The last book printed at the press. Morris's essay had previously appeared in Modern Art No.4, Winter 1896, and Burne Jones's frontispiece was originally designed in the 1860s for an aborted edition of The Earthly Paradise.

Dancing.- Gallini (Giovanni-Andrea) A Treatise on the Art of Dancing, second edition, large folding engraved plate of Chinese procession (torn and neatly repaired), text lightly browned, modern calf-backed marbled boards, 8vo, for the Author, 1772.⁂ Gallini (1728-1805) was an Italian-born dancer and teacher who ran a dancing academy in Hanover Square.

Haeckel (Prof. Dr. Ernst ) Kunstformen der Natur, 2 parts and supplement in 1 vol., 100 plates, several colour, some chromolithographed, a few with outline key on tissue overlay, light foxing to first few leaves, occasional marginal staining, contemporary half morocco, a little rubbed, preserved in modern cloth slip-case,[Nissen ZBI 1783], 4to, Leipzig & Vienna, [1904].⁂ An inspirational work which influenced the decorative design elements of Art Nouveau, it is seen as a bridge between science and art. The stunning plates depict a range of life forms, structures and organisms, with animals and plants from land and sea, many being illustrated and described for the first time. These include radiolarians, which Haeckel helped to popularise among amateur microscopists, sea anemones, and jelly fish.

Stanhope Forbes RA (British 1857-1947) Children on the beach, St Ivessigned and dated 'STANHOPE A FORBES / 1886' (lower right)oil on canvas30 x 40cmProvenance:Sale; Christie's, London, 22 November 1994, lot 246Sold by the Executors of Roland Baker deceased Literature:E. Knowles, 'Checklist of Paintings' in Stanhope Forbes: Father of Newlyn School, Bristol, 2017, p.114, unnumberedWithin the last two centuries, Cornwall has established an incontrovertible reputation as one of the most influential and internationally significant artists’ colonies. Prior to the early 19th century, however, the region was chiefly associated with fishing and mining; geographically remote and primarily a site of industry, the area offered very few incentives to visit. In 1809, the first comprehensive pictorial survey of the county was completed by Royal Academician, Joseph Farington, who produced 24 topographical engravings which were later published in Britannia Depicta, Part IV. Two years later, J.M.W. Turner would make the same voyage. Following the southern coastal route, Turner produced in excess of 200 pochades, many of which were reproduced in his 1814 series Picturesque views on the southern coast of England, whilst others were used as the source material for his classical masterpieces. Formerly known for its pilchard and mackerel fishing, by the late 19th century, Newlyn, the chief port of Mount’s Bay, was beginning to attract growing numbers of artists, all of whom were drawn to the dramatic landscapes and fertile opportunities for narrative realism afforded by the area. It is no coincidence that many of the artists that chose to settle in the Newlyn area had previously spent time painting en plein air in France, indeed, Stanhope Forbes described the fishing town as ‘a sort of English Concarneau.’ Stanhope Forbes settled in Newlyn in 1884 and, although he was not the first of his generation to make the move, having been preceded by Thomas Cooper Gotch, Henry Tuke, Walter Langley and Edwin Harris, the Dublin born artist soon became known as the ‘Father of the Newlyn School’. In Newlyn, Forbes was able to establish his own contemporary interpretation of the ‘picturesque’, documenting the daily lives and struggles of the local population, from the fishing communities of Newlyn to the nomadic roadside gypsies in the surrounding locale. In 1885, Stanhope Forbes received popular and critical acclaim for his work, A Fish Sale on a Cornish Beach, which was exhibited at the Royal Academy and effectively sealed both his personal reputation and the reputation of the Newlyn School. In the summer of 1886, away from the silvery tonalities and dusky light of Newlyn, Forbes’ family were enjoying a holiday staying in nearby St Ives. Having recently been connected to the 1876 rail link between Penzance and Paddington, St Ives was rapidly becoming a popular seaside holiday destination, particularly amongst those who espoused the curative properties of sea-bathing. During the months between mid-July and September of 1886, Stanhope Forbes was known to frequently make the nine-mile journey over Paul Hill to join his family on the north coast, where he executed the present lot, together with a smaller study of a comparable composition, now held in Bristol Museum and Art Gallery. Painted at Porthminster Beach, both works show small clusters of children playing on the sand, alongside bathing tents and lines of towels and swimming costumes drying in the breeze. Differing from the smaller pochade held at Bristol Museum, the present lot shows the peninsula sweeping into the left-hand side of the canvas, the distant twin piers delicately balanced against the horizontal clothes line in the foreground. In contrast to his Newlyn works, the present lot has a resolutely modern character. Painted in situ with a flat-ended brush, Forbes was seemingly experimenting with technique, composition, and palette. Whilst the Newlyn school valued temperate and, arguably, more authentic tonalites, in St Ives, Forbes made use of more vociferous harmonies, contrasting the sun-flashed sand against the cerulean ocean. Similarly, the high horizon and audacious expanse of sand and sky in the foreground of the image demonstrates a departure from Forbes’ more traditional compositions.The painting is executed in oil on a canvas support which has been lined. The original canvas has a horizontal join running across the picture in the sky. It is unclear if this is a join in the canvas which was present before the artist started painting or a later occurrence. The canvas weave above and below the join are very similar in texture, suggesting the same piece of canvas. The join is well secured and stable. Overall, the paint layers are in a good, stable condition. There is retouching running the length of the join in the sky as well as down the right hand edge of the canvas, probably covering areas of wear and abrasion. There are other, smaller areas of retouching present. The retouchings are well matched to the original. The varnish is clear and even.

§ Martin Bradley (British 1931-) And the crows devour their deadsigned and titled to the reverseoil on canvas49 x 59.5cmMartin Bradley was, in all regards, determined to become an artist. The son of Gladys Keokeok and army captain, James Bradley, Martin Bradley spent his early childhood in relative poverty before a wealthy benefactor offered to pay for his tuition at the prestigious St Paul’s School, London. However, when his guardian opposed his desire to pursue a career in painting, Bradley, then aged just fourteen, ran away to sea where he worked for three years as a cabin boy on the Central and South American circuit. Whilst at sea, Bradley spent much of his free time painting his shipmates - diametric to the works he is today famed for, these works were mostly academic in nature. Upon returning to London, Bradley began studying Oriental languages, art, and literature and quickly became associated with the anarchic circle of novelists and playwrights known as the ‘Angry Young Men’. Dubbed the ‘Rimbaud of Soho’ due to his nihilistic lifestyle, Bradley’s work was soon recognised by respected galleries such as Gimpel Fils and the Redfern Gallery and in 1956, he joined Gallery One. From the late 1950s, Bradley lived an increasingly itinerant lifestyle, initially living between Paris, Ibiza and Brazil, before travelling extensively throughout Asia in the 1960s and 1970s. An accomplished linguist, it was during these travels that Bradley, alongside his artistic practice, became proficient in more than ten languages, including Tibetan, Chinese, Japanese and Hindi. As demonstrated by the present lot, one could easily imagine that the motifs in Bradley’s arcane works could have been traced from the surface of ancient petroglyphs, the relics of an alien civilisation, though they also retain a decidedly modern feel. Straddling this unusual temporal space and featuring a series of cryptic runes, no doubt influenced by his extensive travels and knowledge of the Far East, the present lot is typical of Bradley’s work during the 1950s and 1960s.The canvas is in plane, though very slightly slack and has a very light layer of dust across the surface. The artist has scraped away at the red painted ground exposing areas of canvas beneath, this is intrinsic to the work and not the result of any damage. There is a very minor deformity to the top right hand side of the canvas and another to the shoulder of the crow, but these are not terribly visible and do not detract from the overall image.There are some very fine drying cracks to the paint layer along the top of the canvas and to the wings and back of the bird, though overall the paint layer appears stable with no lifting or flaking. The exposed area of the canvas along the lower edge appears a little grubby, with a few small scattered accretions.

