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ALBERTO GIACOMETTI (1901-1966)Intérieur chez Tériade lithographic pencil on transfer paper41.9 x 31.9cm (16 1/2 x 12 9/16in).Executed circa 1961Footnotes:The authenticity of this work has been confirmed by the Comité Giacometti.ProvenanceTériade Collection, Paris and Greece (probably acquired directly from the artist).Private collection, Greece (a gift from the above).LiteratureFondation Giacometti, Giacometti's Artworks, Alberto Giacometti Database (AGD), online catalogue, no. AGD 4547 (illustrated).The following three drawings stand as a testament to the lifelong friendship between Alberto Giacometti and Tériade, the nomme de plume for Stratis Eleftheriades. A major figure in the history of Modern art, Tériade's reputation as a groundbreaking critic, aesthete and philosopher led him to sustain close friendships with the foremost artists and writers of the twentieth century. Tériade was a key supporter of Giacometti's work, publishing reviews and articles in his popular journal Verve as well as editing Giacometti's book Paris sans fin in 1969 after the latter's passing. Like Giacometti, Tériade was initially involved with the Surrealists in Paris but then sought to distance himself from the movement. Giacometti completed a series of painted and drawn portraits of Tériade between the 1920s and the 1960s, as well as numerous sketches of Tériade's home and studio. These interior scenes conjure a tender sense of intimacy and mutual support between the two friends.Tériade was born in 1897 on the Isle of Lesbos. He initially moved to Paris to study law, but found his true passion for art criticism under the wing of Christian Zervos, the editor of the famous journal Cahiers d'art. The present Greek private collection enjoyed a close and enduring relationship with Tériade on the Isle of Lesbos. Tériade gifted to the family a series of beautiful drawings and prints by Giacometti as well as other artists such as Pablo Picasso, Henri Matisse, Georges Braque and Marc Chagall (see lot 1).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

ARMAND GUILLAUMIN (1841-1927)Portrait d'André, fils de l'artiste signed 'Guillaumin' (upper right)pastel and pencil on paper42.5 x 33.9cm (16 3/4 x 13 3/8in).Executed circa 1903Footnotes:The authenticity of this work has been confirmed by the Comité Guillaumin. This work will be included in the forthcoming Vol. II of the Armand Guillaumin catalogue raisonné, currently being prepared by Stéphanie Chardeau-Botteri, Dominique Fabiani and Jacques de la Béraudière.ProvenanceGalerie Kleinmann, Paris, no. 745.Anon. sale, Sotheby & Co., London, 11 April 1962, lot 177.Edward Sackville-West Collection, 5th Baron Sackville, UK, no. 503 (acquired at the above sale).Eardley Knollys Collection, UK (by descent from the above in 1965).Mattei Radev Collection, UK (by descent from the above in 1991).Private collection, London (by descent from the above in 2009).The present work previously formed part of the Radev Collection, a prolific UK collection of more than 800 works of Impressionist & Modern Art. The collection was fostered by individuals associated with the Bloomsbury Group, a loose collective of artists, writers and philosophers who from the beginning of the twentieth century generated progressive and influential discourse on aesthetics, criticism, politics and sexuality. An offshoot of London's intellectual aristocracy, the group's shared ideals were in opposition to the bourgeois habits of Victorian life. Artists such as Duncan Grant and Vanessa Bell and writers such as Virginia Woolfe and E.M. Forster were among this cohort. A social group as well as a movement in thinking, the Bloomsbury Group's participants engaged in varied and complicated relationships which often transgressed British society's expectations of monogamy and heteronormativity. The Radev Collection was begun by the novelist and music critic Edward Sackville-West, 5th Baron Sackville, in the late 1930s. His friend and sometimes lover Eardley Knollys then inherited the collection upon Sackville-West's sudden death from an asthma attack in 1965. Knollys was an artist and art dealer who collected and traded in works by artists such as Amedeo Modigliani, Paul Gauguin, Pablo Picasso and Chaïm Soutine, whilst promoting and supporting his fellow emerging Modern British artists. Knollys was also a lover of Mattei Radev, an émigré who had escaped communist Bulgaria in 1950 by swimming to Turkey and stowing away in a cargo ship travelling from Istanbul to Glasgow. Radev became a fixture of London's artistic milieu, setting up a fashionable picture framing workshop in Fitzrovia with a loan from Knollys and becoming a keen collector of European and British Modern Art. Radev inherited the wider collection upon Knollys' passing in 1991.For further information on this lot please visit Bonhams.com

WASSILY KANDINSKY (1866-1944)Milieu jaune signed with the artist's monogram and dated '34' (lower left); signed with the artist's monogram, inscribed and dated 'No. 597 1934 - 'Milieu jaune'' (on the reverse)oil and tempera on panel64.6 x 81.3cm (25 7/16 x 32in).Painted in Paris in March 1934 Footnotes:ProvenanceNierendorf Gallery, New York, no. 28.Hilla von Rebay Collection, Westport (acquired by 1945).Nina Kandinsky, Paris.Galerie Maeght, Paris, no. 9433 (acquired from the above by 1970).Private collection, Europe (acquired from the above in 1975).A gift from the above to the present owner in 1983.ExhibitedLondon, April 1937. (Possibly) Bern, Kunsthalle Bern, no. 0060.New York, Solomon R. Guggenheim Foundation, Museum of Non-Objective Painting, In Memory of Wassily Kandinsky, 15 March - 15 May 1945, no. 146. Paris, Galerie René Drouin, Kandinsky, Époque parisienne, 1934-1944, 2 June – 2 July 1949, no. 43.Paris, Galerie Maeght, Kandinsky, November 1953, no. 42. Paris, Galerie Maeght, Kandinsky, Période parisienne, 1934-1944, 1969, no. 1 (later travelled to New York).Baden-Baden, Staatliche Kunsthalle, Wassily Kandinsky, Gemälde 1900-1944, 10 July – 27 September 1970, no. 129. Humlebaek, Louisiana Museum of Modern Art, Wassily Kandinsky-Paul Klee, 30 October 1971 – 9 January 1972, no. 31. Charleroi, Palais des Beaux-Arts, Wassily Kandinsky rétrospective, 29 January – 12 March 1972, no. 38. Zurich, Galerie Maeght, Kandinsky, April 1972, no. 45. Paris, Musée d'Art Moderne de la Ville de Paris, Hommage de Paris à Kandinsky, La conquête de l'abstraction, l'époque parisienne, 7 June – 30 July 1972, no. 16. LiteratureThe artist's handlist, Vol. IV, no. 597. W. Grohmann, Wassily Kandinsky, Life and Work, New York, 1958, no. 434 (illustrated p. 385). H.K. Roethel & J.K. Benjamin, Kandinsky, Catalogue Raisonné of the Oil Paintings, Vol. II, 1916-1944, London, 1984, no. 1034 (illustrated p. 934).His admirable eye, merging with his faint veil of glass to form perfect crystal lights up with the sudden iridescent glitter of quartz. It is the eye of one of the first and one of the greatest revolutionaries of vision.- André Breton in his preface for the catalogue of the 1938 Kandinsky exhibition organised by Peggy Guggenheim in London, translated by Samuel Beckett.A conjuror of sublime artistic realms, Wassily Kandinsky was limitless in achieving grand and adventurous compositions. But in the harsh grounds of reality – namely, Europe in 1933 – he once again found himself torn between worlds. Kandinsky and his wife Nina's uprooting from Berlin had been sudden, spurred by the Nazi regime's coordinated attack on Modern art, which culminated in the closing of Kandinsky's beloved Bauhaus school. As a Russian-born artist whose fame was then more pronounced in Germany than in France, Kandinsky encountered in Paris a strange hybrid of novelty and familiarity. Cubism was enjoying a fervent resurgence, the Surrealists were transforming the definition of art, and the Abstraction-Création movement was revitalising austerity and constructivism in art. But none of these dogmatic movements, with their rigid formulae and manifestos, wooed Kandinsky. While he extracted certain stylistic and technical innovations from his peers, he ultimately sought freedom and solitude in his wholly individual style. The present work was created at the outset of Kandinsky's richly prolific Paris period, commencing in 1934 after a six-month hiatus due to his and Nina's relocation. In his new studio at Neuilly-sur-Seine, Kandinsky generated a body of work that exploded with vision and colour, introducing a fresh vocabulary of forms grounded in the infinite complexity of the natural world. Despite his being forced to leave Germany at the brink of its demise, these paintings - the first of which was aptly titled Montée gracieuse ('Graceful ascent') - exude optimism, sentimentality and faith in the future. Toiling in relative seclusion, Kandinsky reaffirmed his persona as a painter of worlds, concocting grandiose visions of words, sounds and organisms, distilled by his unique and highly spiritual painterly formula. Milieu jaune presents to the viewer a celestial vision, which at once feels universal and deeply personal. The background throngs with the cosmic force of some omnipotent entity made of glowing yellow starlight, encased in swirling vortexes of lavender and pink. To the lower centre, a purple crescent moon rendered with compass-like exactitude rises like an omen over a conservatory dome bathed in daylight, housed behind a proscenium archway one might access via the floating rungs beneath it. These architectural forms conjure a grand temple in an Arcadian realm, immortalised by their constructive frameworks and yet undulating in a rhythmic trance. Indeed, the central diagonal lines seem to evoke successive chords in a symphony, while the alternating colour planes in the nearby pentagon conjure a tinkling melody, anchored by the steady percussion of the short, staccato lines to the upper centre. These tantalising currents, made tangible through the repeated hints of gateways and ladders, generate an ultimate odyssey of contemplation. The viewer – guided by divine light – is invited to step up into the painterly realm and explore its glimmers of interlinking narratives and settings. The Surreal notion of physically inhabiting an artwork captivated Kandinsky since childhood, as he would later call upon the viewer to 'take a walk' in his paintings, 'to compel him to forget himself, to dissolve himself in the picture' (Kandinsky quoted in W. Grohmann, op. cit., p. 31). Concurrently, the resemblance between Kandinsky's semi-circular and oval forms to eyes invokes a sense of omnipotence, as we the all-seeing viewers take stock of the artist's grand design. This overwhelming sense of gazing upon a primordial universe is a powerful incantation of Kandinsky's abstraction, which was crafted according to 'the totality of natural laws governing the cosmos' (Kandinsky quoted in W. Grohmann, ibid., p. 224). In Paris in the 1930s, Kandinsky's new focus on scientific, biological and cosmic motifs brought that motive to fruition, in the spirit of his friends Paul Klee and Jean (Hans) Arp, as well as Surrealists such as Salvador Dalí and Joan Miró. Indeed, the playful sequence of undulating semicircles to the lower left could convey fairy-tale toadstools, or the interlocking segments of a caterpillar-like entity on the brink of its imminent metamorphosis. 

