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Artist: Roy Lichtenstein (American, 1923-1997). Title: "Paper Plate". Medium: Original color screenprint, in yellow, red, and blue, on white paper plate. Date: Composed 1969. Dimensions: Image size: (Diameter): 10 1/4 in. (260 mm).Lot Note(s): Signed in pencil, lower center, recto. Dated and copyrighted with artist's name "Roy Lichtenstein" printed on verso. Edition of c5,000. Fine impression. Very good condition. Literature/catalogue raisonne: Corlett III.45. Comment(s): According to 'Gordon's Art Reference' the auction record for another impression (signed) of this plate is $2,360 at Ivey-Selkirk, St. Louis, 11/12/2011, lot #393. Corlett notes that "Many of these plates have been autographed by the artist" (Mary Lee Corlett, "The Prints of Roy Lichtenstein: A Catalogue Raisonne, 1948-1993," pg. 286). In the permanent collection of the Museum of Modern Art. The plates were commercially printed and wrapped in clear cellophane for sale at Bert Stern's "On 1st" store. Correspondence found in the artist's records indicates that the plates may have been fabricated at Artmongers Manufactory, New York. "Paper Plate" is related to other designs the artist produced for dishware, such as the limited edition place settings produced by Jackson China Co. for Durable Dish Company in 1966, and the tea service designed for Rosenthal China in 1984. Image copyright © Estate of Roy Lichtenstein. [28546-13-800]

Artist: Joel-Peter Witkin (America, b.1939). Title: "Sanitarium". Medium: Original vintage photogravure. Date: Composed 1983. Printed 1985. Dimensions: Overall size: 10 5/8 x 10 3/4 in. (270 x 273 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): According to “Gordon’s Photography Prices” the auction record for a silver print of this image is $10,200 realized at Christie's, New York, 2/14/2006, lot #78. Witkin’s controversial and carefully constructed photographs frequently depict macabre, often grotesque scenes, with images including torture, cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. Image copyright © Joel-Peter Witkin. [29680-2-600]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Study for Barracoon [Helga, nude]". Medium: Color offset lithograph. Date: Composed 1976. Printed 1987. Dimensions: Overall size: 11 3/8 x 14 15/16 in. (289 x 379 mm). Image size: 9 11/16 x 12 3/4 in. (246 x 324 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, lower left. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28303-3-600]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Study for Easter Sunday [Helga]". Medium: Color offset lithograph. Date: Composed 1975. Printed 1987. Dimensions: Overall size: 11 3/8 x 15 5/16 in. (289 x 389 mm). Image size: 9 7/16 x 13 3/16 in. (240 x 335 mm).Lot Note(s): Signed in pencil, lower right; signed in the plate, upper left. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28308-3-300]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Teel's Island". Medium: Color offset lithograph. Date: Composed 1954. Printed 1963. Dimensions: Overall size: 10 15/16 x 17 in. (278 x 432 mm). Image size: 5 1/2 x 13 3/16 in. (140 x 335 mm).Lot Note(s): Signed in pencil, lower right; annotated lower left; signed in the plate, lower left. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [27974-3-400]

Artist: Andrew Wyeth (American, 1917-2009). Title: "The Corner". Medium: Color offset lithograph. Date: Composed 1953. Printed 1963. Dimensions: Overall size: 11 1/4 x 17 in. (286 x 432 mm). Image size: 8 11/16 x 13 1/4 in. (221 x 337 mm).Lot Note(s): Signed in pencil, lower right; annotated lower left; signed in the plate, lower right. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Very good condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [27976-3-300]

Artist: Roy Lichtenstein (American, 1923-1997). Title: "Drowning Girl". Medium: Color offset lithograph. Date: Composed 1989. Dimensions: Overall size: 55 13/16 x 47 1/4 in. (1418 x 1200 mm). Image size: 45 11/16 x 45 1/6 in. (1160 x 1147 mm).Lot Note(s): Signed in pencil, lower right. Edition of 500-1,000. Light cream wove paper. The full sheet. Fine impression. Very good condition. Literature/catalogue raisonne: Doering/Von der Osten 146. Provenance: Estate of a private collector, New York City (Manhattan). Comment(s): This famous, large, and scarce poster was last offered at auction in 2007; it has been offered six times at auction dating back to 1994, with the lowest sale price being $2,241 (DM3,450, Bassenge, Berlin, 1994). Published by the Museum of Modern Art, New York. Image copyright © Estate of Roy Lichtenstein. [26354-8-2000]

Artist: Andrew Wyeth (American, 1917-2009). Title: "Early October". Medium: Color offset lithograph. Date: Composed 1961. Printed 1963. Dimensions: Overall size: 14 11/16 x 11 1/8 in. (373 x 283 mm). Image size: 11 1/2 x 7 5/16 in. (292 x 186 mm).Lot Note(s): Signed in pencil, lower right; annotated lower left; signed in the plate, lower left. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Santa Barbara, California. Comment(s): Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. Image copyright © The Estate of Andrew Wyeth. [27968-3-400]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Flowers [Leo Castelli]". Medium: Color offset lithograph. Date: Composed 1964. Dimensions: Overall size: 27 7/8 x 24 15/16 in. (708 x 633 mm). Image size: 21 7/8 x 21 15/16 in. (556 x 557 mm).Lot Note(s): Signed and dated in black ballpoint pen, lower right. Edition unknown - c300?. Heavy cream wove paper. The full sheet. Fine impression with extremely bright and vibrant colors. Good to very condition; a scuff in the lower left margin, well away from the image; image itself very good with a few unobtrusive printer's creases; verso with some glue remnants; some very pale discoloration at lower left margin edge recto, barely noticeable. Literature/catalogue raisonne: cf. Feldman/Schellmann II.6; cf. Paul Marechal, "Andy Warhol: The Complete Commissioned Posters, 1964-1987," #1. Comment(s): Scarce, rare signed, and encountered far less often than the editioned print. According to 'Gordon's Art Reference' the auction record for another example of this poster (signed) is $18,750 (on pre-sale estimates of $20,000/30,000) realized at Swann Galleries, NYC, November 14, 2013, lot #111. This "Flowers" image is different from those of the limited edition published in 1970. Based on a photograph of hibiscus flowers by Patricia Caulfield in "Modern Photography," June, 1964. For the famous Castelli exhibition of November 21 to December 28, 1964, where Warhol signed several of the posters. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28383-6-7500]