§ Gillian Lowndes (British, 1936-2010), wall hanging, fired mixed media38 x 75cm Quietly disquieting and with unsettling sentience, grey-tipped talons appear to pierce the fossilised ceramic flesh of the present lot, as if this intriguing object has been gestating an extra-terrestrial life form. Operating far beyond the restraints and expectations of traditional ceramics, Gillian Lowndes is today celebrated as one of the most audacious and creatively uninhibited ceramic artists and teachers of her generation. Born in West Kirby, Cheshire, in 1936, Lowndes spent much of her childhood in India before training at the Central School of Arts and Crafts from 1957. Initially studying sculpture, Lowndes soon found herself drawn to the pottery department, where she studied first under Dora Billington and later under Gilbert Harding Green. Renowned as a lively and progressive teaching environment, it was at the Central School of Arts and Crafts that Lowndes first met such influential figures as Ruth Duckworth, Dan Arbeid, Gordon Baldwin and Ian Auld - the latter of whom she would later marry. Following her studies in London and after a year studying in Paris at L'École des Beaux-Arts in 1970, Lowndes accompanied Auld on an 18-month research trip to Nigeria. Experiencing the rich material culture of the country, Lowndes quickly became fascinated with the bricolage nature of West African sculpture, which typically juxtaposed several unexpected materials and methods within the construction of a single artifact. Whilst her distinctive artistic voice is undoubtedly the result of a confluence of experiences, the influence of these objects on Lowndes’ work cannot be understated. Exploring the absolute limits of the medium and the transformative properties of the kiln, Lowndes’ entropic and unquantifiable works have won praise for their raw physicality and for their ability to challenge the boundaries between art and craft, ancient and modern, organic and alien. So experimental are these works that it is almost easier to conceive that they have been excavated from an archaeological site or dredged from the deepest depths of the ocean, the evidence of a lost civilisation or a visit from an alien race, than it is to accept that they have been made by human hands. Acquired from the Lynn Strover Gallery, Cambridge.  In seemingly good condition with no apparent condition issues, examined under UV light.

A Modern Art Deco Style Cluster Dress Ring, of circular design cabochon set to the centre, indistinctly stamped (finger size R).

Tim Frost (Modern British school), 'New Century Pop Art' signed, acrylic on canvas, 45.5cm x 60.5cm.

A pair of Art Deco style ruby and diamond target earrings, unmarked rose gold settings with modern round brilliant-cut diamonds and calibre-cut rubies, with stud fittings, total diamond content approx 2ct, colour approx K, clarity approx SI2/I1, earring diameter 13.3mm, 5.2g

Mohamed Hamidi (Morroco, born 1941)Untitled mixed media on canvassigned 'Hamidi' and dated '06' (lower left), executed in 200670 x 90cm (27 9/16 x 35 7/16in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the artist by the aboveExhibited:London, The Gallery at Cork Street, 'Contemporary Moroccan Artists: From Casablanca to Cork Street', 2008Bonhams is delighted to present these superlative works by the Moroccan artist Mohamed Hamidi. Hamidi was part of the influential Casablanca Group and a founding member of the Moroccan Association of Plastic Arts, influential movements in decolonising modern art in Morocco. He is known for colourful abstractions and semi-figurative works that evoke both erotic motifs and traditional symbols and patterns of African crafts.After training at the Ecoles des Beaux-Arts de Casablanca, Hamidi left to France in the 1950s where he lead a bohemian life in Paris. in m1964, he earned a teaching degree in Monumental Art from the Ecole Nationale Superieure des Beaux-Arts de Paris and became an assistant to the painter Jean Aujame in his mural studio.For further information on this lot please visit Bonhams.com

Ibrahim El-Salahi (Sudan, born 1930)Head I oil, enamel and mixed media on canvassigned 'EL SALAHI' and inscribed 'Head I' on the verso, executed circa late 1960's34 x 40cm (13 3/8 x 15 3/4in).Footnotes:Provenance:Property from a private collection, London Acquired directly from the artist by the present owner's aunt, circa late 1960'sNote:The authenticity of the present work has been confirmed by the artist and the present work is accompanied by a Certificate of Authenticity LOTS 18 & 19:TWO RARE AND HIGHLY SIGNIFICANT 1960'S OIL PAINTINGS BY IBRAHIM EL SALAHI'With the colours I was trying very hard to create something that appealed to the Sudanese public. You can almost smell the air and the dust in it. It's the colour of the savanna, the desert. Apart from the Nile, there is not much green in Sudan. I was trying to create a work that reflects the country's actual colours. I was keen to link it with people because I don't think an artist should live in isolation from his audience. I tried to use what they appreciate: a dark brown, which is burnt sienna, and black. I just tried to be as close as possible to nature, and to the people I live with and love'-Ibrahim El Salahi'To me the bird represents a sense of freedom. I am thinking of the people and their nomadic lives – they reject authority and they are all by themselves'-Ibrahim El SalahiBonham's is immensely privileged to present two astounding 1960's oil paintings by the doyen Sudanese modernism, Ibrahim El Salahi, the first canvas paintings by the artist to ever appear at international auction. In Head I, Salahi weaves together the modernist visual language absorbed during his European studies with local colours and symbolism. A large, almost primitive head is seen interlaced with folk animal motifs, the most important of which is the bird, a powerful symbol with both personal and religious meaning for the artist. For Salahi, the bird represents artistic freedom, as well as the nomadic freedom of Sudanese tribal life. In its religious and Quranic interpretation, the Sufi's believe that birds speak a mystical tongue which is said to be understood only by winged creatures as an indication of their favour in the eyes of the Divine.Both works are painted in tar-like mixed media and enamel that would comprise Salahi's signature technique upon the artists return to Sudan, representing the commencement of Salahi's mature period. Salahi's use of colour and media was very much a concerted effort on his part to reflect the tonal and environmental characteristics of his native land, and the artist notes of these series of works that you can 'almost smell the air and the dust in them' On this particular period of his oeuvre, Salahi states that he returned to Sudan 'a conceited young artist fresh from London' but, 'Over time I came to see that conditions in Sudan required a very different approach on the part of the artist... If I was to have a relationship with an audience, I had to examine the Sudanese environment, identify what it offered.... As an artistic resource...'. Accordingly El-Salahi stopped painting for two years embarked on a long and open ended exploration of 'what kinds of art were shown, and therefore appreciated, in typical Sudanese homes and public places... I was amazed to rediscover the riches I had seen all around me during my childhood, and whose value and rich meanings I had for years abysmally failed to grasp'.This search for a style culminated in the foundation a movement that became known as the Khartoum School, 'hoping to fill the gap between the artist and his audience, the cumulative outcome of different historical, social and political factors, I began an experiment later called 'the Khartoum School'. The common factor in the Khartoum School work was the abstract and representational symbolic potential of the Arabic letter'. Developed along with fellow artists such as Ahmed Shibrain and Kamala Ishag, the Khartoum school became then the foundational, visual language of Sudanese ModernismIbrahim Salahi is widely considered the founding father of Sudanese Modernism. In 1953 the Sudan government sent Salahi to the Slade School of Art for three years, where he specialised in painting and drawing. Returning to Sudan in 1957, Salahi taught for a number of years at the School of Fine and Applied Art, Khartoum Polytechnic, now Sudan University. UNESCO and Rockefeller Foundation scholarships gave him the opportunity to work and travel in the US twice in the 1960s. After a short period back in London as assistant cultural attaché at the Sudanese Embassy, in 1972 he became the Sudan government's undersecretary for culture and information, a job which landed him in jail as a political prisoner, having been wrongly suspected of anti-government activities. In 1977, he went into voluntary exile in the Gulf State of Qatar, where he worked as an adviser and translator for the government, and in the UK. He is now based in Oxford. Salahi's work is held in several major institutions including The British Museum, London; The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York, and Mathaf: Arab Museum of Modern Art, DohaThis 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