FERNAND LÉGER (1881-1955)Sculptures polychromes (Étude pour une affiche d'exposition) signed and inscribed 'F. Léger Galerie Louis Carré' (lower centre), inscribed 'Sculptures Polychromes' (upper centre and centre right) and further inscribed '16 janvier 53' (upper centre)gouache and pencil on paper68 x 51.4cm (26 3/4 x 20 1/4in).Executed in Paris in 1953Footnotes:ProvenanceAteliers Mourlot Collection, Paris (acquired directly from the artist).Mourlot Collection, Paris (by descent from the above).Acquired from the above by the present owner in 1993.Please note that the present work is accompanied by the lithographic poster, printed by the Ateliers Mourlot, for which it is a preparatory study.By the middle of the twentieth century, the Ateliers Mourlot in Paris had become the epicentre of innovation in French printmaking. Its director Fernand Mourlot had greatly expanded the activities of his grandfather Francois Mourlot's studio – founded in 1852 as a producer of fine wallpaper – by collaborating with leading Modern artists on traditional limestone lithography. Pablo Picasso, Alexander Calder, Marc Chagall, Henri Matisse and Fernand Léger were among this coterie, who sought exciting new forms of expression from the medium. Mourlot encouraged them to apply their designs directly to the limestone matrices in order to create raw and striking lithographic editions.The artist poster rose out of this zeitgeist as a critical new artform. With his eclectic artistic experience, including as an illustrator, designer, ceramicist, filmmaker and painter, Léger relished the wide audience his lithographic designs could reach on the bustling city streets of Paris. He created exuberant, vibrant posters featuring his iconic motifs – with birds being a favourite among them. By imbuing fine art with the ubiquity of popular culture, Léger succeeded in energising and reinforcing both his artistic persona and his brand. The present gouache offers a privileged glimpse into Léger's working method and evidences the significant time and effort he poured into his poster designs, which are now valued as precursors to Pop Art. Léger has harnessed the smooth tones and rapid fluidity of gouache to execute a playful composition that speaks with his trademark lyricism and dynamism – one that will be served greatly by its eventual reproducibility. The simplified forms, grounded in Cubism and Futurism, are rendered in bold and primary colours – a practical choice for Mourlot's printmaking method, and a fitting advertisement for his exhibition of new sculptures at the fashionable Galerie Louis Carré. This work has remained in the collection of the Ateliers Mourlot since its genesis, thence passing to the Mourlot family heirs, from whom the present owner acquired it in 1993.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

RAOUL DUFY (1877-1953)Portrait de Madame Raoul Dufy signed 'Raoul Dufy' (lower centre)brush and India ink on paper63.9 x 48.4cm (25 3/16 x 19 1/16in).Executed circa 1916Footnotes:ProvenanceGalerie Berthe Weill, Paris (probably acquired directly from the artist, circa 1917-1919).Theo Waddington Fine Art, London, no. 5559.Annandale Galleries, Sydney, no. RD 10.Private collection, Sydney (acquired from the above on 7 September 1997).ExhibitedLondon, Theo Waddington Fine Art in association with Annandale Galleries, Sydney, Raoul Dufy, 18 June – 12 July 1997 (later travelled to Sydney).LiteratureF. Guillon-Laffaille, Raoul Dufy, Catalogue raisonné des aquarelles, gouaches et pastels, Vol. II, Paris, 1982, no. 1747 (illustrated p. 249).A multitalented artist and designer, Raoul Dufy designed the floral-patterned fabric of the dress here worn by Madame Dufy. Clearly a favourite garment, Madame Dufy is depicted wearing it in several further portraits by her husband. The playfully stylised, swirling designs of the dress are rendered here in sensuous strokes of deep-black ink, evoking a tender and loving dialogue between artist and sitter.Shortly after its execution, this work was with the Galerie Berthe Weill at 50 rue Taitbout, Paris, where it was located from 1917 to 1919. Although lesser known than her male contemporaries such as Ambroise Vollard and Daniel-Henry Kahnweiler, Berthe Weill is now understood to have been a key figure in the twentieth-century Parisian avant-garde. She was a dealer of Dufy's in addition to other major Modern artists such as Pablo Picasso, Henri Matisse and Suzanne Valadon, holding a number of ground-breaking exhibitions. In 1917 she mounted the only solo show of Amedeo Modigliani's work held during his lifetime. That exhibition was quickly shut down by the commissaire of the nearby police station, who reviled the fact that Modigliani's odalisques – which have sold for over £100m – had visible pubic hair. A middle-class woman of Jewish heritage, Weill remained destitute for much of her life and fell into obscurity after her death in 1951, following her hiding from persecution during World War II. But there has recently been a great influx of interest into this enigmatic historical figure, culminating in the translation and republishing of her memoir in 2009 and the 2011 release of the first comprehensive study of her life and work by Marianne Le Morvan. A sweeping exhibition titled Berthe Weill, Art Dealer of the Parisian Avant-Garde will commence at the Grey Art Gallery, New York and the Montreal Museum of Fine Arts, Montreal, in the autumn of 2024.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

JEAN COCTEAU (1889-1963)Étude pour 'Hommage à Paul Klee' (recto); Étude pour le portrait de Marie Bell (dans Phèdre) (verso) inscribed 'Herr Pa Klee L'épigone d'Athènes' (upper right) and further inscribed 'Hommage' (lower left); inscribed 'Marie Bell' (on the reverse)coloured felt-tip pen and black pencil on paper (recto); coloured felt-tip pen on paper (verso)65 x 50cm (25 9/16 x 19 11/16in).Executed circa 1962 (recto); executed circa 1960-1962 (verso)Footnotes:The authenticity of this work has been confirmed by Annie Guédras.ProvenanceSéverin Wunderman Collection, Côte d'Azur; his sale, Bonhams, Knightsbridge, 25 January 2011, lot 171.Private collection, London (acquired at the above sale).ExhibitedSapporo, Hokkaido Museum of Modern Art, Exhibition Jean Cocteau, Séverin Wunderman Collection, 19 April – 29 May 2005, no. 57 (later travelled to Tokyo, Kofu, Kobe and Morioka).The front of the present work is an homage to Jean Cocteau's friend Paul Klee, depicting him as a Modern dandy and labelling him as an epigone of Athens. The lively, outlandish motifs, such as the monkey-dog Klee walks and the fish flying by, comprise an unlikely foreground against the distant Acropolis. An enthusiast for the Classical world, Cocteau could here be revering the precision and spiritual force of Klee's compositions, many of which can be interpreted as Surreal and Abstract renditions of Arcadia. The reverse of the sheet depicts Marie Bell, a talented French actress who starred in a number of comedic and tragic roles across theatre and cinema. This drawing was likely executed as a study for a series of posters Cocteau made of Bell in the 1960s, showcasing her performance in Phèdre, Jean Racine's adaptation of the original Roman tragedy Phaedra by Lucius Annaeus Seneca.The present work previously formed part of the illustrious collection of Séverin Wunderman, the famous luxury watch manufacturer, art collector and philanthropist, renowned for developing Gucci Timepieces into a powerful global brand. Perhaps the most notable of his international residences was Chateau Montfort, a 16th century hunting lodge on the Côte d'Azur, which he painstakingly restored, renovated and decorated. A particularly exotic homage to Cocteau existed in the form of a suite in which the entire sitting area and bedroom were covered floor to ceiling in Cocteau works. Chateau Montfort hosted a number of flamboyant events that were fixtures in the Côte d'Azur social calendar, including The White Party and The Tintin Party. Wunderman, who was considered to be the world's largest Cocteau collector before he passed away in 2008, established a museum of Cocteau's work in Menton that was adorned with works from his private 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