2 modern art panels on canvas

Artist: Andy Warhol (American, 1928 - 1987). Title: "Marilyn Diptych [poster]". Medium: Color offset lithograph. Date: Printed c1970-1985. Dimensions: Overall size: 22 1/2 x 28 1/2 in. (571 x 724 mm). Image size: 16 5/8 x 25 7/8 in. (422 x 657 mm).Lot Note(s): Signed in black marker, center right. Edition unknown. Light cream wove paper. The full sheet. Very good impression. Good condition; studio stamp, verso. Comment(s): Scarce, and rare signed. A lifetime printing by Shorewood Publishers. This image was also printed by Shorewood after Warhol's death. To the best of our knowledge, the print run of our example with the text reading "Andy Warhol (American 1930-) [sic]" is the only lifetime printing as a poster of this image. Undoubtedly to be included in the forthcoming catalogue raisonne of Warhol's non-commissioned posters by Paul Marechal. The painting was completed during the weeks after Monroe's death in August 1962. Sometimes referred to as "Marilyn x 50" it contains fifty images of the actress, which are all based on a single publicity photograph from the film 'Niagara' (1953). The twenty-five pictures on the left side of the diptych are brightly colored, while the twenty-five on the right are in black and white. It has been suggested that the relation between the left side of the canvas and the right side of the canvas is evocative of the relation between the celebrity's life and death. The painting is currently owned by the Tate. In a December 2, 2004 article in 'The Guardian', the painting was named the third most influential work of modern art in a survey of 500 artists, critics, and others. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28345-5-1600]

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Once Ahau Katun [plate 06 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Medium: Lithograph in brown ink. Date: Composed 1962. Dimensions: Overall size: 17 7/8 x 13 11/16 in. (454 x 348 mm). Image size: 16 3/8 x 11 3/8 in. (416 x 289 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. [24468-3-225]

Artist: Mel Ramos (American, b.1935). Title: "Señorita Rio". Medium: Color lithograph. Date: Composed 1963. Dimensions: Overall size: 16 1/8 x 22 1/8 in. (410 x 562 mm). Image size: 15 3/8 x 15 5/16 in. (391 x 389 mm).Lot Note(s): Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Fine condition; centerfold as issued. Comment(s): For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MOMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Text and/or image may be on verso. Image copyright © Licensed by VAGA, New York, NY. [26838-4-300]

Artist: Guillermo Meza (Mexican, 1917 - 1997). Title: "Tristisima Estrella [plate 07 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Medium: Lithograph in brown ink. Date: Composed 1962. Dimensions: Overall size: 17 7/8 x 13 11/16 in. (454 x 348 mm). Image size: 14 5/8 x 12 in. (371 x 305 mm).Lot Note(s): Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Comment(s): Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. [24469-3-225]

Artist: Sam Francis (American, 1923-1994). Title: "Uncle Sam Love Marilyn". Medium: Color lithograph. Date: Composed 1963. Dimensions: Overall size: 16 1/4 x 22 15/16 in. (413 x 583 mm). Image size: 16 x 22 7/16 in. (406 x 570 mm).Lot Note(s): Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Fine condition; centerfold as issued. Comment(s): For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MOMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Text and/or image may be on verso. Image copyright © Estate of Sam Francis / Artists Rights Society (ARS), New York. [26796-4-225]

Artist: Sigmar Polke (German, 1941-2010). Title: "Untitled Rorschach Blot". Medium: Gouache and watercolor on paper. Date: Composed c1999. Dimensions: Overall size: 11 11/16 x 16 1/2 in. (297 x 419 mm).Lot Note(s): Signed in pencil, verso. Painted on light cream wove notebook paper. Very good to fine condition; vertical center fold, as found/painted. Comment(s): Compositions comparable to our example, in watercolor and gouache, often sell at auction for substantially more than our modest pre-sale estimates. A similar image to our work was exhibited at the Museum of Modern Art (MoMA), New York City, in the exhibition “Alibis: Sigmar Polke 1963–2010,” April 19–August 3, 2014. Polke is widely considered to be one of the most influential painters of the postwar era. Image copyright © The Estate of Sigmar Polke. [29947-3-16000]

Artist: Joel-Peter Witkin (America, b.1939). Title: "Woman on the Moon". Medium: Original vintage photogravure. Date: Composed 1982. Printed 1985. Dimensions: Overall size: 10 3/4 x 10 15/16 in. (273 x 278 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): According to “Gordon’s Photography Prices” the auction record for a silver print of this image is $22,500 realized at Christie's, New York, 4/15/2010, lot #389. Witkin’s controversial and carefully constructed photographs frequently depict macabre, often grotesque scenes, with images including torture, cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. N.B. This image is alternately titled “Woman Masturbating on the Moon.” Image copyright © Joel-Peter Witkin. [29676-2-600]

Modern School (20th century) , "Tom & Jerry" , animation cel, 22 x 30cm. , Provenance: Lido Art Dimensions Gallery, Newport Beach

NO RESERVE Lithography.- Senefelder (Alois) A Complete Course of Lithography: Containing Clear and Explicit Instructions in All the Different Branches and Manners of that Art, first edition in English, lithographed frontispiece printed in colours (misbound after 2M2), 12 lithographed plates, lacking portrait, title and list of materials f., all supplied in facsimile, water-stained at head, some spotting and light browning, modern half calf, for R. Ackermann, 1819; and another, Nonesuch Press, 4to & small 4to (2) sold not subject to return.

Private Press Bibliography 58 works including Ransom, Will Selective Check Lists of Press Books. New York: Philip C. Duschnes, 1963. 2 volumes, 8vo, American Book-Stratford Press reprint edition, original red cloth gilt; Cave, Roderick & Thomas Rae Private Press Books 1959 [-1979]. North Harrow: Private Libraries Association, 1960-1984. 20 volumes, 8vo, lacking volume for 1978, original wrappers; and a facsimile copy of 1958; The British Library Modern British and American Private Presses (1850-1965). London, 1976. 8vo, original red cloth gilt; Tomkinson, G.S A Select Bibliography of the Principal Modern Presses Public and Private in Great Britain and Ireland. London: The First Edition Club, 1928. 8vo, one of 1000 copies, original quarter cloth; Ridler, William British Modern Press Books. London: Covent Garden Press Ltd., 1971. 8vo, original green cloth gilt, one of 1500 copies; Bellamy, B.E. Private Presses & Publishing in England since 1945. New York, 1980. 8vo, dust-jacket; Anderson, Alan The Tragara Press 1954-1979. Edinburgh, 1979. 8vo, original boards; Morris, Ann The Private Press in Leicestershire. Loughborough: Plough Press, 1976. Large 8vo, original wrappers; The Private Press Today. Kings Lynn Festival, 1967. Large 8vo, original wrappers; Glasgow School of Art The Page Right Printed. Glasgow, 1973. 8vo, original wrappers; Swiss Cottage Library Catalogue of an exhibition of books and printed ephemera from twenty-eight contemporary Private Presses. London, 1977. 4to, original wrappers; Lieberman, Elizabeth Koller The Check-Log of Private Press Names. New York: The Herity Press, 1963. Fourth edition, 8vo, original wrappers; Walters, Mary Dawson A Catalog of the Exhibition of Selected Private Presses in the United States August 1-31, 1965. Ohio: Ohio State University Libraries, 1935. 4to, original wrappers; Graham, Rigby and Peter Hoy, editors Private Printer and Private Press. Oxford, 1968. Number 1, 8vo, original wrappers; Appleton, Tony A Typographical Tally. Brighton, 1973. 8vo, dust-jacket; The British Museum Printing and the Mind of Man. Catalogue of an Exhibition at Earls Court. 1963, 8vo, original wrappers; The National Book League The Cuala Press 1903-1973. 1973, 8vo, original wrappers; Blumenthal, Walter Hart Eccentric Typography Worcester, Massachusetts, 1963. 8vo, original black cloth gilt; Chambers, David and Christopher Sandford Cock-a-Hoop. Pinner: Private Libraries Association, [n.d.]. 8vo, dust-jacket; Putnam, George Haven Books and their Makers during the Middle Ages. New York: Hillary House Publishers Ltd., 1962. 2 volumes, 8vo, original red cloth gilt, slipcase; and 17 others (58)

Art Deco book- Modern French Decorative Art

Mixed ceramics, to include: Crown Ducal Sunburst 2649 Art Deco style tea and dinner ware; Modern Clarice Cliff style plates by Wedgwood; a Wade pipe rest; Sunderland lustre style plate; Maling cobble stone jar and cover 'Ground Almonds'; Blue and white ware; Cigarette card albums; and other items.