Mahmoud Said (Egypt, 1897-1964)Nu couché au divan blue (Nude Reclining on a Blue Couch) oil on panel, framedsigned 'Mahmoud Bey Said' and dated '1938' and further inscribed 'Alexandria' on the verso, executed in 193869 x 98cm (27 3/16 x 38 9/16in).Footnotes:Provenance:Ahmed Osman, Alexandria, gift from the artistDr Mohammed Said Farsi, Alexandria and Jeddahsale Christies Paris, 9 November 2010 lot 64 (titled: Nu sur sofa vert)Exhibited:Possibly Guezireh 1951 no. 114Literature:Dawastashy, 1997, no. 208 icon in colour page 306'Said's breath-taking nudes are unfathomable for a fils de famille and decidedly incompatible with the local traditions and Islamic religion. The modern yet timid Said seeks to exhibit a conscious play between stricture and desire for uninhibited freedom, in search for the 'essence of womanhood'. At a time when controversial polemics between progressives and traditionalists were on the rise, he managed to stop short of crossing the line into an impermissible eroticism and brought out a hungry fusion of inhibition and desire to shock our morality.A crisis of orientation loomed in Egypt, tearing it apart between calls for separation of religion and state against calls for a revival of Egypt's Islamic and Arab roots. At the same time, Said painted the naked female body and undertook to shock a conservative nation that has just accused Taha Hussein, the Dean of Contemporary Arabic literature and pioneer of the enlightenment, of blasphemy.Acting as a loud cry from the inner depth of an artist with conflicting desires, his intense nudes show a brutal determination to liberate the native woman and glorify her as a love goddess'- Fatenn Mostafa Kanafani - A Legacy of Dichotomies: When the International Art Market Met the 'Oriental Lord'Mahmoud Said was profoundly inspired by the female form, facilitated by his social standing, his celebration of the female nude was a brave move that broke absolutely with Egyptian artistic traditions. To him and his artistic milieu the Egyptian peasant represented the liberal future of Egypt, but Said's nudes are the continuation of an earlier tradition drawing on nineteenth century European paintings romanticising the Orient.Said presents his interpretation of the Odalisque, the mysterious female of the Arab world hidden behind veils, that so inspired European painters of the nineteenth century. This painting is part of a body of work steeped in an earlier, foreign style, but unlike its predecessors draws not on fantasy but on fact. These nudes are a type of romantic realism entirely unique to Mahmoud Said, a bold and remarkable celebration of the female form for his time and place.Said reveres his sitter by focusing on her form, her pose, her skin and face. He paints her as she is, an Egyptian woman with characteristic full lips, high cheekbones and dusky skin. Unlike his European predecessors who would place milk-white European models in an Oriental context by draping them in exotic silks and surrounding them with Islamic carpets in a thrilling, almost scandalous, interpretation of the everyday, here the artist chooses to highlight the Odalisque's command of her own sensuality without sacrificing the romance of her character.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

Adam Henein (Egypt, 1929-2020)Owl bronzeengraved 'A.E' and numbered 'I/IV', number 1 from an edition of 4, executed circa 1960s44 x 39cm (17 5/16 x 15 3/8in).Footnotes:Provenance:Property from the distinguished collection of Mr AbdulMagid BreishIllustrated:Skira, In Vested Interests: from Passion to Patronage, The AbdulMagid Breish Collection of Arab Art, page 69'I was steeped in Egyptian Pharaonic art, right from childhood. I lived with that art, I lived in that art, or rather it dwelled in me as soon as I began to sense and perceive the elements and beings of the world around me. Pharaonic sculpture appears as a block, which, although apparently stable and motionless, is animated by an inner movement, making the dense and intimidating mass into a block that is once compact and mobile. It is on the basis of this principle that the Pharaohs were able to combine heaviness with grace; their sculpted blocks seemed, in spite of their weight and their mass, to float on water.' - Adam HeneinBonhams are delighted to present this magnificent sculptures= by one of the most prominent Arab sculptors of our time. Abstract forms, pure volumes and dynamic movement characterise his mature works. 'Owl' is elegantly striking by its expressive and asymmetrical rendition and the simplicity of its planes. This artwork embodies a sense of simple monumentality and timelessness that is characterised by an allusive simplification of form that is both modern and archaic. The sculpture is elegant, coherent and a characteristic style of its own that is undeniably inspired by both ancient Egyptian Pharaonic art and European Modernism while reflecting the sophistication of the artist.During the 1960s, Adam Henein produced a number of sculptures of animals. Most likely inspired by funerary, ritualistic and relief sculpture from the ancient Egyptian period, when animals were revered. Henein chose to depict cats, dogs, horses and other creatures, including this solid and distinguished imagining of an owl. Much like in ancient Egypt, Henein expresses physical characteristics with minimal lines, showing essential features with simple hints of wings, eyes and a beak. Despite the portly and sturdy, rounded sculpture adding a sense of weight to the owl, the smooth surfaces and clean lines create an air of elegance, the simplicity and refinement of which shows Henein's mastery of his chosen materials.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

Gazbia Sirry (Egypt, born 1925)Humanity oil on canvas, framedsigned 'Gazbia' in Arabic and English and dated '96' (lower left), executed in 199652 x 44.5cm (20 1/2 x 17 1/2in).Footnotes:Provenance:Property from a private collection, AlexandriaAcquired directly from the Artist by the above in the 1990s'Notwithstanding the historical significance of her art—and the international recognition that has come with a record of seventy-five-plus one-woman shows across continents— Sirry is surprisingly under-studied, and her art is described predominantly in technical terms centered on 'color.' The quintessence of life and political statements, however, seems to have been ignored, if not entirely missed. Educated in Egypt and Europe, Sirry built one of the most influential careers in twentieth-century modern Arab art.Divided into three overlapping phases, her paintings blur art and politics as they narrate the story of societies vacillating between triumph and defeat, dignity and humiliation, social justice and inequality. Sirry arguably birthed a new identity that makes no distinction between seeing and militancy. As she fluidly moved between styles, this 'childless' grande dame became the national godmother to an entire nation'- Fatenn Mostafa KanafaniThis 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

Marwan Kassab-Bachi (Syria, 1934-2016)Syriana oil on canvas, framedsigned 'Marwan Kassab-Bachi' and dated '57' on the verso, executed in 195739 x 51cm (15 3/8 x 20 1/16in).Footnotes:Provenance:Property from a private collection, LondonWe are proud to be showcasing this incredible 1950's work by the critically acclaimed contemporary Syrian artist simply known as Marwan. Seen by his peers as a master in the portrayal of portraiture, 'Syriana' shows the early years of the artist's development of expressive landscapes. This work is a key building block to his later works. 'Syriana' was produced early in Marwan's career when he was only 23 years of age, whilst studying at the Hochschule für Bildende Künste in Berlin. From this, Marwan was increasingly influenced by German expressionism. Artists such as Max Pechstein come to mind when viewing 'Syriana'. With German culture and arts surrounding Marwan, we see how themes and expressionist ideas inserted themselves into 'Syriana'.Max Pechstein (German, 1881 – 1955), 'Sunset over the Blue Bridge' (1922)We see these compositional ideas of a flowing path moving from foreground to background, as it sweeps around an ominous structure sitting in the middle of the work. 'Syriana' starts hinting at the use of the golden ratio, which can be used as a key component within the composition of landscapes. It describes predictable patterns on everything from an atom to a sweeping landscape. We see how it was used in the construction of 'Syriana'. The abstracted blocks of moss and phthalo greens balanced with a rich ultramarine blue set this path for the viewer to follow. Each segment of colour expresses Marwan's love and interpretation of the land. Max Pechstein (German, 1881 – 1955), 'Sunset over the Blue Bridge' (1922) Marwan Kassab-Bachi (Syria, 1934-2016), Syriana, (1957)Marwan's work can be found in public collections worldwide, including the Centre Georges Pompidou, Paris; Städel Museum, Frankfurt am Main; Guggenheim Abu Dhabi; Darat al Funun, Amman; Staatliche Museen Preußischer Kulturbesitz, Berlin; National Museum Damascus; Tate Modern, London; British Museum, London; The Institut du Monde Arabe, Paris; Carnegie Museum of Art, Pittsburgh; Khalil Sakakini Cultural Center, Ramallah; Museum of Con¬temporary Art in Chicago and Bar¬jeel Art Foundation Collection.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