GEORGE GROSZ (1893-1959)Akrobatentruppe signed 'Grosz' (lower right) and inscribed 'Akrobatentruppe' (lower left)pen and ink and coloured pencil on paper22.6 x 29.2cm (8 7/8 x 11 1/2in).Executed in 1915Footnotes:The authenticity of this work has been confirmed by Ralph Jentsch. This work will be included in the forthcoming George Grosz catalogue raisonné of works on paper, currently being prepared.ProvenanceRichard L. Feigen & Co., Chicago and New York, no. 835-A (probably acquired directly from the artist in the 1950s).Lafayette Parke Gallery, New York.Runkel-Hue-Williams Ltd., London.Sandra Canning Kasper, New York.Private collection, US (acquired in 1995).Exhibited(possibly) Chicago, Richard Feigen Gallery, George Grosz (1915-1927), 18 January - 25 February 1961, no. 19. Cleveland, Cleveland Museum of Art, Art for Collectors, 5 October - 7 November 1971.New York, La Boetie, Inc., The Psyche Unleashed, German Art 1905-1925, November 1990 - 12 January 1991.George Grosz has long been renowned for his unflinchingly wicked and bitingly satirical caricatures of the harsh life in Germany during the First World War and in the chaotic Weimar Republic that was ushered in after Germany's defeat in November 1918. Focusing on the social corruption and moral decay of Germany during these years, he relentlessly persisted with his ruthless social commentary until he left for the United States in 1933.An agitator from the outset, Grosz showed signs of nonconformity in his youth and in 1908 was expelled from his art classes for insubordination; he later studied in Dresden before settling in Berlin, both home to the Brücke group. As with so many artists, Grosz volunteered for the army at the outbreak of war in 1914 and served on the Western Front. Whilst only serving briefly due to a medical discharge in 1915, the merciless mechanical savagery of modern conflict had a profound effect on Grosz, as also did witnessing the catastrophic effects the war had on the working classes of the German populace.Grosz's lampooning ire turned to those he deemed responsible for the thousands of deaths and for those who sought to profit from it. War mongering militarists and the greedy industrialist war profiteers – whom he always depicted as obese – became some of the central figures in his work. Calling on German Gothic art's brutally grotesque imagery, in tandem with the scratchy graffiti scrawled on the bathrooms of Berlin's brothels, and the emerging avant-garde movements - Expressionism, Cubism and Futurism - Grosz developed an angular, harsh and iconically unique style.In the present work, whilst depicted with bulging muscular bodies, there is a skeletal element to the central acrobat's head and a deathly, dark atmosphere among the troop, as if they are preparing to perform a dance of death to a baying crowd. Even the small dogs mirror this visage, their ribs protruding from the sides of their bodies. An ominous voyeuresque figure lingers in the rear, the viewer unsure of his intent.Mostly working in pen and ink or pencil, Grosz added colour to only a few works and even fewer were so extensively worked as Akrobatentruppe. Executed in 1915, brimming with colour and Grosz's idiosyncratic caustic energy, this is arguably the most complete and well-worked rendition of the acrobat characters to appear at auction, which it does now for the first time.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

HERMANN LISMANN (1878-1943)Selbstporträt signed and dated 'H. Lismann 19.' (upper right)oil on canvas laid down on board58 x 47.7cm (22 13/16 x 18 3/4in).Painted in 1919Footnotes:ProvenancePrivate collection, UK.Hermann Lismann was a German painter and professor, born in Munich in 1878. Here he studied art history and philosophy, before receiving artistic training under the guidance of Franz von Stuck and Heinrich Knirr. Following this tutelage, he moved to Paris in 1904-1914 where he was an active member of the Café du Dôme circle. This renowned café on Boulevard Montparnasse became a frequent haunt for foreign artists living in the city and many of Modern art's most important protagonists were 'Dômiers' – a name coined by Guillaume Apollinaire. Alfred Flechtheim, Paul Cassirer and Otto Feldmann became important advocates for their work within Germany and held exhibitions in the Rhineland. At the outbreak of war in 1914, the group was dissolved and Lismann, a German citizen, joined the army.Returning to his homeland and surviving the brutal devastation of the First World War, Lismann settled in Frankfurt am Main, where he taught at the Kulturband Jewish art studio. Many of his works were also acquired by local museums and he also became a member of the Frankfurter Künstlerbund, an artist's association.During the rise of Hitler in Germany, Lismann again returned to France, though on this occasion he fled to escape Jewish persecution. As the Second World War began, he was interned by the French government due to his German citizenship and was put in Gurs internment camp in southern France. Gurs was constructed in 1939 by the French government in response to the end of the Spanish Civil War, though with the onset of World War II it was used to house 'enemy aliens' – with the later alliance between the Vichy Regime and the Nazis, this was comprised mainly of German Jews. Tragically, from here, he was sent to his death at Majdanek extermination camp in Poland.One of a number of 'forgotten' German Expressionist artists in the present day, Lismann was a prolific painter whose work was widely appreciated before the war. A huge number of his works were confiscated from public collections in Frankfurt and Wuppertal by the Nazi 'Degenerate Art' regime and subsequently disappeared, presumably destroyed. As a result, his work as an artist went largely unappreciated and unknown after the Second World War and his works are rarely seen on the market. Today, the Städel Museum in Frankfurt holds one of the largest public holdings of Lismann's works, comprising mainly works on paper and prints.For further information on this lot please visit Bonhams.com

Gwen Raverat (1885-1957), wood engraving on paper, The Quarrel (1910), 7.6cm x 10cm, from the Modern Woodcutters suite. Printed from the blocks by Walter Bradley at the Morland Press and published by Herbert Furst at the Little Art Rooms, London in October 1920. Mounted, glazed and framed

Theft, fraud & corruption.- Vieira (Antonio) Arte de furtar, espelho de enganos, theatro de verdades, mostrador de horas minguadas, gazua geral dos reynos de Portugal, engraved portrait frontispiece by G.F.L. Debrie (dated 1745), title printed in red and black, some staining, occasional spotting, lightly browned, antique style mottled calf, richly gilt spine in compartments and with double red morocco labels, rubbed at extremities, lower cover with several small dents,[Azevedo-Samodães 3508; Borba de Moraes (1983) II, 921-922; Innocêncio I, 292 & XXII, 434; Leite Companhia de Jesus no Brasil IX, p.322; Pinto de Mattos 562; Rodrigues 2523; Soares I, 527 & 679], Amsterdam [?but Lisbon], Martinho Schagen [?but João Baptista Lerzo], 1744; and a 19th century London edition of the same (text in Portuguese), small 4to & 8vo (2)⁂ 'curious and amusing treatise on the noble art of thieving in all kinds, private, official, civil and military. Its anecdotes are racy...' (Bell, Portuguese Literature, p.265). Although the title gives Vieira as the author, it is now likely that it was in fact the controversial Jesuit Father Manuel da Costa. Our copy corresponds to Roger Bismut's C2. Provenance: J.G. Mazziotti Salema Garção (modern armorial bookplate).

*FRANCIS PICABIA (1879-1953) 'Effets de neige, bords de l'Yonne' snow settling on the banks of the river, Villeneuve-sur-Yonne, signed and dated 1906 lower left, oil on canvas, 65cm x 92cmProvenance: An Artistic Family Collection, WiltshireFrom 1903 onwards Picabia frequently painted in and around Moret-sur-Loing near Fontainebleau, which was home to Alfred Sisley from 1880 until 1899. Painted in 1906, 'Effets de neige, bords de l'Yonne' depicts a view of Villeneuve-sur-Yonne, about an hour south of Fontainebleu, and shows the Yonne river calmly passing under the 18th century bridge that connects the town, with the tower of the Church of Notre-Dame visible beyond. The flock of birds flying overhead almost suggesting that the bells may just have rung.Born in Paris in 1879 into a wealthy Franco-Cuban family, Francis Picabia brimmed with confidence and naturally embraced the avant-garde. He studied at the Ecole des Beaux-Arts with Fernand Cormon and attended the Ecole des Arts Décoratifs from 1895 to 1897, but by 1904 had sloughed off the dark palette of academic painting to engage with Impressionism. He was particularly influenced by the work of Camille Pissarro, a political free-thinker constantly open to new artistic influences, and by that of Alfred Sisley, with his intense and highly personal response to nature. Sisley's impressionist period would swiftly come to an end by the end of the decade and by 1911 he joined the Puteaux Group and met artists such as Marcel Duchamp, Jean Metzinger and Fernand Leger. He actively introduced modern art to the United States by exhibiting his proto-Dada works, travelling there several times from 1913-15. In 1916, he began a periodical on the Dadist style, but in 1921 he broke away from the movement, turning to figurative painting. Before the end of World War II, he returned to Paris where he resumed abstract painting and writing poetry. A large retrospective of his work was held at the Galerie René Drouin in Paris in the spring of 1949. Francis Picabia died in Paris in 1953 and was interred in the Cimetière de Montmartre.

A modern Art Deco style wall mirror with central bevelled oblong plate within a mirrored border - 1.16m X 87cm

An Art Deco clock garniture of marble structure, battery operated (untested), along with a modern reproduction Deco style lamp, resin lady figure with detachable glass panel to behind. (electric - untested).