A modern cast composite Art Nouveau style bust of a young girl, Printemps, 62cm high.

A collection of art related books, together with fourteen copies of The Penguin Modern Painters - Edward Bawden, and a number of The Architectural Review Jan 1913 - July 1914 (approx 40 vols)

Camera Guides and Photochemistry Books, including Graphic Graflex Photography, Focal Camera Guides (7), a Zeiss Ikon catalogue circa 1939, The Watkins Manual (2 copies), Minitography and Cinetography, The Dufaycolor Book, Enlargements, Modern Darkroom Tecnic Black/White (Ilford, 1970s), The Art of Retouching Photographic Negatives (Marion & Co 1907) and other items

A Modern Moorcroft Dragonfly Pattern Plaque, dated 95 and framed by The Art Studio, 42x31.5cm overall size

A Modern Moorcroft Poppies Under Kiln Pattern Plaque, dated 2006 and framed by The Art Studio, 38.5x28cm overall size

A Modern Moorcroft Miss Alice Pattern Plaque dated 2005 and framed by The Art Studio, 40x19cm overall size

A Modern Moorcroft Wood Nymph Pattern Ltd. Ed. Plaque, dated 2008 94/150 and framed by The Art Studio, 46.5x16cm overall size

A modern Art Deco style 9ct gold, sapphire and diamond set oval dress ring, size Q/R, gross weight 3.3 grams. Condition: Would benefit from a good clean. Minor surface scratches to the gold and minor wear to the settings, commensurate with some use.

A pair of modern Danish armchairs, by Erik Jorgensen (Jørgensen), Art Deco style with bowed plywood sides and flat back, black metal legs, upholstered fitted cushions in pale oatmeal fabric, each labelled to frame and stamped date '12 Dec 2001', 67 by 67 by 78cm. (2)Condition: both chairs have scratches as well as some chips to their wooden frames. The upholstery on both chairs also has some staining. The metal legs are scratched and scuffed. The mesh seating base appears to be in good condition and both chairs feel reasonably sturdy but with some flexing to the arms.  

Margaret Green (1925-2003) British. Study of Lady Ironing, Oil on Canvas Laid Down, Inscribed on the reverse, Unframed, 20" x 24". Provenance: lot 218 Sworders Modern British Art Sale 26 Feb 2019

TWO PRINTING BLOCKS, THE LARGER INSCRIBED RETORCIDO FRANCES. 40 x 30.5cms. AND THE OTHER IN ART DECO STYLE MODERN HARDWARE. 23 x 24.5cms.

Kadhim Hayder (Iraq, 1932-1985)Divine Horses (From the Marty's Epic) oil on canvas, framedsigned (lower left), executed in 196570 x 100cm (27 9/16 x 39 3/8in).Footnotes:DIVINE HORSES (1965) / APPROACHING OBLIVION (1984)TWO HIGHLY SIGNIFICANT WORKS BY KADHIM HAYDER FROM HIS ARTISTIC PRIME AND THE END OF HIS LIFE INCLUDING A MAJOR PAINTING FROM THE 1965 MARTYR'S EPIC 'A elegiac tone has marked the work of Kadhim Hayderfor some years, ever since he painted a large number of pictures onthe martyrdom of Hussein at Karbala, but in a manner quite differentfrom that of Azzawi. For him the religious inspiration of Islamcomes through a sense of tragedy, in signs and symbols that he makeshis own; horses, helmets, swords, spears, men, women, tents, conspiracies, treacheries - the whole phantasmagoria of ancient battles ina peculiarly personal idiom.Man defiant though prisoner, though martyred and quartered;such has been his theme for a long time, partly derived from Arabhistory as he understands it, where much of his modern vision isrooted. But Kadhim Hayder has also employed his style in telling ofman in search of himself, in search of love, in search of wonder.,He unabashedly mixes the figurative with the abstract, but havingdevised a vocabulary of distinctly personal forms, the mixture serveshis purpose well, when figure and abstract seem to exchange functionand complement one another very much as in Sumerian art. His Buraq is thus in part the horse of the Prophet's night journey, and inpart the soul's journey through the dark blues of man's endless nightof mystery.'- Jabra Ibrahim JabraProvenance:Property from the collection of a prominent academic, Paris,Acquired directly from the artist by the above, who was a colleague of Kadhim Hayder at the Academy of Fine Arts Baghdad, 1970'sExhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Fanoon Tashkili, Beirut, 1965THE PRESENT WORK 'I learnt from Hussain how to achieve victory while being oppressed'- Mahatma Gandhi Vigorous, dynamic and intense, 'Divine Horses' is a seminal work by one of Iraq's most enigmatic modern artists, Kadhim Hayder. Part of the artists major body of work, known as the 'Marty's Epic', the present painting was presented at the artists landmark shows in the National Museum of Modern Art in Baghdad and then in Beirut in 1965. Being offered in the market for the first time, the work comes from the prestigious private collection of one of Hayder's colleagues at the Baghdad Faculty of fine Arts.Kadhim Hayder was a master of weaving symbolism, poetic allegory and abstraction into compositions that were predominantly narrative in subject matter. As a poet, he had a lifelong fascination with the Shi'ite epic of the Martyrdom of Imam Hussein and this episode forms the subject matter of his most significant body of work, 'The Epic of the Martyr' which was exhibited in 1965 at the National Museum of Modern Art. A popular subject in Shi'ite folklore, the story of Hussein's martyrdom has been a subject of both art and popular religious expression for centuries The present work must therefore be understood in reference to Hayder's wider cycle of works dealing with the battle of Karbala; the white horses of Imam Hussein are seen mourning the death of their Martyr beneath an ominous moon. Aesthetically rich, Hayder's horses cluster together in overlapping shapes which evoke the anthropomorphised behaviour of their mourning. Kadhim Hayder studied literature at the Higher Institute for Teachers; in 1957 he earned a diploma from the Institute of Fine Arts. Between 1959 and 1962 he studied theatre design at the Central College of the Arts in London. Upon returning to Iraq, he taught at the Institute of Fine Arts, opening a department of design. He continued to teach at the Academy of Fine Arts, when it replaced the Institute of Fine Arts; his book al-Takhtit wa Elwan (Sketching and Colours) became standard reading for students there. In 1971 he organized a group called the Academicians, based on an exhibition and around a text he wrote reclaiming a Platonic notion of the academy as a way to relate the different arts to each other, and to the arts of the past. He served as president of the Union of Iraqi Artists, the Union of Arab Artists, and the Society of Iraqi Plastic Artists. Hayder began showing work while he was still a student, at a number of collective exhibitions held at Nadi al-Mansur, the major exhibition space in Baghdad during the 1950s. When his work and that of other young artists was rejected for exhibition at Nadi al-Mansur in 1958, he organized a counter-exhibition of the rejected. He also displayed his work at Al-Wasiti Gallery in Baghdad in 1964, and in 1965 he exhibited the series The Epic of the Martyr at the National Museum of Modern Art. Selected works from the series were subsequently shown in Beirut, both on their own, and as a prominent part of a collective exhibition of work by Iraqi artists at the Sursock Museum, a show that toured a number of European capitals under the sponsorship of the Gulbenkian Foundation.His work was included in many major exhibitions throughout the 1970s, such as the First Arab Biennale, Baghdad, 1974; Musée d'Art Moderne de la Ville de Paris, 1976; and the International Art Exhibition for Palestine held in Beirut, 1978. In 1984 he held a final solo show at the Iraqi Cultural Centre in London. His work was quickly acquired by private collectors, and thus it is only in recent years that it has entered public collections beside that of the Museum of Modern Art in Baghdad, such as that of the Barjeel Art Foundation in Sharjah, and Mathaf: Arab Museum of Modern Arab Art in Doha.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