Massoud Arabshahi (Iran, 1935-2019)Sacred Geometry mixed media on canvassigned 'Massoud Arabshahi' (lower left and verso), executed in 1986127 x 116cm (50 x 45 11/16in).Footnotes:Provenance:property from a private collection, Los Angeles'Ten Powers, and nine spheres, eight heavens made He,And planets seven, of six sides, as we see,Five senses, and four elements, three souls,Two worlds, but only one, O man, like thee.'-Omar KhayyamMassoud Arabshahi was one of the key protagonists of the Iranian neo-traditionalist movement, and notably one of the only artists of his ilk to pursue their agenda through pure painting and not calligraphy. Fascinated by the textual, architectural and mathematical elements of traditional Persian imagery, Arabshahi's work is punctuated by motifs which carry strong metaphorical significance. All this is done with an unequivocally modern and wholly abstract aesthetic.The severe, charcoal hue that Arabshahi employs in the present work recalls ancient Persian rock reliefs of the kind found at Persepolis, Behistun and Pasargade combined with interlaced metallic mesh forms often seen on tomb enclosures in Shi'ite shrines. The mixture of geometrical and angular shapes all contains esoteric significance for Arabshahi. An artist enraptured by the recurrence of symbols, his works are riddled with semiotic iconography: arc shapes denote the perfection of celestial geometry and abstract glyphs recall ancient Persian cuneiform, their indiscernibly a testament to the extinction of the culture that once gave them meaning.For millennia human art has demonstrated the ability to reflect, narrate, and signify meaning through signs and symbols. Arabshahi's compositions ultimately remind us that regardless of the age we live in, or our varying modes of expression and communication, we all have the innate propensity to invest in symbols and images, elements of our collective consciousness uncapturable in words.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

Saliba Douaihy (Lebanon, 1915-1994)Abstract Composition oil on canvas, framedsigned 'Saliba Douaihy', further signed and dated '1981' on the verso, numbered I, the verso bearing the Brigitte Shehadeh gallery stamp, executed in 198170 x 50cm (27 9/16 x 19 11/16in).Footnotes:Provenance:Property from a private collection, LebanonFormerly with Galerie Brigitte Shehadeh, ParisExhibited:Galerie Brigitte Shehadeh, Saliba Douaihy, Paris, 1981Bonhams are proud to be offering a superlative work from one of the leading Lebanese 20th Century artists Saliba Douaihy. Born in northern Lebanon within the small town of Ehden, Douaihy was seen as having a talent for the arts from an early age, which led to him being heavily encouraged to develop his craft. Douaihy's work transformed throughout his life, from early works following classical landscape paintings seen in Lebanese church pieces, to later works such as 'Abstract Composition' following ideas and themes from American Abstract expressionism and Formalism. His body of work involves radical changes and refined artistic instinct. 'Abstract Composition' from the series 'Hard Edge' is a rich minimalist work. Only four colours are found in the composition, Red, Blue, Yellow, and Green. Each colour is applied to the canvas in precise lines as geometric shapes. A leaf green segment sits above all other colours, engulfing the work. It leads the viewers eye to the outer edges of the work. Two rich segments of red and a single yellow shape act as barriers to either side of the green plane. A precise blue segment darts through the left-hand side cutting the outer red away from the yellow. The application of the paint within the simplistic composition can allude to a lack of perspective in some works. Here it does the opposite. Douaihy uses colour theory and precise geometric shapes to create the feeling of depth and dimension. Douaihy was awarded a grant from the Lebanese government to study abroad. He studied in New York and was introduced to the energetic and modern art scene. This was an integral part to his future themes and his 'Hard edge' series of abstract, minimalist paintings. Rothko and Hans Hoffman were important acquaintances as they were masters of colour theory, knowing how to extract depth from colour with very simplistic compositions. Douaihy became attuned to the ideas of formalism from his readings on Immanuel Kant. This inspired many parts of this work. These influences led to this dedication of hard-edged shapes depicted as flat surfaces. Douaihy's stance encapsulates the ideas and values that influenced all later pieces by him. The painting demonstrates his mastery of the minimalist aesthetic as well as the two fundamental aspects in formalist painting: colour and shape.'Abstract Composition' is truly a compositional masterpiece. Douaihy emphasises the compositional elements along with the purest idea of colour theory that creates the spectacular depth within this work. The work epitomises why he is a true pioneer of Arab Modernism.Douaihy participated in many exhibitions including the Salon Des Artistes Francais, Paris (1934); the New York fair; the Guggenheim Museum; the Salons des Realites Nouvelle, Paris; the Pennsylvania Academy of Fine Arts and University Art Gallery, New York. Douaihy won many prizes and awards. They included the Lebanses National Ord of the cedar (1956), the Philadelphia Academy of Fine Arts Award (1968) and the Medaglia d'Oro of the Accademia d'Itlia dello Arte e del Lavoro (1980).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

Charles Hossein Zenderoudi (Iran, born 1937)WHO'S WATCHING oil on canvassigned 'Hossein Zenderoudi' and dated '74', executed in 197485 x 132cm (33 7/16 x 51 15/16in).Footnotes:Provenance:Property from a private collection, New York'To create a painting, I begin with the preliminary study, which consists of sketches on paper, followed immediately by the painting of letters and colouring on canvas... I am thus able to immediately express my spontaneous feelings on canvas. Sometimes I leave a canvas to work on another, this is like improvisation in music, for I treasure freedom more than anything else. I couldn't be what I am if I didn't have freedom to express my lyricism. I don't believe in teaching painting, since I do not believe that technical training is required to make one a great painter. Painting can be done with any tool or any piece of equipment, I believe all schools of fine art, all over the world, should be shut down'- Charles Hossein Zenderoudi, Midi Libre, No 9401, 9 April 1971Provenance:Property from a private French collectionCharles Hossein Zenderoudi is one of Iran's most accomplished modern artists, as a founding father Iranian neo-traditionalism Zenderoudi is a master of blending traditional Persian motif's within a distinctly avant-garde aesthetic.His choice of subject matter, calligraphy, has historically been the most established mode of formal artistic expression prevalent in Iran, but, by emphasising form over meaning, and by stripping the written word down to its aesthetic, structural, fundaments, Zenderoudi subverts the traditional values of Persian calligraphy. Zenderoudi's text is intentionally illegible and carries no literal meaning, freeing it from the constraint of linguistic limitation, and imbuing it with a sense of universality which rescues the archaic practice of calligraphy from obscurity, giving it renewed relevance in a contemporary context.Zenderoudi's compositions pay homage to centuries of Persian religious imagery and employ a systematic repetition of letter-forms that finds its genesis in the mystical practice of Sufi numerologists, who believed in the spiritual significance of singular letters and worked these principles into hugely intricate talismanic charts. Zenderoudi's methodical compositions, whilst not accurately following the grammar or axioms of numerology, capture the aesthetic and conceptual qualities of its cryptic nature.Zenderoudi's early works focused on dense talismanic imagery, mixing iconography, freehand script and numerals. The density of these compositions sought to capture the visual intensity of popular religious expression in Iran, where banners, standards, altars, murals and mosques exuberantly adorn the urban landscape.Works from the present series, composed in the 1970's, mark a shift towards a more avant-garde, patterned, technical and measured approach to calligraphy. The crowded iconography of the early works is replaced by a greater focus on singular and recurring letter-forms, which exhibit a formal refinement lacking in their earlier counterparts. The present work also marks a conceptual shift away from the more overtly traditional subject matters and more towards a pure, patterned aesthetic which emphasises the meditative and visual elements of letter depiction over their linguistic connotation.Measured but spontaneous, technical yet effuse, Zenderoudi' manipulates Persian calligraphy with effortless ease, boasting a visual scope which faithfully captures the salient elements of Iran's traditional popular religious aesthetic. Rendered with the use of rich and vibrant colours, his canvases replicate the tonal and textural qualities of the votive art so common to the Iranian urban landscape.Almost rhythmic in its grace, balance and composition, the present work is one of the finest examples of Zenderoudi's work from this period.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