A small collection of decorative art ceramic wares to include; a tall cylindrical Bourne Denby "Danesby Ware" tapered glazed vase, marks to base, approx. 21cm high, a small Torquay "Lemon & Crute" blue ground floral designed plate, approx. 16.5cm diameter, and a tall unmarked Studio Pottery handled jug with red ground and added detail, approx. 24.5cm high. Along with a modern Studio Pottery terracotta footed bowl, signed to base, with various mixed colourful shades to design. Approx. 32.5cm diameter.  Further Details: Some nibbles to Torquay plate, general wear to all. 

Vanessa Bell - Clarice Cliff - A Coronet shape jug circa 1934, decorated in the Vanessa Pattern with a band of circles, spots and crosses to the upper rim with spot line border, printed signature, height 15.5cm.  N.B - This was designed by Bloomsbury artist Vanessa Bell for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Ernest Proctor - Clarice Cliff - A pair of large Athens shape tea cups and saucers circa 1934, hand painted in silver lustre over a green glazed ground with stylised figures to a landscape with a wave line, printed signature, damages. NB - This was designed by Ernest Proctor for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth and Ben Nicholson were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.

Herbert Percy Horne (1864-1916)Snipe and Berried Foliageseven painted ceiling panels on canvas for the Drawing Room at Pownall Hall, Cheshire, one snipe panel and six berried foliage panels,unsigned62.5 x 62.5cm (each panel), (7) ProvenancePownall Hall in Wilmslow, CheshireVictorian Paintings, Drawing and Watercolours, Sotheby's lot 161, 12th November 1992Private collection. LiteratureT Raffles Davison A Modern Country Home (a Review of Pownall Hall), the Art Journal, 1891, pages 329, 325, Drawing Room illustrated page 333.Nikolaus Pevsner and Edward Hubbard The Buildings of England, Cheshire, pages 385-386.Stuart Evans & Jean Liddiard Arts and Crafts Pioneers - The Hobby Horse Men and their Century Guild, page 114 and 115 for larger figural panels from the Drawing room, painted by Selwyn Image, illustrated. On page 120 figure 5.34 is a photograph, circa 1890, showing the squared ceiling. Catalogue notesPownall Hall in Wilmslow, Cheshire was built circa 1830-1835. In 1866 a plan of refurbishment was begun by the brewer Henry Boddington and his associate, William Ball. For the interior decoration of the house they called upon members of the progressive Century Guild: Herbert Horne, Arthur Haygate Mackmurdo and Selwyn Image. The ceiling was divided into square panels decorated with hare, snipe and fruit enclosed within scrolls of citron leaves. After 1884 Horne became editor of the Century Guild's magazine, The Hobby Horse, which influenced William Morris and the Arts and Crafts movement.

Donaldson (Prof. J), BRITISH AGRICULTURE: CONTAINING THE CULTIVATION OF LAND, MANAGEMENT OF CROPS AND THE ECONOMY OF ANIMALS, green textured boards, embossed decoration to cover, gilt title and illustration to spine, engraved frontispiece, engraved illustrations throughout, Atchley & Co, London 1860; with Sidney (S), THE BOOK OF THE HORSE, red cloth boards, embossed illustration and gilt title to cover and spine, monochrome frontispiece, monochrome plates and illustrations throughout, Cassell & Co Ltd, London 1893; and Miles (W.J.), MODERN PRACTICAL FARRIERY, A COMPLETE SYSTEM OF THE VETERINARY ART, 3/4 red leather, gilt titles to spine, colour lithographic frontispiece, further colour plates and monochrome illustrations throughout, William Mackenzie, London circa 1880 (3) (at fault)

CLARE RANSOM: two silver 'Shell' vesselsfine '999' standard silver, London 2009Hand-raised, stretched and folded to create these pleated shaped conical form vessels, the satin finish with a burnished edge, approximate width 10cm, weight 10.4oz. (2)Footnotes:Provenance:Private collectionPurchased from John Higgins Modern and Contemporary Silver selling exhibition June 2013.CLARE RANSOM (1964)Clare graduated with a BA in 3D Design Metalwork and Jewellery from Surrey Institute of Art and Design in 2005, and in 2007 an MA in Contemporary Craft Practice.In 2005 Clare won the New Designers Goldsmiths' Graduate Award for silversmithing and in 2006, she won two gold awards at the Goldsmiths Craft and Design Council Awards.She explores the intrinsic qualities of silver as a craft material. Using hammers and punches worked over nylon formers to manipulate a single sheet of silver, drawing it inwards into soft, flowing organic bowls and vessels.For further information on this lot please visit Bonhams.com

PHIL BARNES: a unique silver and enamelled 'Blue Leaves' vaseLondon 2015Plain polished body, the sides engraved and basse-taille enamelled in blue with leaves among trailing branches, further bright cut engraved leaves engraved to give more depth after enamelling, height 11.8cm, diameter at widest point 0.58cm, weight 8.1oz.Footnotes:Provenance:Private collectionPurchased from John Higgins Modern and Contemporary Silver selling exhibition July 2015.PHIL BARNES (1952-2019)Phil Barnes described the basse-taille technique, where the enamel is laid over a low relief engraved design giving variations of colour due to the different thicknesses of the enamel. A monotone effect is achieved with darker and lighter shades due to the variation of the depth of the engraving.Phil's working life spanned more than fifty years as a full-time professional enameller. Phil Barnes began his enamelling career in 1967, at the age of fifteen, following in his father's footsteps. He completed his apprenticeship with his father's company C F Barnes & Co in 1971 and in the same year won the coveted Jacques Cartier 'Craftsman of the Year' Memorial Award. The Cartier Award is given for work showing exceptional and outstanding craft skills, serving as a benchmark of the highest technical quality and Phil became the youngest ever recipient of the prized Cartier Award. He went on to become a working partner in the business and later set up his own workshop in Clapham, London following his father's retirement in 1983.By 2017 Phil had been awarded thirty-five Goldsmiths' Craft and Design Council awards for enamelling, engraving and designer finished pieces and in 2019 'Abstract Vase No. 1' was included into the Goldsmiths' collection. The passing on of knowledge was important to Phil and in 2019 he achieved his ambition to leave a written record of his way of working when his book 'Engraving and Enamelling – The Art of Champlevé' was published. This lot is recorded in this publication on page 107.Literature:Illustrated Phil Barnes, 'Engraving and Enamelling - The Art of Champlevé', (The Crowwood Press Ltd, 2019), page 107.For further information on this lot please visit Bonhams.com

JANE SHORT: a rare silver and enamelled 'Galaxy' vaseLondon 2008Cylindrical flared form vase, finely engraved and enamelled in champlevé and basse-taille techniques, with subtle engraving swirls around the sides, the central theme are the numerous stars incorporated into the design, some plain, others engraved or enamelled, on one side a central star is surrounded by a red enamelled burst of rays and with swirls enamelled in blues emanating from the flames, gilded to the interior, height 21.5cm, diameter at top 13.5cm, weight 29.5oz.Footnotes:Provenance:Private collectionPurchased from John Higgins Modern and Contemporary Silver selling exhibition June 2010.JANE SHORT MBE (1954)Jane was introduced to enamelling in 1974 whilst studying at the Central School of Art and Design, and every work since has been enamelled. In 1976 she studied at The Royal College of Art under Professor Gerald Benney graduating in 1979. Jane is an artist enameller, who combines the techniques of engraving and champlevé and basse-taille enamel to produce rich painterly images drawn from nature.Jane has become one of the best known and established enamellers, and has taught enamelling widely throughout her career, in 2016 she was awarded an Member of the Order of the British Empire (MBE) for services to the Craft of Enamelling.She was winner of the Jacques Cartier Memorial Award awarded by the Goldsmiths' Craft and Design Council in 2008 for outstanding craftsmanship.Jane has exhibited widely and her work is represented in the collections of many important museums, such as the Victoria and Albert Museum, the Fitzwilliam and Ashmolean Museums, The Keatley Trust, The Silver Trust Collection for use at 10 Downing Street and the Goldsmiths' 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

* Phelan Gibb (Henry William, 1870-1948). Still Life with Bowls and Vases of Flowers, circa 1946, oil on canvas, signed ‘Phelan Gibb’ lower left, 50.7 x 61cm (20 1/8 x 24 ins), in an Italian wooden frame, with a label verso typewritten 'Lent by Lucy Werthheim', frame 59.5 x 69 cmQTY: (1)NOTE:Provenance: Lucy Wertheim; Michael Dawson; Derwent Wise; Collection of Michael and Megan Dawson.According to the handwritten note added to the typewritten label to verso this painting was offered to Derwent Wise by Michael Dawson as security for a loan, the full text reads: 'Not as I remember it! As I recall, this picture was offered as security on a loan (of £5, I believe) at the time in the early 1950s when we were both students in Whitley Bay. When I came to redeem it several months later, Derwent claimed I had in fact sold it to him.... a view he maintained for over 50 years. Also - I didn't work in Lucy Wertheim's galley in Ashford, Derbyshire - I was introduced to her by a girlfriend who had worked there. Michael Dawson, 23 iv 05'.Harry Phelan Gibb was born in Alnwick, Northumberland, and studied in Newcastle, Edinburgh, Antwerp, and Munich before moving to Paris for 25 years up until the First World War. While there, he exhibited regularly at the Salon d'Automne, and was included in the infamous Armory Show of Modern Art in New York, alongside Picasso, Matisse, Duchamp, and others. In the same year, he held a one-man show at the Bernheim Jeune gallery in Paris, and in Dublin in 1914 an important exhibition of his work was closed down on the eve of its opening due to the opposition at the Catholic Church to numerous studies of nudes included in it. He was rediscovered in the early 1930s by the art dealer Lucy Wertheim, who wrote in her autobiography Adventure in Art: 'The English artist still living whose work probably is of the most permanent value id Phelan Gibb. One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Cezanne, Picasso, Kolle and Christopher Wood in international exhibitions of Modern Art' (page 31).