Jewad Selim (Iraq, 1919-1961)Nisa Fi Al-Intidar ('Women Waiting') oil on board, framedexecuted in 194345 x 35cm (17 11/16 x 13 3/4in).Footnotes:WOMEN WAITING: ONE OF THE JEWAD SELIM'S MOST ICONIC PAINTINGS'Artists were appalled at the conditions of poverty, illiteracy and subjugation of a lot of Iraqi women during this period in Iraq's history. They were concerned about the situation of illiterate women who were 'waiting' for marriage or who were forced to work as prostitutes. Jewad was very proud of his sister Neziha for having the courage to break out of the tradition of 'waiting' and leaving to study art in Paris. The painting will have been a statement of the plight of women at this time'-Miriam Selim, the artists daughter Provenance:Property from the collection of Said Ali and Medhat Madhloom, acquired directly from the artistThence by descent to the present ownerPublished:Jewad Selim, Monument to Freedom, Jabra Ibrahim Jabra, Ministry of Information, 1974, illustrated P.99The Grass Roots of Iraqi Art, Jabra Ibrahim Jabra, Wasit Graphic Publishing Ltd, St Helier, 1983, illustrated in colourExhibition Catalogue: Jewad Selim, National Museum of Modern Art, January 1968, Ministry of Culture, Illustrated in Black and White Exhibited:Jewad Selim, House of Nizar Ali Jawdat in 1950, Baghdad, Iraq, 1950, No.9 (the artists first solo exhibition)Jewad Selim, National Museum of Modern Art, Baghdad, January 1968Bonhams are most privileged to present perhaps one of the rarest and most sought after works of Iraqi art to come to auction in recent history, from the father of Iraqi Modernism, Jewad Selim.Jewad Selim painted Woman Waiting in 1943 and gifted it to his close friends, the brothers Madhat and Said Ali Madhloom, in whose family collection the work has remained for the past 80 years. The work was not only exhibited at Jewad's first ever solo exhibition in the house of Ali Jawdat Ayoubi, but also featured in his major 1968 retrospective at the Baghdad National Museum, and has appeared in almost every major publication on the artist, including the seminal 'Grass Roots of Iraqi Art' by Jabra Ibrahim JabraExecuted in Jewad's key transitional period; during a five year stay in Baghdad after returning from Rome and before enrolling at the Slade, the work is a powerful and unique commentary on the plight of Iraqi women, and perhaps one of the first overtly feminist artworks painted in the Middle East In this painting Jewad depicts the prostitutes that were to loiter in the back alleys of Baghdad, entreating business for passers by. Far from being a merely literal appreciation of its subject matter, Jewad's depiction of the women is a wider commentary on the plight of a generation of Iraqi women whose fate and destiny were tied to the men for whom they were 'waiting'; this including not only Women Waiting for male custom, but for girls waiting to be betrothed whose transition to adulthood depended on the presence of a male provider. Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Selim weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on the florid landscape of downtown Baghdad, Selim's composition is populated with the humorous and extravagant characters encountered in everyday life. Light hearted and boisterous, the 'Women Waiting' is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on life in streets of Baghdad.'...A new trend in painting will solve the identity crisis in our contemporary awakening, by following the footsteps of the thirteenth century Iraqi masters. The new generation of artists finds the beginning of a guiding light in the early legacy of their forefathers' – Jewad SelimJewad Selim (1919-61)It is impossible to understand the modern art movement in Iraq without taking into account the works of this pioneer sculptor and painter, who was undoubtedly the most influential artist in Iraq's modern art movement. To him, art was a tool to reassert national self-esteem and help build a distinctive Iraqi identity. He tried to formulate an intellectual definition for contemporary Iraqi art. In charting his country's contemporary social and political realities, he was committed to combining the indigenous historical and folkloric art forms, with contemporary Western trends.Born in Ankara, Turkey in 1919 to Iraqi parents who moved to Baghdad in 1921, Jewad Selim came from a strongly artistic family: his father was an accomplished amateur painter, whose work was influenced by the European old masters, and his brother Nizar and sister Neziha were also accomplished painters, becoming well-known in their own right.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The effects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department.In 1946, he was sent to the Slade School of Art, London. At the Slade, Jewad met his future wife and fellow art student, Lorna. Jewad returned to Baghdad in 1949 to become Head of the Department of Sculpture at the Institute of Fine Arts, where he taught his students to draw on the heritage of their country to create a distinctive Iraqi style and artistic identity, which would become the ethos of an influential art movement just a few years later. In 1950 Lorna joined Jewad in Baghdad, where they were married.In 1951, Jewad Selim formed The Baghdad Modern Art Group.. Modern Iraqi art began with the first exhibition of the Baghdad group where they announced the birth of a new school of art that would 'serve local and international culture'.After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tehrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week later on 23rd January 1961 at the age of just forty-one, leaving a wife and two young daughters.Jewad's early death in 1961 was a shock to the artistic community of Iraq, but his spirit remained and was reignited by a new wave of young artists returning from their studies abroad, who picked up his mantle of extending Iraqi art into the rest of the Arab world and internationally. Jewad had paved the way ahead.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

Adam Henein (Egypt, born 1929)The Shadow Rising pigment and gum arabic on papyrus, framedexecuted in 198388 x 88cm (34 5/8 x 34 5/8in).Footnotes:Provenance:Property from a private collection, LondonBonhams, Modern Pictures and Sculpture, 16 April 2002, lot 56 page 8Illustrated:Montreux, ASB Gallery, Henein , 1998, page 11'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 HeneinThis lot is subject to the following lot symbols: AR PAR Goods subject to Artists Resale Right Additional Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