Dia Azzawi (Iraq, born 1939)Summer Nights oil on canvas, framedsigned 'Dia Azzawi' and dated '1968' in Arabic (lower right), further inscribed 'Summer Night, Dia Azzawi, 1968, Iraq' on the verso, executed in 1968100 x 80.7cm (39 3/8 x 31 3/4in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the Artist by the aboveExhibited:Exhibition of Paintings by Dhia Al Azzawi, The National Gallery of Modern Art, Baghdad, 1968Gallery One, Dia Azzawi, Beirut, 1968Published:Exhibition Catalogue, Exhibition of Paintings by Dhia Al Azzawi, The National Gallery of Modern Art, Baghdad, 1968Exhibition Catalogue, Gallery One, Dia Azzawi, Beirut, 1969'Stylistically, Azzawi's work of the 1960s remained more figurative with stronger ties to mythology and history, which was the thread that maintained his connection to the Baghdad Group of Modern Art as their anticipated inheritor who could further their goals. Equally, Azzawi's use of colour reflected the inspiration of his teacher Faeq Hassan. He was thus able to negotiate two distinct strands of development in modern Iraqi art: the philosophical abstractions of Iraqi Signs and symbols by the Baghdad Group of Modern Art and Faeq Hassan's mastery of technique.'- Saleem Al-BahlolyCompositionally, 'Summer Nights' is perhaps archetypal of the artistic milieu that Dia Azzawi was operating in during the mid to late 1960's, the work flawlessly expresses the aesthetic and conceptual agenda of the 'Baghdad Group of Modern Art' which was founded by Jewad Selim and Shakir Hassan Al-Said. The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of 20th century Iraq.Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Azzawi weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on recognisable ancient and local symbols, Azzawi's composition is stylised and simplified, almost creating an artistic caricature of Iraqi culture. Formative paintings within Azzawi's body of work, these would set the tone for his later contributions to the progress of Iraqi Modernism. Painted while the artist was still in his 20's, the works are stylistically sophisticated examples of a burgeoning modernist movement in Iraq.In the present works the artist abstracts cultural iconography mixing Islamic and pre-Islamic motifs found in ancient rock reliefs, Islamic manuscripts, metalwork and creates a rich tapestry of varied meaning as a result. In 'Summer Nights', heavily stylized figures with rounded faces and bulbous eyes reminiscent of ancient Mesopotamian totems recline in bed sympathetically in a scene reminiscent of the enchanting tales of the 1001 Nights. Azzawi's abiding love and respect for the tonal characteristics of the natural world and for ancient Iraqi imagery shines through in this important early work, which echoes the formal approach and inimitable style of the 'New Vision' school of painting he would come to found in 1969. Azzawi typically incorporates structures and visual symbolism harking back millennia in his paintings, which is evident here in the pseudo-figurative form depicted in the composition, which recalls ancient Mesopotamian bass-reliefs and their mythological imagery.Azzawi started his artistic career in 1964, after graduating from the Institute of Fine Arts in Baghdad and completing a degree in archaeology from Baghdad University in 1962. His studies of ancient civilizations and Iraqi heritage had a profound impact on his art, and a key objective in the early formation of his artistic style was to link the visual culture of the past to the present.In 1969, Azzawi formed the New Vision Group (al-Ru'yya al-Jadidah), uniting fellow artists ideologically and culturally as opposed to stylistically. The group's manifesto, Towards a New Vision, highlighted an association between art and revolution, and sought to transcend the notion of a 'local style'—coined by the Baghdad Modern Art Group—by broadening the parameters of local culture to include the entire Arab world.With exhibitions of his work held worldwide, including a landmark retrospective in 2017 at Qatar's MATHAF, his art features in the collections of some of the world's most prestigious museums and institutions. He is also regarded, in the tumultuous post-conflict climate of 2000s Iraq, considered to be the ultimate authority on modernist and contemporary art from the region.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

JOEL PETER WITKIN (Brooklyn, 1939)."Side Show, Budapest, 1993.Gelatin silver photography.Edition 1/12.Signed on the back.Size: 99 x 106 cm, 108 x 111 cm (frame).Peter Witkin is one of the most prominent and controversial photographers of our time, famous for his provocative works revolving around death, religion, myth and allegory.During the 1950s he obtained his first camera, using it without any prior training in photography. Already at that time, his first pictures showed quite unusual scenes, which began to reflect his concerns and experiences related to his past experiences. The repetition of scenes in which corpses, transsexuals, dwarfs, hermaphrodites or deformed people are present is related to an accident he witnessed as a child. His photographs, since then, are generally based on metaphors about life and death, some of them inspired by ancient works of art and religious passages, where he acknowledges Giotto as an influence, as well as artistic nods to the works of Goya or El Bosco, making use of the iconography of art history as a backdrop for his subjects. His main objective is to bring out that hidden side of society in general, that somewhat disturbing side that few dare to explore for themselves at some point in their lives, many do not even get to know it.Today, his works can be found in the collections of the Museum of Modern Art in New York, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, DC, the Victoria and Albert Museum in London and the Centre Georges Pompidou in Paris. The artist currently lives and works in Albuquerque, NM.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Quatre colours aparien le mon", 1970.Lithograph on paper, H.C. copy.Signed and justified in pencil.Work published in "Miró engravings vol. 3 (1973-1975)". Jacques Dupin, Ed. Polígrafa S.A., Barcelona 1992. Fig. 826.Size: 90 x 62.5 cm; 108.5 x 81 cm (frame).Miró began to produce graphic work in 1928 and 1929. It was after the Civil War that lithography took pride of place in his production, and he devoted himself to it with the same intensity as if it were a painting or a drawing. The simplification of forms, the strength of colour, the appreciation of the background of the paper and his particular signs and symbols are interwoven in a plastic and poetic whole that takes us back to his particular universe. Black and night blue confront red and yellow, playing with the star, the dot, the moon and the hair, some of his characteristic signs. The beauty of the work lies in its graphic and colourful rhythm, in its visual impact, which is alien to the attempt to understand what the images represent.Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. As early as 1918 he held his first exhibition at the Galeries Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Museo Reina Sofía in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

SALVATORE GARAU (Italy, 1953)."Centrale idroelectrica",Acrylic on canvas.Signed, dated, titled and located on the back.Size: 139 x 139 cm.In this work the author uses an abstract language, based on irregular geometry, with an organic character both in its outline and in the colours. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thought-out composition and experimentation, with an image of a gestural nature, not limited to a composition, but going beyond it, indicating to the spectator that it is about forms, ideas or suggestions that go beyond the boundaries of the purely pictorial.An Italian artist born in Santa Giusta (Sardinia), Salvatore Garau trained at the Academy of Fine Arts in Florence, graduating in 1974. After an initial period devoted to music, he focused his career on visual art. He held his first solo exhibition in 1984, and since then has shown his work in various European cities. In 2003 he participated in the Venice Biennale and held an exhibition at the European Parliament (Strasbourg). Six years later he held a major solo exhibition at the Musée d'Art Moderne et Contemporain in Saint-Étienne (France). He is currently represented in the Museo del Novecento and the Pablleon of Contemporary Art in Milan, the Museum of Modern Art in Bologna, the Museum of Modern and Contemporary Art in Saint-Étienne, the MACAM in Maglione, the Museum of the Italian Embassy in Seoul, the Sala Parpalló in Valencia and other important collections.