* Phelan Gibb (Henry William, 1870-1948). Composition, oil on card, signed ‘Phelan Gibb' lower left, 28.5 x 33.5 cm (11 1/4 x 13 1/4 ins), gilded wood frame, with typewritten label to verso 'Collection of Derwent Wise. Phelan Gibb 1870-1948. Abstraction-probably about 1945. This painting was acquired from Mr. Michael Dawson. It had been given to him by Lucy Wertheim during a period when he worked in her Gallery. She represented his work in her Galley and also was an author of a biography of Phelan Gibb', with additional handwritten inscription by Michael Dawson to the label, dated 23 iv 05', frame 45 x 49.5 cmQTY: (1)NOTE:Provenance: Lucy Wertheim; Michael Dawson; Derwent Wise; Collection of Michael and Megan Dawson.According to the handwritten note added to the typewritten label to verso this painting was offered to Derwent Wise by Michael Dawson as security for a loan, the full text reads: 'Not as I remember it! As I recall, this picture was offered as security on a loan (of £5, I believe) at the time in the early 1950s when we were both students in Whitley Bay. When I came to redeem it several months later, Derwent claimed I had in fact sold it to him.... a view he maintained for over 50 years. Also - I didn't work in Lucy Wertheim's galley in Ashford, Derbyshire - I was introduced to her by a girlfriend who had worked there. Michael Dawson, 23 iv 05'.Harry Phelan Gibb was born in Alnwick, Northumberland, and studied in Newcastle, Edinburgh, Antwerp, and Munich before moving to Paris for 25 years up until the First World War. While there, he exhibited regularly at the Salon d'Automne, and was included in the infamous Armory Show of Modern Art in New York, alongside Picasso, Matisse, Duchamp, and others. In the same year, he held a one-man show at the Bernheim Jeune gallery in Paris, and in Dublin in 1914 an important exhibition of his work was closed down on the eve of its opening due to the opposition at the Catholic Church to numerous studies of nudes included in it. He was rediscovered in the early 1930s by the art dealer Lucy Wertheim, who wrote in her autobiography Adventure in Art: 'The English artist still living whose work probably is of the most permanent value id Phelan Gibb. One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Cezanne, Picasso, Kolle and Christopher Wood in international exhibitions of Modern Art' (page 31).

▴ Sir Jacob Epstein (1880-1959) First portrait of Kitty (with curls) bronze with a gold-brown patina, conceived in 1944 42cm wide 43cm deep 47cm high overall, on a composite stone base Provenance: Christie's, South Kensington, 'Modern British & Irish Art', 9 December 2015. Exhibited: London, Leicester Galleries, 'Girl with the Gardenias and Other Recent Sculpture by Jacob Epstein', May-June 1994, no. 3. Literature: E Silber, 'The Sculpture of Epstein', Oxford, 1986, p.195, no. 356, another cast illustrated. Kathleen Eleonora 'Kitty' Garman, later Kitty Epstein and Kitty Godley (27 August 1926 – 11 January 2011), was a British artist and muse. She was a model for her father Jacob Epstein, her first husband, Lucian Freud, and Andrew Tift. In 2004 she had her own show at the New Art Gallery, Walsall. Kitty was well practised at sitting patiently for her portrait. The eldest daughter of the American-born twentieth-century sculptor Jacob Epstein, and his lover, also called Kathleen Garman. She frequently modelled for her father and here she is in bronze, cast in 1944, with a thick tumble of curls and those ever wide-open eyes. Condition ReportDirt, dust and discolouration in the crevices and eye sockets.

▴ Bridget Riley CH (b.1931)'Silvered 2' (21 Reds, 21 Blues, 24 Turquoise, 24 Yellows, 9 Blacks, 8 Whites)screenprint in colours, signed and dated 'Bridget Riley 1981' in pencil l.r., inscribed with title l.l., numbered '33/75'sheet 105 x 92cmAn icon of Modern British Art, Bridget Riley burst on to the scene in the 1960s with her signature Op Art style. Initially her work was dominated by black and white geometric patterns, but by 1967 she had begun to experiment with colour and produced her first striped painting. Following a trip to Egypt in the early 1980s, Riley was inspired by the colours and effects of hieroglyphics and began to incorporate that in her work. We can see this influence in the palette used for her 1981 ‘Silvered 2’.Condition ReportFramed:117.5cm x 104cmNot viewed out of glazed frame. Light cockling but appears to be in otherwise good condition. Presents well overall and is ready to hang.

Massoud Arabshahi (Iranian, 1935-2019)Untitled, c.1960signed l.r., mixed media on card100 x 69.5cmMassoud Arabshahi was born in Tehran, Iran, in 1935. His first solo exhibition took place at the Iran-India Centre, Tehran, in 1964, a year before graduating with a BA in Sculpture and Painting from the College of Decorative Arts, Tehran. He completed his education at the university in 1967 with an MA in Interior Design. Primarily known as a sculptor and muralist, Arabshahi’s body of work comprises oil painting, sculptures and architectural reliefs (including commissions for the Office for Industry and Mining, Tehran, 1971, and the California Insurance Building, Santa Rosa, USA, 1985). His own commissions came alongside those of fellow Iranian muralists Mohammad Hassan Shidel (b.1928) and Abolghassem Sa’idi (b.1928).Massoud Arabshahi sources his inspirations from Achaemenid and Assyrian art, as well as Babylonian carvings and inscriptions. By combining motifs from these seemingly different cultures with those of modern abstractions, Arabshahi is able to create a composition that pushes two- and three-dimensional boundaries. He questions language being the sole means of expression. Through his careful studies of Persian and Islamic art history, we see a deliberate yet thoughtful application of motifs.Condition ReportFramed 103 x 72.5cm. Please contact department for condition report.

Massoud Arabshahi (Iranian, 1935-2019) Untitled, c.1960 signed l.l., metallic paint on card 100 x 70cm, unframed Massoud Arabshahi was born in Tehran, Iran, in 1935. His first solo exhibition took place at the Iran-India Centre, Tehran, in 1964, a year before graduating with a BA in Sculpture and Painting from the College of Decorative Arts, Tehran. He completed his education at the university in 1967 with an MA in Interior Design. Primarily known as a sculptor and muralist, Arabshahi’s body of work comprises oil painting, sculptures and architectural reliefs (including commissions for the Office for Industry and Mining, Tehran, 1971, and the California Insurance Building, Santa Rosa, USA, 1985). His own commissions came alongside those of fellow Iranian muralists Mohammad Hassan Shidel (b.1928) and Abolghassem Sa’idi (b.1928). Massoud Arabshahi sources his inspirations from Achaemenid and Assyrian art, as well as Babylonian carvings and inscriptions. By combining motifs from these seemingly different cultures with those of modern abstractions, Arabshahi is able to create a composition that pushes two- and three-dimensional boundaries. He questions language being the sole means of expression. Through his careful studies of Persian and Islamic art history, we see a deliberate yet thoughtful application of motifs. Condition ReportPlease contact department for a condition report.

▴ David Hockney OM CH RA (b.1937)'Matelot Kevin Druez 2'digital print, signed 'David Hockney' and dated '09' in pencil l.r., numbered '25/30' l.l.image 139 x 93.5cmA pioneer of the 1960s British movement, David Hockney is one of our most celebrated and prolific artists. Endlessly versatile, he has produced acrylic paintings, photo collages, full-scale opera set designs, and digital works created on iPads. Hockney first gained recognition for his semi-abstract paintings of gay love. He moved to California in 1964 and captured his new home in sensual, pastel-hued scenes of uninhibited queer men whose idyllic, sunny backdrops feature swimming pools, palm trees, and light, beautiful homes. Hockney has exhibited at the Museum of Modern Art in New York, the Royal Academy of Arts in London, and the Van Gogh Museum in Amsterdam, among many other institutions. On the secondary market, his work has sold for more than $90 million.This present lot is an Inkjet-printed computer drawing on paper made by David Hockney in 2009 and it depicts a sailor smoking a cigarette while gazing provocatively at the observer. This particular representation is most probably affiliated with the queer Imaginarium in which a uniform fetish takes an important place. The sailor is not just a random bored figure; rather, he symbolises the sex appeal, a desire that had to be disguised and hidden for a long time.Condition ReportFramed: 162 x 116.5cmNot viewed out of glazed frame. Light cockling. Restoration to scratch beside left side of beret. Restoration to abrasion to side lower right leg. A light surface abrasion to the back of chair at the top on the left side, and to lower right side. Please refer to additional condition images.