Kamal Youssef (Egypt, 1923-2019)Two Figures oil on canvas, framedsigned 'Kamal' and date '65' (lower left), executed in 196554 x 88cm (21 1/4 x 34 5/8in).Footnotes:Provenance:Property from a private collection, VirginiaNote:The artist confirmed the authenticity of this artwork in 2017Kamal Youssef's work reflects a crucial historic intersection between Middle Eastern and Western cultures. As a teenager, he studied at King Farouk School in Abbasiya, Cairo, where he was first exposed to rigorous art training under the tutelage of master instructors such as Ratib Siddik and Hussein Yousef Amin, prominent artists known for their early engagement with the Egyptian surrealism and other avant-garde modernist movement in Egypt. In 1939, Youssef joined the Art and Liberty group, one of Egypt's most prominent art movements, which was founded by several journalists, poets and artists. In 1946, Youssef co-founded the Contemporary Art Group (Le Groupe de l'Art Contemporain), whose members played an integral role in shaping the development of the modern art movement in Egypt. Kamal traveled to Paris in 1954, where he met his late wife Maria Youssef. She played a central role in some of his works later on. After the 1953's revolution Kamal decided to remain in France until he moved to the USA, where he worked as an engineer for over 20 years before retiring in the town of Dayton, Pennsylvania. His work has been shown in numerous solo and group exhibitions, including Southern Alleghenies Museum of Art, Loretto, USA (2014); Bakersfield Museum of Art, USA (2008); Westmoreland Museum of Art, Greensburg, USA (1993); Pittsburgh Center for the Arts, USA (1962); Mediterranean Biennale, Alexandria, Egypt (1955); Museum of Modern Art, Cairo (1952); São Paulo Biennale (1952) and Venice Biennale (1950). Kamal also participated in the 1939 exhibition organized by the Art and Liberty Group, and in several of the Contemporary Art Group's collective exhibitions between 1946 and 1954.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

Monir Farmanfarmaian (Iran, 1924-2019)The Magnified Sacred mirror and reverse-glass painting on woodexecuted in 2004diameter: 100cmFootnotes:A MAJOR MIRROR-WORK BY MONIR FARMANFARMAIAN FROM THE GEOMETRIC INSTALLATIONS SERIES'The harmonious division of a circle is a symbolic way of expressing the Tawhid, the Divine Unity as the source and culmination of all diversity'- Monir Farmanfarmaian, Mosaics of Mirrors 'This nonagon [The Magnified Sacred] represents the nine elements of the body: brain, bones, nerves, veins, blood, flesh, skin, nails and hair'- Monir Farmanfarmaian'For her 2006 exhibition in Tehran, Monir has conceived installations of large panels in different colours - with [the red nonagon] in a traditional color of passion and fire. The panels symbolize every aspect of the universe and characterize the timeless and infinite quality o Islamic geometric concepts'- Rose Issa Provenance:Property from a distinguished private collection, LebanonAcquire directly by the above from Rose Issa Projects, 2006Literature:London, Rose Issa Projects, Monir Shahroudy Farmanfarmaian: Mosaics Of Mirror, 2006, illustrated on page 38Exhibited:Monir Farmanfarmaian, Major Retrospective, Niavaran Cultural Centre, Tehran, 2006Monir Farmanfarmaian, Mosaics of Mirror, 2006, Rose Issa Gallery, LondonRadiant, enigmatic and complex, 'The Magnified Sacred' is one of the finest, and perhaps most technically intricate examples of Monir Farmanfarmaian's iconic mirror-work to come to market. Exhibited as part of an enormous series of 'Geometric Installations' executed between 2003-5 and exhibited at her major retrospective in Niavaran Palace Tehran in 2006, The Magnified Sacred is from one of Farmanfarmaian's most ambitious bodies of workMarrying craft, geometry and spiritual symbolism, Monir's composition extracts the centuries old Iranian tradition of mirrored paneling from its architectural setting, elevating it to an art form in its own right. Informed by a deep understanding of numerology and symbolism, Monir's work sheds light on the significance of shapes and signs within the typology of classical Islamic art, in an aesthetic framework that is captivating and intricate. Large in scale, sculptural in presence, and exhibiting an endless array of reflective variations, The Magnified Sacred is one of the most tightly composed and intricate examples of Monir's work.The shapes and patterns which Monir' employs in her compositions are clearly and intentionally derived from the geometric and numerological formulae present in Islamic and Iranian architecture. Whilst decoratively complex, the use of geometric patterns and tessellations points to a far deeper conceptual agenda, 'the proliferation of arabesque abstract decoration enhances a quality that could only be attributed to God, namely, His irrational infinity,' scholar Wijdan Ali observes in The Arab Contribution to Islamic Art (the American University in Cairo Press, 1999). 'The pattern of the arabesque, without a beginning or an end, portrays this sense of infinity, and is the best means to describe in art the doctrine of tawhid, or Divine Unity.'Exhibited and published in her major Monograph, The Magnified Sacred is a sublime example from an artist who has elevated her countries vernacular craft into a universal aesthetic, and in doing so, has become one of the most internationally acclaimed figures to emerge from Iran within the past century. Monir Farmanfarmian: A LifeBorn in Qazvin, Iran in 1924, Farmanfarmaian begun her studies at the Faculty of Fine Arts in Tehran before embarking to New York, where she attended Parson, The New School for Design and Cornell University, and worked as a fashion illustrator. It was in New York that Monir' mixed with the cities emerging cultural avant-garde, collaborating with artists such as Andy Warhol on illustrations for the Bonwit Teller department store. It was only after moving back to Tehran that Monir developed her signature style. Influenced by the arts and crafts of her native country, Farmanfarmaian fashioned an artform out of mirror-mosaic work drawing on traditional techniques of reverse-glass painting, inlaid carving, Islamic geometry, and architectural design. To create her reliefs and sculptures, Farmanfarmaian commissioned craftsmen to draft her early designs, then cut mirrors to fit the required shape, which were set in geometrical patterns, and mixed with plaster to produce new compositions into which the artist incorporated colored glass.Monir Farmanfarmaian received international acclaim in 1958, when she was presented a gold medal for her work in the Iranian Pavilion at the Venice Biennale, this was followed by exhibitions in Tehran, Paris and New York. She has recently become the focus of significant institutional interest, having held important exhibitions worldwide including the Gwangju Biennale, South Korea (2016); a major career retrospective at the Solomon R. Guggenheim Museum, New York, NY (2015) and at the Fundação Serralves–Museu de Arte Contemporânea, Porto, Portugal (2014).She is the subject of a substantial monograph, Monir Shahroudy Farmanfarmaian: Cosmic Geometry, edited by Hans Ulrich Obrist; and has authored an autobiography, A Mirror Garden (Knopf, 2007). Farmanfarmaian's work is placed in some of the most important institutions around the world, including: Solomon R. Guggenheim Museum, New York, NY; Tate Modern, London, U.K.; Museum of Fine Arts, Boston, MA; and Metropolitan Museum of Art, New York, NY.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