RENE PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985).Untitled, 1969.Oil on cardboard.Signed and dated in the lower right corner.Size: 76 x 56 cm; 103 x 82 cm (frame).René Portocarrero is known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his works in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, together with other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He took part in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the International Sambra Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Self-portrait", 1948Watercolour on paper.Unsigned.Frame with faults.Size: 21,5 x 15,5 cm; 36,5 x 30,5 cm (frame).Painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946, at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Suite deliri", 1948.Pastel and ink on paper.Signed and dated on the back.Work referenced in the artist's online catalogue (Associació Joan Ponç) with number 3612.Size: 35 x 49,5 cm; 47 x 62,5 cm (frame).In the metaphysical landscape unfolded in "Suite deliri", Joan Ponç's automatic drawing offers us a nocturnal and magical journey into the interior of his mind. A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Suite deliri", 1948.Pastel and ink on paper.Signed and dated on the back.Work referenced in the artist's online catalogue (Associació Joan Ponç) with number 0383.Size: 35 x 50 cm; 47,5 x 62,5 cm (frame).Joan Ponç's "Suite deliri" brings together several metaphysical landscapes inhabited by naked women and hybrid creatures. We see the inside of the bodies, their supple skeletons or their muscular structure, as if we were provided with a delirious x-ray vision. Here, Ponç's automatic drawing offers us a nocturnal and magical journey into the interior of his mind. A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."La Nuit Tentaculaire, 1969.Lithograph on paper, copy 38/75.Signed and justified in pencil.Work published in the catalogue "Mourlot / Maeght #639". Figure 639.Size: 65 x 63 cm; 99 x 97 cm (frame).Joan Miró trained in Barcelona, between the Escuela de la Lonja and the Galí Academy. In early 1918 he held his first exhibition at the Galerías Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

GERARDO RUEDA SALABERRY (Madrid, 1926 - 1996)."Untitled", 1959.Oil on canvas.Signed and dated in the lower left corner.It has slight faults.Measurements: 59 x 80 cm; 63 x 83 cm (frame).This painting belongs to a defining period in Gerardo Rueda's logbook, a few years in which he enters fully into abstraction but giving himself a logical continuity with respect to his previous stage in which he made incursions into the urban landscape: here, the architectures have been transformed into superimposed sheets, into dislocated perspectives, into material suggestions. Thus began his poetic abstraction linked to an abstract expressionism that was more lyrical than gestural.Considered one of the key artists of the second half of the 20th century, Rueda was a pioneer in the introduction of Informalism in Spain, and the creator of the Museum of Abstract Art in Cuenca together with Zóbel. He exhibited for the first time in Madrid in 1949, and since then his work has been increasingly present in the artistic circles of the capital. In 1957 he made the definitive international leap and held his first solo exhibition in Paris, at the Galerie La Roue. The exhibition was a great success, and shortly afterwards the then director of the Musée d'Art Moderne de la Ville de Paris, Jean Cassou, acquired his painting "Composition Gris ou Balbina". On the other hand, his solo exhibition in 1958 at the Madrid Athenaeum brought him a great deal of attention in Spain. He took part in the Spanish Pavilion at the 30th Venice Biennale with three paintings. During these years Rueda and Zóbel began to build up their magnificent collection of works by Spanish abstract artists of the post-war period, for the exhibition of which they formed the Museum of Spanish Abstract Art in Cuenca in 1966. Meanwhile, Rueda continued to show his personal work in important galleries, and in 1965 he began to collaborate with the Juana Mordó in Madrid, which would eventually become his gallery. The following year he also won the Serra Brothers Prize at the Salón de Mayo in Barcelona. In 1967 he acted as art purchasing advisor to the Fundación Santander Central Hispano, whose collection he helped to build up; two years later he took part in the XII Festival dei Due Mondi, at the Palazzo Collicola in Spoleto. His fame continued to grow, as did his recognition, and in 1973 he created a granite mural relief, now in the Museo de Escultura al Aire Libre del Paseo de la Castellana in Madrid. In 1980 he was one of the founding members and patron of the Fundación de los Amigos del Museo del Prado, with which he organised an important Goya exhibition three years later. In the eighties he continued to carry out important projects such as the mural painting of the Spanish Embassy in Riyadh and the remodelling of the Santa Cruz Museum in Toledo. During these years he also made numerous trips to various European capitals and also to Latin American and North American capitals, where he visited the modern art collections of their most important museums. In 1988 he was commissioned to make the stained glass windows in the central nave of Cuenca Cathedral, a task to which he devoted himself from 1989 to 1992. The eighties ended with an anthological exhibition of his work, organised by Caja Madrid. He subsequently exhibited twice at the Museo Nacional Centro de Arte Reina Sofía, and the IVAM devoted nine exhibitions and catalogues to his work between 1996 and 2008. In 1995 he was appointed member of the Real Academia de Bellas Artes de San Fernando. Gerardo Rueda is currently represented at the Museo Nacional Centro de Arte Reina Sofía, the British Museum in London, the Fine Arts Museum in San Francisco, the Museum of Modern Art in Paris, the Rufino Tamayo Contemporary Art Museum in Mexico, Caracas and Barcelona, etc.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Parc de Montjuïc", 1976.Lithograph on Guarro paper, copy 73/99.Signed and justified in pencil.Piece made for the inauguration of the Parc de Montjuïc, 1976.Catalogued by the Fundació Joan Miró, Barcelona.Size: 70 x 50 cm; 101 x 81 cm (frame).Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. Already in the early years of 1918 he held his first exhibition, in the Galerías Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.

Maqbool Fida Husain (Indian, 1913-2011)Untitled (Horse) signed lower rightacrylic on canvas60 x 75.6cm (23 5/8 x 29 3/4in).Footnotes:ProvenanceAcquired directly from the artist in December 2007 in London.CompareFor a similar work sold in these rooms see Islamic & Indian Art Part II, Modern & Contemporary South Asian, Middle Eastern & Turkish Art, London, 23rd April 2013, lot 414.Arabic سيرو في الأرض كيف كان عاقبة المكذبين RomanSiro fil arzKaifa kaana aakebatul-mukazabeenEnglishExplore the worldHow was the end of liarsThe sound of galloping horses seemed like a tremor to me.Its echoes do not seems to stop.All these horses running together raise a cloud of dust.Duldul - the horse from the battle of Karbala,Ashwamedh - reaching up to Luv and Kush.Luminous in their seven rainbow colours.Horses harnessed to the chariot of the Sun God,Bursting through the sky.Passionate horses, screaming with desire.The Chinese terracotta horses,Folk horses from the village of Bankura,Horses, with the beauty of a woman and the valour of a man.M.F. Husain (R. Siddiqui, In Conversation with Husain Paintings, Books Today Group, 2001, p. 114)Husain's rapture with the horse motif was formed after the recurrence of this symbol at numerous points in his life. An early influence was the procession to mourn and commemorate the Prophet's grandson, Husayn ibn Ali, during the Islamic month of Muharram, when a tazia or effigy of Husayn ibn Ali's horse was carried through the streets.In 1952 Husain visited China and was struck by both ancient Chinese pottery and paintings, in particular that of the Sung dynasty renderings of horses and by the works Xu Beihong. The dramatic monochromatic lines had the deftness of certainty yet also the fluidity of motion.This undated acrylic on canvas created in the latter part of Husain's career encapsulates his various influences and is bolstered by the inclusion of the 137th verse of chapter 3, the Family of Imran from the Qu'ran, which says that similar situations [as yours] have passed before you, so travel through the earth and see what was the end of those who disbelieved [in the Oneness of Allah, and disobeyed Him and His Messengers]. The vibrant yellow of the horse pitted against the red background echoes this verse, and is both theatrical and striking, making it a quintessential Husain painting.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