Massoud Arabshahi (Iranian, 1935-2019)Untitled, c.1960signed l.r., mixed media on card99.5 x 48.5cm, unframedMassoud Arabshahi was born in Tehran, Iran, in 1935. His first solo exhibition took place at the Iran-India Centre, Tehran, in 1964, a year before graduating with a BA in Sculpture and Painting from the College of Decorative Arts, Tehran. He completed his education at the university in 1967 with an MA in Interior Design. Primarily known as a sculptor and muralist, Arabshahi’s body of work comprises oil painting, sculptures and architectural reliefs (including commissions for the Office for Industry and Mining, Tehran, 1971, and the California Insurance Building, Santa Rosa, USA, 1985). His own commissions came alongside those of fellow Iranian muralists Mohammad Hassan Shidel (b.1928) and Abolghassem Sa’idi (b.1928).Massoud Arabshahi sources his inspirations from Achaemenid and Assyrian art, as well as Babylonian carvings and inscriptions. By combining motifs from these seemingly different cultures with those of modern abstractions, Arabshahi is able to create a composition that pushes two- and three-dimensional boundaries. He questions language being the sole means of expression. Through his careful studies of Persian and Islamic art history, we see a deliberate yet thoughtful application of motifs.Condition ReportPlease contact department for condition report.

Massoud Arabshahi (Iranian, 1935-2019) Untitled, c.1960 signed u.l., mixed media on card 98 x 69.5cm, unframed Massoud Arabshahi was born in Tehran, Iran, in 1935. His first solo exhibition took place at the Iran-India Centre, Tehran, in 1964, a year before graduating with a BA in Sculpture and Painting from the College of Decorative Arts, Tehran. He completed his education at the university in 1967 with an MA in Interior Design. Primarily known as a sculptor and muralist, Arabshahi’s body of work comprises oil painting, sculptures and architectural reliefs (including commissions for the Office for Industry and Mining, Tehran, 1971, and the California Insurance Building, Santa Rosa, USA, 1985). His own commissions came alongside those of fellow Iranian muralists Mohammad Hassan Shidel (b.1928) and Abolghassem Sa’idi (b.1928). Massoud Arabshahi sources his inspirations from Achaemenid and Assyrian art, as well as Babylonian carvings and inscriptions. By combining motifs from these seemingly different cultures with those of modern abstractions, Arabshahi is able to create a composition that pushes two- and three-dimensional boundaries. He questions language being the sole means of expression. Through his careful studies of Persian and Islamic art history, we see a deliberate yet thoughtful application of motifs. Condition ReportPlease contact department for condition report.

Ton Frenken,  Dutch 1930-2004 -  Presence, Tussen Akkorden, 1999;  acrylic on canvas, signed, titled and dated on the reverse 'Ton Frenken Presence, Tussen Akkorde 1999', 60 x 50cm (unframed) (ARR) Provenance:  Berkeley Square Gallery, London;  private collection, London;  Roseberys, London, Impressionist, Modern, Post War & Contemporary Art, 9th December 2020, lot 94;  private collection, purchased from the above   

Modern art glass obelisk indistinctly signed to the baseSmall chip to the base, some deep scratches, possibly from manufacture around the piece. 28cm in height, base 6 x 5.5cm in diameter. There is no provenance for the piece.

A cased modern Dunhill Art Deco style quartz mantle clock, ref. NXQR, green stained wooden base with circulated mounted dial set with chromed Arabic numerals and stylised surround, 27cm high, in black case with double hinged doors, 33cm highTHE CLOCK IS NOT RUNNING AND MAY JUST REQUIRE A NEW BATTERY. THE CLOCK IS IN GOOD CONDITION. THE CASE HAS SOME WEAR AND DAMAGES

Murano art glass dish and a modern art glass dish

SCOTT A 20TH CENTURY OIL ON BOARD MODERN ART DEPICTING MINERS signed and dated 1970 - in plain frame80cm high 121cm wide

A set of four antique hand coloured etchings depicting four schools of arteach 61cm x 46cmQty: 4The paper browned and with some slight staining.The modern frame in generally good condition with only minor marks and dents.

Property of a deceased's estate, One owner and 5,671 miles from new2004 Ducati 998 S Final EditionRegistration no. OU04 GWKFrame no. ZDMH200AE3B022292Engine no. ZDMH998W4B-005095• One owner from new• 5,671 miles from new• Ducati service history• Requires recommissioning'For 2004, the 998 was offered as a Final Edition and Matrix. Produced 'on request', the 998 FE was a red Monoposto, and included the 136 horsepower Testastretta engine and Ohlins suspension front and rear.' - Ian Falloon, Standard Catalog of Ducati Motorcycles. Although Ducati's water-cooled 8-valve v-twin had been around in its original 851 and 888 incarnations for six years and indeed, had already won three World Superbike (Riders') Championships, it was the arrival of the iconic 916 in 1994 that really captured the public's imagination. Styled by Massimo Tamburini, the 916 and its subsequent evolutions established Ducati as one of the world's foremost brand names. Universally recognised as icons of automotive art, Ducati motorcycles have been exhibited in some of the world's foremost museums, including the Guggenheim in New York and the Museum of Modern Art in San Francisco. The Ducati 916 won the World Superbike Championship in its 1994 debut season and its evolutions three times after that. Enough said.For 1999, the stronger and much improved 996cc engine of the limited-edition 916 SPS was standardised on the new 996 model, while a Ducati Corse works development took Carl Fogarty to his fourth World Superbike Championship that same year. The final iteration of Tamburini's vision, the 998, arrived in 2002 and was one of the first models to feature the new Testastretta (narrow head) engine, designed by former Ferrari engineer, Angiolino Marchetti. The 998cc Testastretta had first appeared in the limited production and confusingly named 996 R, and this same engine went into the 998 S for Europe. Its late owner purchased this ultra-rare Final Edition new from On Yer Bike, Aylesbury (receipt on file). The machine has covered fewer than 5,700 miles from new and has been serviced twice by Ducati specialists Baines Racing of Silverstone (in June 2007 and June 2010). The last MoT expired in July 2016. Accordingly, the machine, which would benefit from detailing, will require careful recommissioning including the appropriate service and belt change before further use. This desirable last-of-the-line Ducati comes with its original books (including the stamped service book) and two keys.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com

2003 Ducati 998 S Biposto Registration no. KE03 KWLFrame no. ZDMH200AAZB018303Engine no. ZDM998W4B-1001507• One owner from new• 2,066 miles from new• Converted to single-seat Monoposto using all Ducati factory parts• Numerous carbon fibre enhancements• MoT'd to June 2024Although Ducati's water-cooled 8-valve v-twin had been around in its original 851 and 888 incarnations for six years and indeed, had already won three World Superbike (Riders') Championships, it was the arrival of the iconic 916 in 1994 that really captured the public's imagination. Styled by Massimo Tamburini, the 916 and its subsequent evolutions established Ducati as one of the world's foremost brand names. Universally recognised as icons of automotive art, Ducati motorcycles have been exhibited in some of the world's foremost museums, including the Guggenheim in New York and the Museum of Modern Art in San Francisco. The Ducati 916 won the World Superbike Championship in its 1994 debut season and its evolutions three times after that. Enough said. For 1999, the stronger and much improved 996cc engine of the limited-edition 916 SPS was standardised on the new 996 model, while a Ducati Corse works development took Carl Fogarty to his fourth World Superbike Championship that same year. The final iteration of Tamburini's vision, the 998, arrived in 2002 and was one of the first models to feature the new Testastretta (narrow head) engine, designed by former Ferrari engineer, Angiolino Marchetti. The 998cc Testastretta had first appeared in the limited production and confusingly named 996 R, and this same engine went into the 998 S for Europe. Purchased new by our vendor from Bob Hill Motorcycles in Hertford, this 998 S Biposto has been kept as more of an objet d'art, seeing little actual use and never in inclement weather (the current odometer reading is 2,066 miles). The machine is registered as a Ducati Biposto (two-seater) but the vendor had Bob Hill convert the motorcycle to single-seat Monoposto using all Ducati factory parts. It has the factory stand; Termignoni exhaust with ECU remap to suit by JHP Racing (Ducati Coventry); Ducati Corse frame plugs; and numerous carbon fibre parts: air box, air tubes, headlamp holder, fairing support brackets, footrest heel plates, chain cover, clutch cover, ignition key scrape protector, and tank protector.Servicing has been carried out by Millsport Ducati in Ballymoney, Northern Ireland. The machine was MoT'd in June 2023, this being the last occasion it was ridden. It comes with sundry bills, old/current V5/V5C registration certificates, original Ducati documentation, and two keys.Footnotes:All lots are sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding.For further information on this lot please visit Bonhams.com

"Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 6.77 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper."""