Ahmed Ben Driss El Yacoubi (Morocco, 1929-1985)Birth of the Moon oil on canvas, framedsigned 'Yaccoubi' (lower left), titled 'Birth of the Moon', dated '1963' and signed 'El Yacoubi' on the verso, executed in 196352 x 63cm (20 1/2 x 24 13/16in).Footnotes:Provenance:Property from a private collection, UK'The painting of Yacoubi is a window opening into space. You do not look at his pictures but through them.' – William Burroughs.'Eventually it was Francis Bacon who supplied the key, suggesting that Ahmed sit each afternoon in his Casbah studio and watch him paint. There was to be no conversation; it was merely a matter of seeing a painter paint.' – Paul BowlesThe following lot is a masterful rendition of the 'cosmic abstraction' concocted by the enigmatic artist Ahmed Yacoubi. Swirling, nebula-like abstract apparitions swarm Yacoubi's canvas, resembling astronomical forms, indicating an abstraction not dictated by mere reference to paint and form, but one which evokes the abstract and ultimately unintelligible properties of the wider cosmos and its majestic celestial scenery. Ahmed Ben Driss El Yacoubi, was born in Fez, Morocco, in 1928. Educated as a traditional healer, he was also known as a storyteller, poet, painter, playwright and author. Yacoubi met the American composer and writer Paul Bowles in Fez in 1947, and later in Tangier. Yacoubi then began doing translations for Bowles. Bowles and his wife, novelist and playwright Jane Bowles, encouraged Yacoubi to draw and paint the characters in his own stories after seeing Yacoubi's illustrations of his translations.The Bowles arranged for Yacoubi's first exhibition of visual work at the Gallimard bookshop on Boulevard Pasteur in Tangier. The exhibition was highly acclaimed, and 28 pieces were sold. Later exhibitions were held at the Galerie Clan in Madrid, the Betty Parsons Gallery in New York in 1952, the Hanover Gallery in London in 1957, and elsewhere throughout the 1960s, 1970s, and 1980s. A wide range of notable collectors began acquiring his drawings and paintings, recognizing his talent and artistic integrity. The Museum of Modern Art in New York, the Musée d'Art Moderne de la Ville de Paris, and the Sao Paolo Museum of Modern Art also purchased his works.In 1952, Bowles invited Yacoubi to his island, Taprobane, off the southern coast of Sri Lanka. While visiting the island, Yacoubi prepared meals for fellow guest Peggy Guggenheim, which she mentions in her memoir, Confessions of an Art Addict (1997). Guggenheim purchased several of Yacoubi's drawings.Ahmed Yacoubi evolved from what was described as a primitive style to a sophisticated secret technique of layering in oil glazes that produced canvases of with great depth and complexity. Having become acquainted with Francis Bacon during the latter's trips to Tangiers, Bacon further encouraged his work by painting four small canvases blue and telling him to 'Paint!' according to an anecdote by Allen Ginsberg.Bacon and Yacoubi painted together and remained friends for the duration of their lives. For Bacon, he was simply the 'most sympathetic Moroccan in Tangier'. 'Ahmed and I had no common language,' he remembered, 'but between my limited Spanish and French and his very good Spanish, we were able to talk a lot.'In the 1960's, Yacoubi moved to New York City permanently in the late sixties where Ellen Stewart provided him with a loft space in La Mama's rehearsal building that Yacoubi transformed into 'The Rising Night Gallery.' Amidst the changing art trends of the 70's and 80's, Yacoubi continued to delve with his singular and secretive oil techniques, maintaining the integrity of his inspired approach, producing magical scenes, portraits, and worlds that reveal his depth of insight into humanity and life.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

Dia Azzawi (Iraq, born 1939)Amulet for the Cipher of Secrets oil on canvas, framedtitled on the verso, signed and dated 1971, further authenticated on the verso, executed in 197180 x 80cm (31 1/2 x 31 1/2in).Footnotes:Provenance:Property from a private collect, AmmanAcquired directly from the artist by the present owner'In the introduction of the exhibition catalogue of a show I had in Washington D.C. that talked about the use of calligraphy in my works, the curator wrote that he could not see Arabic calligraphy in my works but rather a series of 'signs'. That statement gave me more confidence in what I was doing. By trying to produce an art that is accessible to everyone I was not only attempting to bridge the contemporary and the ancient, but also to bridge Western and Eastern art'- Dia AzzawiDia Azzawi is Iraq's foremost living Modern Artist.The present work a superlative manifestation of the artist's work incorporating Arabic letter-forms and numerals. In this painting, the outward beauty and decorative scheme of the composition mask the symbolic significance of the characters depicted. In the medieval era, numeral and textual calligraphy served an important spiritual function in traditional Sufi practice. Numerological characters formed both mystical talismans and secret languages which Sufi dervishes used as forms of coded communication. A belief in the divinity of number, as expounded by mystic philosophers and scientists like Al-Farabi and Ghazali, coupled with the notion that mathematics was an artefact of heavenly order, led to complicated numerological charts, treatises, and codes being used both as tools of spiritual understanding and as objects of talisman worship. Azzawi's homage to the archaic ritual of mystical numerology, however, is related through a distinctly modern artistic agenda. The numeral forms themselves no longer serve their traditional purpose, and are therefore reduced to visual remnants of a redundant practice. With this gesture, Azzawi reminds us that practices that once served as a cultural backbone of Muslim society are now fragments of history, worthy of aesthetic recollection but not of functional application.This lot is subject to the following lot symbols: * AR P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

Maqbool Fida Husain (Indian, 1913-2011)Mother Teresa oil on canvas, framedsigned upper right, executed in 2002100 x 73cm (39 3/8 x 28 3/4in).Footnotes:'I have tried to capture in my paintings what Mother Teresa's presence meant to the destitute and the dying, the light and hope she brought by mere inquiry, by putting her hand over a child abandoned in the street. I did not cry at this encounter. I returned with so much strength and sadness that it continues to ferment within.' - M.F HusainProvenance:Acquired by Mr Ravindra Maheshwari, 2002, MumbaiThence by descent to Mr Upendra Maheshwari,Acquired by Dr H.S Kanda, 2016Acquired by Mr Ajit Singh Gulati, 2015,Thence by descent to the present ownerNote:The present work is accompanied by a certificate of authenticity from the artists son Shafat Husain, dated 2009First appearing as a morif in Maqbool Fida Husain's paintings in 1980, the figure of Mother Teresa recurred repeatedly in his works in the later years of his career. She is faceless, with her corporeality implied by the sari and its modeling. Gradations of the night sky permeate her hollow form, while a dove of peace and a child nestles on her. By absenting facial descriptions in both the sainted Teresa and the child, Husain emphasises the emblematic status of both in the Indian imagination. The young indigents' lack of self-sufficiency is powerfully expressed through their lack of feet and hands. Mother Teresa's sari maternally nestles the child, promising succour and hope. The artist states 'I have tried to capture in my paintings what her presence meant to the destitute and the dying, the light and hope she brought by mere inquiry, by putting her hand over a child abandoned in the street. I did not cry at this encounter. I returned with so much strength and sadness that it continues to ferment within.' (Artist statement, Y. Dalmia, The Making of Modern Indian Art: The Progressives, New York, 2001, p. 116)This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

Anwar Saeed (Pakistan, born 1955) Untitledoil on canvas, signed and dated '05 lower right, gallery label and inscribed Mudassar Ahmed/PRIMEX/56.Z.5.Block 6/PECHS, Karachi/ph.4544798 on reverse 121.9 x 91.4cm (48 x 36in).Footnotes:ProvenanceBonhams, Modern and Contemporary South Asian Art, 7th June 2012, lot 63.Private UK Collection.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

A modern Art Deco style dress ring, set with clear and lilac coloured paste, on a silver coloured band, size Z.