Surendra Pradhan (Nepalese, 1965-2017)Untitled (Reclining Woman) signed lower rightwatercolour on paper50.2 x 68.4cm (19 3/4 x 26 15/16in).Footnotes:ProvenanceAcquired from Bushey auctions in 2019.Surendra Pradhan was a founder member of the Nepal Water colour society. From the age of 11, he was under the tutelage of Rama Nanda Joshi, the founder of Park Gallery, which was not only the first school that taught Modern Art in Nepal but also acted as a Modern Art Gallery. Pradhan held his first solo exhibition in 1981, aged 16, shortly after which he moved to India and followed in the footsteps of his teacher and enrolled for his Bachelor of Fine Arts at the Sir J.J School of Art. He was heavily inspired by Cubism, as is evident in the present lot and managed to combine Cubism with traditional Nepali culture and identity. Known for his usage of bright colours and earthly tones, his works feature broad sweeping curves meeting sharp points, as can be seen in the reclining woman in this lot. His retrospective, entitled Surendra Pradhan: Retrospective was held in 2014 at Park Gallery, which included 40 works created over three decades and included watercolours and woodcuts.For further information on this lot please visit Bonhams.com

Maqbool Fida Husain (Indian, 1913-2011)Untitled (Cow and White Lady) signed and dated Husain 1956 lower rightoil on canvas40 x 55cm (15 3/4 x 21 5/8in).Footnotes:ProvenancePrivate Collection, France;Acquired from the artist by the vendor in 1956/1957 in Pondicherry.CompareFor a watercolour depicting a similar composition dating from 1957, see Sotheby's, Modern & Contemporary South Asian Art, London, 25th October 2017, lot 13.Note: The work is in its original frame.Husain's paintings in the 1950s were an amalgamation of various influences that included Gupta sculptures, Basholi miniatures, Chinese calligraphy, Western Art, and the Partition of India in 1947. Whilst it is difficult to attribute which source played a more pertinent role in each of his works, it would not be erroneous to say that the aftermath of Partition is evident in the present lot. Husain chose to remain in India after 1947, despite being a practising Muslim. He travelled extensively around the country and in order to reconcile his decision and articulate it artistically he chose to identify with the rural and tribal people of India, who despite their differing religions, were unified in their poverty. Husain's works from this period therefore are dominated by the rural cultural landscape of India, and the present lot is an archetypal example of this. For another work of a similar style dating from the same period, see K. Bikram Singh, Maqbool Fida Husain, New Delhi, 2008, p.75, figure 57.'There is an exalted dignity about the people who inhabit Husain's canvasses. Peasants, workers, craftsmen, women toiling in fields of huddled together in conversation all have self-contained poise, the stoic patience and grace associated with the common people. He captures their postures and lineaments their distinctive ethos and culture...not by physiognomy or costume alone are they differentiated, but in their total bearing and presence.' (Alkazi, M.F. Husain: The Modern Artist and Tradition, New Delhi, 1978, p. 22)Critic Yashodhara Dalmia goes further and has drawn parallels between Husain and Amrita Sher-Gil's rural themed works, delineating that 'Husain drew from the classical, the miniature and folk and attempted to meld it into a language which formulated the present. It allowed him to express a perceived reality which while being seamless, mythical and vast was at the same time hurtling towards industrialisation and modernisation. Husain took Amrita's legacy further toward a more authentic stage. His villagers are not particularly beautiful; but surrounded by their tools, their animals... they appear more truly alive, secure and rooted in their environment.' (Dalmia, The Making of Modern Indian Art: The Progressives, Delhi, 2001, p. 107This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jamil Naqsh (Pakistani, 1938-2019)Figure with Pigeon II signed and dated '06 lower left and signed versooil on canvas122 x 91cm (48 1/16 x 35 13/16in).Footnotes:ProvenanceAcquired by the vendor from Albermarle Gallery, London in 2009.PublishedAlbermarle Gallery, Jamil Naqsh: A retrospective, plate 51, 2011.Nigaah Magazine: Arts and Culture from South Asia, Volume.1, Seventy Three, 2018.CompareFor similar works sold in these rooms, see Modern and Contemporary Arab, Iranian, Indian and Pakistani Art, Dubai, 3rd March 2008, lot 115 and Modern and Contemporary South Asian Art, London, 27th May 2016, lot 59.Jamil Naqsh is perhaps best known for his two leitmotif's, images of pigeons, or of pigeons and women combined, as evidenced in the present lot. These motifs are important in Naqsh's oeuvre and possess numerous meanings. One such meaning is that the birds represent domestic harmony drawn from memories of his childhood in Kairana, where birds used to frequent his family home. They would fly in and out through open windows, strut around the courtyard and peck at the grains left for them, whilst the depiction of women could be seen to be reminiscent of his mother, who passed away whilst he was still a child. These works could also be interpreted as being deeply romantic, with the pigeons being seen as messengers of love. Naqsh was influenced by various artists and artistic movements. Some of these included Mughal miniature painting, the erotic reliefs on the temples of Khajuraho, Puri and Bhuvaneshwar created between 950 and 1150 c.e., European and American Modernism and the European Old Masters. Naqsh's success lay in his ability to merge the techniques of these various schools, and to come up with his own idiom. In the present work, from the latter part of his career, we can see the fusion of Cubist elements and the geometrical division of the pictorial space, and yet the work is distinctly modern in its abstraction and lack of ornamentation. Far from Naqsh's depiction of the same subject being seen as repetitive, it is testament to his abilities that he managed to stay engaged and explore the same subject continually, in minute detail and in an infinite variety of tones and textures. To see more examples of these works from across his artistic career, see Mohatta Palace Museum, Karachi, Jamil Naqsh: A retrospective, 2003, pp. 60-107.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

Jagdish Swaminathan (Indian, 1928-1994)Untitled (Mountain & Bird Series) signed and dated (indistinct) in Devanagari versooil on canvas85 x 120cm (33 15/32 x 47 1/4in).Footnotes:ProvenancePrivate Collection, Mumbai; Acquired by the vendor from Baburao Bhalinge in 2006, who acquired the work from the artist in 1990.CompareFor a similar work sold at Sotheby's see, South Asian Modern & Contemporary Art, New York, 16th September 2009, lot 528.'Commonly referred to as the Bird and Mountain series, the paintings are luminous and induce a meditative calm. They are suggestive, open to interpretation: as an expression of the self's unity with nature, they can be seen as a visual equivalent to the transcendental principle expounded in the Upanishads.' (A. Jhaveri, A Guide to 101 Modern and Contemporary Indian Artists, Mumbai, 2005, p.93)Swaminathan founded 'Group 1890' in 1962, alongside 12 other male members, some of whom included Gulam Mohammed Sheikh, Himmat Shah, Ambadas Khobragade and Eric Bowen. Many of these members had graduated from the University of Baroda, and they held their only exhibition, 'Group 1890' at the Lalit Kala Akademi, where they publicised their manifesto. Their manifesto was a call to artists to see phenomena in their 'virginal state,' and Swaminathan's canvases from his 'Bird and Mountain' series can be seen to emulate this. The canvasses feature mountains and levitating stones with the archetypal bird form. Painted with a delicacy and simplicity that is confounding, this work seeks to exemplify the ascent of man's inner being leaving the gross and the sullied. (J. Swaminathan, 20th Century Museum of Contemporary Indian Art, presented online by Vadhera Art Gallery).The series is heavily inspired from the folk and tribal art of India which feature lucid compositions, forms and bold use of colours, and the series therefore is a rejection of the romanticism of the Bengal tradition and the mannerism of modern European Art. The abstracted forms hint at a ritual significance and are reminiscent of Neolithic cave paintings found throughout Europe, Africa and Asia. The common theme pervading the series is the artist's spirituality and respect for nature as the guide to the unrealized and hidden. The series is perhaps best described in Swaminathan's owns words, 'In the late 1960s I tried to probe the relation of colour to space and after a study of Pahari miniatures did a series called Geometry of Space. After the colour Geometry show I entered the now famous phase of the bird, the mountain, the tree, the reflection, the shadow, and it lasted for quite a while...However, the obsession was wonderful while it lasted and what tribute would a painter want then a letter from a collector saying that my work brought peace and tranquillity into her house.' (Lalit Kala Contemporary, Issue 40, March 1995, New Delhi, p.11)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