John Pierpont Morgan, commonly known as J.P. Morgan, was a prominent American financier and banker who played a pivotal role in shaping the financial landscape of the late 19th and early 20th centuries. Here are some key details about J.P. Morgan:**Full Name:** John Pierpont Morgan**Born:** April 17, 1837, in Hartford, Connecticut, USA**Died:** March 31, 1913, in Rome, Italy**Key Accomplishments and Information:**1. **Banking and Finance:** J.P. Morgan was a central figure in the world of banking and finance during his time. He established J.P. Morgan & Co., a banking and financial services firm that played a major role in financing and restructuring American businesses.2. **Consolidation of Railroads:** Morgan was instrumental in the consolidation and reorganization of numerous railroad companies, helping to create larger and more efficient rail systems. His efforts contributed to the development of the modern American railway system.3. **Formation of U.S. Steel:** One of Morgan's most notable achievements was the formation of U.S. Steel in 1901, which became the world's first billion-dollar corporation. The merger brought together various steel companies and was a landmark moment in industrial history.4. **Financial Crisis Interventions:** During times of financial crisis, Morgan used his influence and resources to stabilize the U.S. economy. He played a critical role in mitigating the Panic of 1907, personally leading efforts to provide liquidity to banks and prevent a financial collapse.5. **Art Collector:** Morgan was an avid art collector and assembled an extensive collection of art, manuscripts, and rare books. Much of his collection was eventually donated to institutions such as the Morgan Library & Museum in New York City.6. **Philanthropy:** While known for his business acumen and financial dealings, J.P. Morgan was also involved in philanthropic activities. He made significant donations to educational and cultural institutions, contributing to the growth of the arts and sciences.7. **Banking Legislation:** Morgan's influence and concentration of financial power led to public concern about monopolistic practices. His actions contributed to discussions about financial regulation and antitrust laws.8. **Legacy:** J.P. Morgan is remembered as one of the most powerful and influential financiers of his era. His impact on American business, finance, and industry continues to be studied and debated. The institutions he founded, including J.P. Morgan & Co. (now part of JPMorgan Chase) and U.S. Steel, have left a lasting mark on the business world.9. **Death:** J.P. Morgan passed away in Rome, Italy, in 1913.J.P. Morgan's life and career exemplify the influence of financiers and bankers during the Gilded Age and the Progressive Era in the United States. His contributions to American industry, finance, and philanthropy remain subjects of historical interest and analysis.Measures 18 x 24.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.02 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.5 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Alfred Stieglitz (January 1, 1864 – July 13, 1946) was an American photographer, art promoter, and gallery owner who played a significant role in the development and promotion of modern art and photography in the United States. Here are some key points about Alfred Stieglitz and his contributions:1. **Pioneering Photographer**: Stieglitz is often considered one of the pioneers of modern photography. He experimented with different photographic techniques and was known for his groundbreaking work in both pictorialist and straight photography movements.2. **Camera Work**: Stieglitz was the founder and editor of "Camera Work," a photographic journal published from 1903 to 1917. The journal played a crucial role in promoting photography as an art form and introduced the work of many notable photographers to a wider audience.3. **Photo-Secession**: Stieglitz was a key figure in the Photo-Secession movement, a group of photographers who sought to establish photography as a legitimate art form. He exhibited alongside photographers like Edward Steichen and Clarence White and championed their work.4. **Gallery 291**: Stieglitz operated Gallery 291 in New York City, where he exhibited not only photography but also modern art, including works by European artists like Pablo Picasso, Constantin Brancusi, and Georgia O'Keeffe. The gallery played a vital role in introducing American audiences to modern European art.5. **Introducing Georgia O'Keeffe**: Stieglitz's relationship with the American modernist artist Georgia O'Keeffe is well-known. He exhibited her work at Gallery 291, and their personal and professional partnership later developed into a romantic one. O'Keeffe's iconic paintings of flowers, landscapes, and New York skyscrapers are partly a result of her association with Stieglitz.6. **Equivalents**: In the later part of his career, Stieglitz created a series of abstract photographs known as "Equivalents." These images, often depicting clouds, sought to convey emotions and abstract concepts through photography, prefiguring the abstract photography movement.7. **Advocacy for Modern Art**: Stieglitz was a vocal advocate for modern art in the United States. He used his publications and gallery to champion the work of emerging American artists and helped establish the American modern art scene.8. **Legacy**: Alfred Stieglitz's influence on photography and modern art in the United States is profound. His work and advocacy contributed significantly to the recognition of photography as a legitimate art form, and his support for American artists helped shape the course of modern American art.9. **Death**: Alfred Stieglitz passed away on July 13, 1946, in New York City, leaving behind a rich legacy in the fields of photography and art promotion.Alfred Stieglitz's contributions to the art world extended beyond his own work as a photographer. He played a pivotal role in shaping the course of modern art in the United States, making him a central figure in the development of American photography and art in the 20th century.Measures 11 x 14 matted.

Edward Weston was an influential American photographer who is widely recognized as one of the pioneers of modern photography. He was born on March 24, 1886, in Highland Park, Illinois, and passed away on January 1, 1958, in Carmel, California. Weston's career spanned several decades, during which he produced a vast body of work that encompassed various genres, including landscapes, still lifes, nudes, and portraits. He was known for his meticulous attention to detail, precise composition, and ability to capture the essence and beauty of everyday objects. One of Weston's most significant contributions to photography was his exploration of form, texture, and tone through close-up studies of natural objects and landscapes. He often used large-format cameras and emphasized sharpness and clarity in his images. Weston's photographs of vegetables, shells, rocks, and other ordinary subjects transformed them into elegant and abstract compositions. Weston was a founding member of the influential photography group known as Group f/64, which advocated for the use of sharp focus and precise detail in photography. He exhibited his work extensively, and his photographs received widespread recognition and acclaim. Weston's contributions helped establish photography as a legitimate art form and influenced generations of photographers. Today, Edward Weston is regarded as one of the most important figures in the history of photography. His legacy continues to inspire photographers worldwide, and his work can be found in major museums and collections around the world. Measures 7.75 x 9.28Printed circa 1950sVerso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.02 x 9.24 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

"Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 8 x 9.23 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

"Donald Sultan is an American painter known for his distinctive still-life compositions characterized by bold, graphic imagery. He was born on May 10, 1951, in Asheville, North Carolina. Sultan is recognized for his large-scale works that often combine abstract and representational elements.Sultan's early works from the 1970s and 1980s gained him prominence in the art world. He gained recognition for his use of industrial materials like tar, vinyl tiles, and spackle to create textured surfaces. These materials became a signature of his style and added a sculptural quality to his paintings.One of Sultan's most famous series is the Disaster Paintings created in the 1980s. These works depict natural and man-made disasters, such as fires, floods, and industrial accidents, using his characteristic style of bold, black forms against vibrant, colorful backgrounds. In addition to his disaster-themed works, Sultan is also known for his still-life subjects, particularly flowers. His flower paintings often feature large-scale blooms with rich, vibrant colors, emphasizing the contrast between the organic subject matter and the industrial materials used in his process.Throughout his career, Sultan has exhibited his work in numerous galleries and museums around the world, including the Museum of Modern Art (MoMA) and the Solomon R. Guggenheim Museum in New York City. His paintings can be found in the collections of major institutions and private collectors. Donald Sultan's work has had a significant impact on contemporary art, and he continues to create and exhibit his art to this day. Measures 7.74 x 7.74 Verso is blank.Mounted to archival quality paper.

Francis Bacon (1909-1992) was an Irish-born British painter known for his bold, figurative, and emotionally charged artworks. He is considered one of the most significant painters of the 20th century and a leading figure of the post-war art movement. Bacon was born in Dublin, Ireland, and spent much of his life in London. His early artistic pursuits were influenced by Surrealism, but he developed a distinct style characterized by distorted, often grotesque, and raw representations of the human figure. Bacon's paintings often depicted isolated and anguished figures, exploring themes of existentialism, the human condition, and the fragility of the body. He sought to capture the essence of human emotion and the complexities of human existence. His works are notable for their visceral and unsettling qualities, often reflecting pain, violence, and psychological turmoil. One of Bacon's most famous series is his Screaming Popes, which drew inspiration from Diego Velázquez's portrait of Pope Innocent X. Bacon reimagined the figure with contorted features and expressive brushwork, infusing it with a sense of torment and existential anguish. Bacon's technique involved using bold brushstrokes, thick layers of paint, and a distinctive color palette that emphasized harsh contrasts and vibrant tones. His compositions often had a sense of confinement or claustrophobia, with figures trapped within undefined or abstracted spaces. During his career, Bacon received numerous accolades and had major retrospectives at prestigious institutions, including the Tate Britain in London and the Museum of Modern Art in New York. His contributions to the art world were widely recognized, and he became known as one of the most influential painters of his time. Francis Bacon's artistic legacy continues to have a profound impact on contemporary art. His raw and emotionally charged paintings continue to provoke and engage viewers, challenging conventional notions of representation and inviting contemplation on the human condition. Measures 7.26 x 10.27 Printed Circa 1960's> Verso is blank.Mounted to archival quality paper.