A modern Art Deco style dress ring, set with clear and green coloured paste, on a silver coloured band, size x.

ARR Edward Bawden (1903-1989) - Coloured lithograph (after a lino cut) - "Cattle Market, Braintree", printed in black, red, blue and fawn, showing a busy market scene with auctioneer conducting sale to left hand side surrounded by pens of cattle, sheep and pigs and numerous figures, fully signed in pencil to lower right margin, 20.5ins x 30.5ins, published by Contemporary Lithograph Ltd, London, published 1937, in modern whitewood frame and glazed Note: Illustrated in "Art for Everyone - Contemporary Lithographs Ltd" Ruth Artmonsky 2007 (reprinted 2010 and illustrated in colour on front cover) and with copy of book to go with this lot

BATMAN: YEAR ONE #404, 405, 406, 407 (4 in Lot) - (1987 - DC Cents/Pence Copy) - "Year One" storyline - First appearance of the modern Catwoman - Frank Miller story with David Mazzucchelli cover and interior art - Flat/Unfolded - a photographic condition report is available on request

MARC SPECTOR: MOON KNIGHT #1 - (1989 - MARVEL - Cents/Pence Copy) - A HOT modern key - Sal Velluto, Kevin Nowlan cover with Velluto, Mark Farmer interior art - Flat/Unfolded - a photographic condition report is available on request

SUICIDE SQUAD #1, 2, 3, 4, 5 (Lot of 5) - (1987 - DC Cents/Pence Copy) - Early appearance of the 'modern' Suicide Squad - Features Deadshot, Captain Boomerang, Enchantress, Amanda Waller, Rick Flag Jr. - Howard Chaykin cover with Luke McDonnell interior art - Flat/Unfolded - a photographic condition report is available on request

Loredano Rosin, Italian (1936-1992), an large glass statue of a Viking, with sand blasted effect finish, A/F, signed/etched, c.1980, height 87cm. Rosin was an Italian sculptor best known for his traditional use of Murano glass to depict stylized figures and animals. By employing an ancient Italian technique from Calcedonia, he used silver nitrate to create subtle color striations in his figurines. Rosin worked as a master glass blower for Salviati & Company, where he notably collaborated with artists such as Pablo Picasso and Marc Chagall in realizing their vision in glass. Born in 1936 in Venice, Italy, he studied with Romano Zanelli and Cocui Saor as a teenager before establishing his own studio, where he worked with his brothers Mirko and Dino Rosin. Today, his works are held in the collections of The Museum of Modern Art in New York and the Museum of Fine Arts in Boston, among others. The artist died in 1992 in Venice, Italy.

John William Waterhouse, RA, RI (British, 1849-1917)Sketch for 'Gather Ye Rosebuds While Ye May' or Narcissus indistinctly signed 'J W Waterhouse' (lower right)oil on canvas68.2 x 50.5cm (26 7/8 x 19 7/8in).Footnotes:ProvenanceAnon. sale, Sotheby's, London, 15 March 1983, lot 75, as Gather Ye Rosebuds While Ye May - sketch.Private collection, UK.Between 1909 and 1914, John William Waterhouse produced approximately one dozen paintings of women picking flowers. These are in varying stages of completion: some were signed, dated, and exhibited, while others have come down to us unfinished and untitled by the artist. At first glance, all appear to be without narrative, in keeping with the Edwardian taste for idyllic scenes of women in nature. Appreciation of them need go no further, but in fact most relate to the ancient Greek myth of Persephone (Proserpine in Latin), a supremely Romantic narrative familiar to Waterhouse's classically educated audience. It was while she was gathering flowers in Sicily's Vale of Enna that Hades (Pluto) carried Persephone down to his infernal realm. Her distraught mother, the harvest goddess Demeter, caused vegetation to wither, prompting her father Zeus to rule that Persephone should be transformed into the queen of Hades for the winter—essentially a death sentence—and returned to Demeter every spring. Rather than showing Persephone dragged into the chasm, as other artists had, Waterhouse characteristically emphasized the beauty and fertility that aroused Hades in the first place. This series, then, epitomizes an important aspect of late Pre-Raphaelitism - the rendering of a spiritually significant theme, in this case a Greek myth about the immortality assured by natural regeneration. Long fascinated with what Shelley called 'the loveliness of terror', Waterhouse had already explored key aspects of Persephone's story—the abduction and transformation of such flower-picking women as Flora, the fleeting passage of flowers' beauty, and figures who endured visits to Hades, such as Psyche. Waterhouse encountered Persephone throughout the literary canon, from Homer and Ovid to Milton, Shelley, Swinburne, and Pater. Ruskin called her the 'Greek Flora' and believed that Greeks 'saw that the force and use of the flower was only in its death.' In the Christmas 1909 number of The Art Journal, the writer Rose E.D. Sketchley repeatedly linked Waterhouse's oeuvre with 'the last poem of living paganism', De Raptu Proserpinae (The Rape of Persephone), written in the manner of Ovid by Claudian (AD 370-404). Singing as she wove a tapestry in nature's colours, Persephone was one of the sources that inspired Tennyson to write The Lady of Shalott, a story Waterhouse imagined so famously. Thus it makes sense that Waterhouse decorated the title page of his own Tennyson volume with a pencil sketch of Persephone bending down to pick flowers (Michael Titterington Collection). As he conceived this drawing, Waterhouse surely had in mind a well-known work by his Pre-Raphaelite forerunner Edward Burne-Jones, The March Marigold of 1870 (fig 1, private collection). Many of Waterhouse's Persephone paintings offer expansive Arcadian landscapes, painted broadly in a bright palette that suggests fresh air but not dazzling sunshine and deep shade. In 1909 Waterhouse completed the first of them, 'Gather Ye Rosebuds While Ye May' (fig 2) for his patron Brodie Henderson. This shows Persephone and a companion in the foreground, with two more maidens visible in the distance. In 1910 the artist exhibited at the Royal Academy 'Spring Spreads One Green Lap of Flowers' — a girl kneeling to pick flowers alone. Completed in 1912 was Narcissus, which shows a woman bending forward to pick flowers; it was narcissi that Persephone was picking when she was abducted. The series closed in 1914 with the kneeling Flora, whose title, though pertinent to the interrelationship of women and flowers, would more correctly have been Persephone. Possibly due to the start of World War I, Waterhouse's subsequent pictures returned to the more recognisable—arguably more British—narratives of the early Pre-Raphaelites, including Tristram and Isolde and Miranda—The Tempest.We know that Waterhouse thought carefully about the Persephone pictures because many preparatory works have come down to us. For example, there is a pencil study that shows the girl using her other arm to pick flowers (Dr. Dennis T. Lanigan Collection). In his day, critics praised Waterhouse's capacity to compose without exhaustive preparations. On canvas, the design's outlines would first be brushed in with thin, dark oil paint on the canvas's white ground; the forms were then laid in with neutral colour, before the virtuoso flesh painting began. Because the present oil painting was not fully worked up, it offers valuable insights on how Waterhouse elaborated the face and costume before tackling the jewel-like flowers and verdant landscape. This picture also underscores how intently Waterhouse wanted to get his primary figure 'right'; here he focuses tightly on her to maximize the expressivity of her pose.Because it shows the girl reaching down with her right arm, the present picture could have been made in anticipation of either 'Gather Ye Rosebuds While Ye May' (1909) or Narcissus (1912) — or both. The fact that Waterhouse signed it suggests he may have had it sitting in his studio when he presented it to someone, perhaps a visitor.Characteristic Waterhouse touches appear across the surface. Most striking are the flowers, which hover magically in the girl's hand and in the grass, and the stream reminding viewers that water is the feminine element. Notice, too, the tree trunks visible at left and top, evidence of Waterhouse's ongoing fascination with trees as connectors of the upper and lower realms. Sketchley characterised the Symbolism of such decorative landscapes as 'a region where all things are poetical symbols. The trees standing in thick groves against the sky, the streams and dainty fountains in the flowered grass... are vehicles of a poetical idea.'Though we do not know her name, this model epitomises Waterhouse's ideal female type and can be related to contemporary works by him. She is clearly painted from the favourite model who posed for 'Gather Ye Rosebuds While Ye May' (1909) and Penelope and her Suitors (1912).The uncannily modern beauty of Waterhouse's women endures, still drawing admirers to his paintings, whatever their subject or degree of completion.We are grateful to Peter Trippi for compiling this catalogue entry.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com