Krishna Hawlaji Ara (Indian, 1914-1985)Youth signed 'Ara' lower rightoil on canvas59 x 44cm (23 1/4 x 17 5/16in).Footnotes:ProvenanceRudi von Leyden and thence by descent;Sotheby's, Modern & Contemporary South Asian Art - Including Indian Miniature Paintings, London, 8th June 2012, lot 32; Acquired by the vendor from the above. ExhibitedInternational Contemporary Art Exhibition, New DelhiThere is a label on the back, titled International Contemporary Art Exhibition, New Delhi(India) with the title of the picture: Youth, competition No: 1, medium: oil colour, Price: Rs. 450/Four Hundred and..., Name and address of the artist: K.H. Ara... The price and address is not decipherable. Ara was a self-taught artist who was born in Bolarum, Secunderabad into poverty as the son of a chauffeur, and ran away from home aged 7 to Mumbai following his mother's demise and his father's remarriage. He supported himself in Mumbai by cleaning cars and then working as a houseboy. He was imprisoned for five months following his participation in the Salt Satyagraha during the Civil Disobedience Movement. Despite his economic plight and the challenges he faced, he was devoted to the pursuit of art, and carried on with his practice. It was after the success of his first solo show, organised by Kekoo Gandhy at the Chetana Restaurant in Bombay in 1942, that Ara founded the Progressive Artist's Group, where he had opportunity to interact with several critics of the time. The present lot traces it origins to one of those critics, Rudi von Leyden from the Times of India. Von Leyden was a staunch supporter of Ara, and provided him with a stipend in order to hone his craft. Although Ara started painting landscapes and still life paintings, he later moved to painting female nudes and portraits, as evidenced in the present lot. His medium of choice to paint also changed, from gouaches and watercolours to oil paints. He now favoured precision in his paintings over the jagged and brash strokes used to execute his earlier works. His art appears to be spontaneous and intuitive, and although there is no apparent nudity in the present lot, the lower half of this painting was obscured and unvarnished when it was exhibited at the International Contemporary Art exhibition in New Delhi, owing to the artistic practise at the time of depicting brazen nudity.He exhibited widely during the early part of his career, and one notable exhibition includes the inaugural show of the Pundole Art Gallery in 1963. He was the recipient of the annual prizes of the Bombay Art Society, and was the founder and secretary of the Artists' Aid Centre and trutee of the Jehangir Art Gallery in Bombay. He was also a fellow and general council member of the Lalit Kala Akademi, New Delhi.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

George Keyt (Sri Lankan, 1901-1993)Maya and Radha signed and dated 'G Keyt 48' upper leftoil on canvas68 x 66.7cm (26 3/4 x 26 1/4in).Footnotes:ProvenanceIndigo Blue Art, Singapore;Acquired by the vendor from the above in 2006.CompareFor a similar work sold at Sotheby's, see Indian Art, New York, 19th March 2008, lot 2.In his enduring legacy as the most distinguished modern artist from Sri Lanka, George Keyt's vivid representations of Maya and Radha can be identified as one of the hallmarks of his artistic practice. Born in 1901, George Keyt started painting when he was 26 and developed a seminal style that grounds bounding lines and rich warmth of colour. A style that found its roots in Cubism, Fauvism and flourished under the influence of ancient South Asian fresco techniques found at Ajanta and Sigiriya.A trademark of Keyt's figuration, the eyes of the two maidens in the painting bear the marks of the artist's signature stylisation, with their enlarged, almond-shaped eyes and exaggerated features with a focus on bold, crisp lines drawn from a distinct Cubist perspective. The blue, fauvist background of the scene conveys the life and exuberance of Sri Lanka and Keyt's love and passion for this land.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

Abdur Rahman Chughtai (Pakistani, 1897-1975)Untitled (Under the Arch) signed lower leftEtching40.3 x 24.8cm (15 7/8 x 9 3/4in).Footnotes:ProvenancePrivate UK Collection.CompareFor an identical etching sold at Christie's see South Asian Modern & Contemporary Art, New York, 18th March 2014, lot 226.For further information on this lot please visit Bonhams.com

B. Prabha (Indian, 1933-2001)Untitled (Fisherwoman) signed and dated 1989 in Devanagiri upper rightoil on canvas76.5 x 61.2cm (30 1/8 x 24 1/8in).Footnotes:ProvenanceChristie's, Twentieth Century Indian Art, London, 5th October 1999, lot 66;Acquired by the vendor from the above.CompareFor similar works sold at Sotheby's see Indian Art, New York, 19th September 2007, lot 55 and Modern & Contemporary Art South Asia: India & Pakistan, New York, 18th September 2008, lot 65.There is a Dhoomi Mal Gallery label on the reverse with the artist's name and the painting's dimensions. Dhoomimal Gallery (DMG) is India's oldest contemporary art gallery, having been established by Sh. Ram Babu Jain in 1936.It was in the 1950s that B.Prabha developed and settled on the theme and style that is unmistakably hers, the elongated portraits of rural Indian women in their milieu. These women have been depicted singularly, as is the case with the present lot, or in groups of two or three and it is through the elongation that they have achieved a stylised grace. Prabha portrayed women from various tribal communities and focussed on important details such as their skin colour, attire, and jewellery. In this lot, the woman can be seen with flowers in her hair, a bindi, kohl rimmed eyes, lipstick and ornaments that include bangles, a mangalsutra, and earrings which subtly inform the viewer that she is a married Hindu woman. Prabha's accomplishment as an artist therefore lies in her ability to set her women against flat and seemingly undistinguished backgrounds whilst chronicling and elevating their ordinary lives at a time when the opportunities afforded to women were few and far in between.For further information on this lot please visit Bonhams.com

Satish Gujral (Indian, 1925-2020)Untitled signed in Devanagari and dated '84 lower leftmixed media sculpture (Burnt wood, sea-shell, leather & beads)104 x 87.5cm (40 15/16 x 34 7/16in).depth:15.5 cmFootnotes:ProvenanceAcquired by the vendor's father between the 1960s-1980s when he worked at the Portuguese Embassy in India.Gujral, also known as the Leonardo Da Vinci of India was born in Jhelum, Punjab in British India and attended the Mayo School of Industrial Art in Lahore from 1939-1944, headed by Rudyard Kipling's father, John Lockwood Kipling. He then obtained his Fine Arts Diploma from the Sir J.J School of Arts in 1947. At Mayo, the curriculum was diverse owing to John Kipling's enthusiasm for various visual mediums, which clearly influenced Gujral as he worked across all mediums; painting, murals, architecture, sculpture and interior design. The present lot, dating from the early 2000s is an amalgamation of the various mediums he worked across. He exhibited widely during his career. Some notable exhibitions include, the 1960 Group show featuring Satish Gujral, M.F. Husain, Mohan Samant, V.S Gaitonde, Ram Kumar and K.S. Kulkarni, his solo shows in Chicago and Mumbai in 1971-72, Satish Gujral: Blacks Woods at Dhoomimal Gallery in 1980 and Satish Gujral: A retrospective 1948-2006, National Gallery of Modern Art (NGMA) in 2006. He was awarded the Order of the Crown from the Belgian Government in 1984, the Da Vinci Award for lifetime achievement in 1989 and the Padma Vibhushan, India's second highest civilian award in 1999.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