NO RESERVE Italian Art.- Borsi (Franco) Leon Battista Alberti, Oxford, 1977 § Ackermann (James S.) The Architecture of Michelangelo, 1966 § Bruschi (A.) Bramante, 1977 § Blunt (Anthony) Borromini, 1979 § Lees-Milne (James) Saint Peter's, 1967 § Trachtenberg (M.) Building-in-Time: From Giotto to Alberti and Modern Oblivion, New Haven & London, 2010, illustrations, some colour, original cloth or boards with dust-jackets; and c.10 others on Italian architecture, mostly Renaissance, 4to & 8vo (c.15)

NO RESERVE Italian Art.- Lightbown (Ronald W.) Donatello & Michelozzo, 2 vol., 1980 § Hartt (F.) & David Finn. Donatello: Prophet of Modern Visions, 1974 § Krautheimer (R.) Lorenzo Ghiberti, 2 vol., Princeton, NJ, 1970 § Passavant (G.) Verrocchio: Sculptures, Paintings and Drawings, 1969 § Pope-Hennessy (John) Luca della Robbia, Oxford, 1980; Italian High Renaissance and Baroque Sculpture, 3 vol., 1963 § Boucher (B.) Earth and Fire: Italian Terracotta Sculpture from Donatello to Canova, New Haven & London, 2001 § Hanson (A.C.) Jacopo della Quercia's Fonte Gaia, Oxford, 1965, illustrations, some colour, original cloth or boards with dust-jackets, the first a little faded, the second slightly frayed at edges, the fifth also with slip-case; and c.10 others on Italian sculpture, v.s. (c.20)

NO RESERVE Modern Art.- Grohmann (Will) Paul Klee, reprint, 1965; E.L.Kirchner, 1961; Willi Baumeister: Life and Work, [c.1965] § Carls (C.D.) Ernst Barlach, 1969 § Wingler (H.M.) Oskar Kokoschka: The Work of the Painter, [1958] § Overy (Paul) Kandinsky: The Language of the Eye, 1969 § Selz (P.) German Expressionist Painting, Berkeley & Los Angeles, 1957 § Courthion (P.) Rouault, including a catalogue of works..., New York, [c.1962], illustrations, many colour, original cloth or boards with dust-jackets, one or two slightly rubbed or frayed at edges; and 6 others, mostly German Expressionism, 4to & 8vo (14)

NO RESERVE Modern Art.- Meyer (Franz) Marc Chagall: Life and Work, New York, [c.1963] § Dupin (Jacques) Joan Miró: Life and Work, New York, [1962] § Seuphor (m.) Piet Mondrian: Life and Work, New York, [1956] § Rosenblum (R.) Cubism and Twentieth-Century Art, New York, [c.1966] § Martin (M.W.) Futurist Art and Theory 1909-1915, Oxford, 1968 § Vachtovà (L.) Frank Kupka, 1968 § Lebel (R.) Marcel Duchamp, New York, 1959, illustrations, many colour, original cloth or boards, all but the last with dust-jacket; and c.45 others on 20th century Continental art, some catalogues/pamphlets, 4to & 8vo (c.50)

NO RESERVE Modern Art.- Michel (Walter) Wyndham Lewis: Paintings and Drawings, 1971 § Browse (Lillian) Sickert, 1960 § Sutherland (Graham) Christ in Glory in the Tetramorph: The Genesis of the Great Tapestry in Coventry Cathedral, edited by Andrew Révai, 1964 § Shone (R.) Bloomsbury Portraits 1976 § Hamilton (Richard) Collected Words 1953-1982, [c.1983] § Silber (E.) & others. Jacob Epstein: Sculpture and Drawings, 1987 § Bowness (Alan) & others. John Piper, 1983 § Compton (S., editor) British Art in the 20th Century: The Modern Movement, London & Munich, 1986, illustrations, many colour, the last three original wrappers, the rest original cloth or boards with dust-jackets, the third with faded spine; and c.20 others on modern British art, 4to & 8vo (c.25)

NO RESERVE Modern Art.- Waldman (Diane) Mark Rothko, 1978 § Robertson (Bryan) Jackson Pollock, second impression, 1968 § Bernstein (Roberta, editor) Jasper Johns, original wrappers, 2017 § Anfam (David, editor) Abstract Expressionism, original wrappers, 2016, illustrations, many colour, the first two original cloth with dust-jackets, the second with tear to upper edge; and 14 others on American art, mostly modern, mainly catalogues, 4to & 8vo (18)

Asian Art catalogues all Sothebys, ranging from 1985 to 1993 to include Fine Modern Chinese Paintings, Fine Chinese Ceramics and others, also included is a 1923 catalogue of a Choice collection of Chinese Enamelled porcelain (14)

A George V silver tea caddy of oval form (by Thomas Bradbury & Son, London 1910), together with a modern silver buckle in the Art Nouveau manner by David A Bowles, a silver cigarette box, silver egg cup, together with a plated wine coaster, tea caddy 12 cm, buckle, tea caddy and egg cup approx 9.24 oz weighable silver

A modern pine and painted pine dresser, a folding metal framed chair, a gilt framed chair, an early 19th Century mahogany bar back commode armchair, a modern anodised standard lamp in the Art Nouveau style on an oval granite base, together with a further standard lamp Pine desser measures approx 100cm long x 92cm high x 40cm deep

AFTER CHIPARUS - a chocolate patinated bronze of an Art Deco dancer. Size approx. 56cm high x 15cm wide CONDITION REPORTS Thiis is a modern copy of the Chiparus figure in good condition