Malick Sidibé was a renowned Malian photographer known for his powerful black-and-white images that captured the vibrancy and spirit of Mali's youth culture during the 1960s and 1970s. His work has had a profound influence on African photography and contemporary art. Here's an overview of his life and contributions:**Early Life and Education:**1. **Birth:** Malick Sidibé was born on March 25, 1936, in Soloba, a village in French Sudan (now Mali).2. **Photographic Training:** He initially worked as an apprentice in a photography studio in the capital city of Bamako, where he learned the technical aspects of photography.**Photographic Career:**3. **Studio and Portraiture:** Sidibé eventually opened his own studio in Bamako, where he gained recognition for his portrait photography. He became known for his ability to capture the personalities and aspirations of his subjects.4. **Youth Culture:** What sets Sidibé apart is his documentation of the vibrant youth culture in Bamako during the 1960s and 1970s. He captured the exuberance of dance parties, celebrations, and social gatherings, reflecting the changing cultural landscape in post-independence Mali.5. **Black-and-White Photography:** Sidibé primarily worked with black-and-white film, and his images are characterized by their stark contrast and intimate, candid style.6. **Recognition:** His work gained international acclaim, and he received numerous awards and honors for his contributions to photography and art.**Legacy:**7. **Influence:** Malick Sidibé's photographs are celebrated for their ability to convey the joy, hope, and sense of identity of his subjects. His work has had a significant influence on contemporary African photography and global visual culture.8. **Museum Exhibitions:** His photographs have been exhibited in major museums and galleries worldwide, including the Museum of Modern Art (MoMA) in New York City.9. **Collector's Items:** Sidibé's original prints have become highly sought-after collector's items, reflecting the enduring value and importance of his work.**Passing:**10. **Death:** Malick Sidibé passed away on April 14, 2016, in Bamako, Mali, leaving behind a rich photographic legacy.Malick Sidibé's photographs continue to be celebrated for their ability to capture the spirit of a transformative era in Mali's history. His work remains a source of inspiration for photographers and artists, highlighting the power of photography to document and celebrate culture and identity.Measures 6 x 6.

Donald Sultan is an American painter known for his distinctive still-life compositions characterized by bold, graphic imagery. He was born on May 10, 1951, in Asheville, North Carolina. Sultan is recognized for his large-scale works that often combine abstract and representational elements.Sultan's early works from the 1970s and 1980s gained him prominence in the art world. He gained recognition for his use of industrial materials like tar, vinyl tiles, and spackle to create textured surfaces. These materials became a signature of his style and added a sculptural quality to his paintings.One of Sultan's most famous series is the ""Disaster Paintings"" created in the 1980s. These works depict natural and man-made disasters, such as fires, floods, and industrial accidents, using his characteristic style of bold, black forms against vibrant, colorful backgrounds. In addition to his disaster-themed works, Sultan is also known for his still-life subjects, particularly flowers. His flower paintings often feature large-scale blooms with rich, vibrant colors, emphasizing the contrast between the organic subject matter and the industrial materials used in his process.Throughout his career, Sultan has exhibited his work in numerous galleries and museums around the world, including the Museum of Modern Art (MoMA) and the Solomon R. Guggenheim Museum in New York City. His paintings can be found in the collections of major institutions and private collectors. Donald Sultan's work has had a significant impact on contemporary art, and he continues to create and exhibit his art to this day. Measures 7.74 x 7.74 Verso is blank.Mounted to archival quality paper."

Ken Haak was a celebrated fashion photographer. A native of Glendale, California, Haak attended the Art Center School in Los Angeles, where he studied painting and graphic design. Upon graduation, he moved to New York City and became an art director and graphic designer. He built a reputation in graphic design that led to receiving New York Art Director's Club Awards. His posters for The New York Times were exhibited by and formally entered into the permanent graphic design collection of The Museum of Modern Art. In mid-career he became a self-taught explorer in fashion photography who played light and shadow against skin and fabric to not simply dramatize the clothes, but exalt the body as well. His images reflect his strong sense of design in a style and manner both classic and contemporary. He elicits from his subjects images of intense eroticism and sensuality that convey both an innocence and candor uncommon in their warmth and beauty and sense of the human ideal. His photographs have appeared in such diverse publications as American Vogue, Harper's Bazaar, Playboy, Essence, Interview, and Men's Bazaar Italia. His books include "Ken Haak's Private Collection," "Summer Souvenirs," "Sleeping Beauties" and the illustrations for the exercise book "Working Out." (Rosehill Press, 122 E. 30th St. New York, NY). Measures 9.75 x 12.26 Printed Circa 1980'sVerso is blank.Mounted to archival quality paper.

Andy Warhol (1928-1987) was a highly influential American artist, filmmaker, and cultural figure known for his groundbreaking contributions to the Pop Art movement. Born in Pittsburgh, Pennsylvania, Warhol's work spanned a wide range of mediums, including painting, printmaking, sculpture, film, and photography. He gained prominence in the 1960s with his iconic depictions of consumer products, celebrities, and everyday objects. Warhol's art often blurred the lines between high and low culture, challenging traditional notions of art and its place in society.One of his most famous pieces is the series of Campbell's Soup Cans, which exemplified his fascination with the mass-produced and mundane. He also created portraits of celebrities such as Marilyn Monroe, Elvis Presley, and Elizabeth Taylor, using vivid colors and repetition to both celebrate and critique the cult of celebrity.Warhol's studio, known as The Factory, became a hub for creativity and experimentation, attracting a diverse range of artists, musicians, actors, and writers. His avant-garde films, including "Chelsea Girls" and "Empire," pushed the boundaries of cinematic conventions and offered a unique perspective on time and narrative.Beyond his artistic contributions, Warhol's persona and lifestyle made him a symbol of the intersection between art and celebrity culture. He often wore a white wig and cultivated an enigmatic public image. His statements like "In the future, everyone will be famous for fifteen minutes" have become iconic reflections on the fleeting nature of fame in the modern world.Warhol's impact on art and culture continues to be felt today. His work challenged conventional notions of art, transformed the relationship between art and commerce, and questioned the very essence of artistic creation. Through his art, he not only mirrored the society of his time but also helped shape its evolution, leaving an indelible mark on the art world and beyond.Measures 19 x 16.

Ken Haak was a celebrated fashion photographer. A native of Glendale, California, Haak attended the Art Center School in Los Angeles, where he studied painting and graphic design. Upon graduation, he moved to New York City and became an art director and graphic designer. He built a reputation in graphic design that led to receiving New York Art Director's Club Awards. His posters for The New York Times were exhibited by and formally entered into the permanent graphic design collection of The Museum of Modern Art. In mid-career he became a self-taught explorer in fashion photography who played light and shadow against skin and fabric to not simply dramatize the clothes, but exalt the body as well. His images reflect his strong sense of design in a style and manner both classic and contemporary. He elicits from his subjects images of intense eroticism and sensuality that convey both an innocence and candor uncommon in their warmth and beauty and sense of the human ideal. His photographs have appeared in such diverse publications as American Vogue, Harper's Bazaar, Playboy, Essence, Interview, and Men's Bazaar Italia. His books include "Ken Haak's Private Collection," "Summer Souvenirs," "Sleeping Beauties" and the illustrations for the exercise book "Working Out." (Rosehill Press, 122 E. 30th St. New York, NY). Measures 9.75 x 12.52 Printed Circa 1980'sVerso is blank.Mounted to archival quality paper.

George Dureau (1930-2014) was an American photographer and painter known for his portraits of marginalized individuals, particularly those from the LGBTQ+ community and people with disabilities. He was born in New Orleans, Louisiana, and spent most of his life there. Dureau's artistic career began in the 1960s when he started painting and drawing. His work often depicted the human figure, focusing on the beauty and vulnerability of the human body. He later turned to photography, using it as a medium to capture his subjects with honesty and sensitivity. One of Dureau's notable bodies of work is his series of portraits featuring muscular, often nude, African American men. These photographs challenged societal norms and explored themes of masculinity, race, and sexuality. Dureau's work aimed to celebrate the beauty and diversity of the human form, often portraying his subjects in a vulnerable and intimate manner. Dureau's photographs gained recognition and were exhibited in galleries and museums across the United States and internationally. His work was included in exhibitions at the New Orleans Museum of Art, the Museum of Modern Art in New York, and the Smithsonian Institution in Washington, D.C., among others. Aside from his artistic pursuits, Dureau was also an influential figure in the New Orleans arts community. He taught at the University of New Orleans and mentored many young artists, sharing his knowledge and passion for art. George Dureau's contributions to art, particularly in photography and painting, continue to resonate. His work challenged societal norms and celebrated the diversity of the human form, leaving a lasting impact on the representation of marginalized communities in art. Measures 9 x 8.99 Verso is blank.Mounted to archival quality paper.

George Dureau (1930-2014) was an American photographer and painter known for his portraits of marginalized individuals, particularly those from the LGBTQ+ community and people with disabilities. He was born in New Orleans, Louisiana, and spent most of his life there. Dureau's artistic career began in the 1960s when he started painting and drawing. His work often depicted the human figure, focusing on the beauty and vulnerability of the human body. He later turned to photography, using it as a medium to capture his subjects with honesty and sensitivity. One of Dureau's notable bodies of work is his series of portraits featuring muscular, often nude, African American men. These photographs challenged societal norms and explored themes of masculinity, race, and sexuality. Dureau's work aimed to celebrate the beauty and diversity of the human form, often portraying his subjects in a vulnerable and intimate manner. Dureau's photographs gained recognition and were exhibited in galleries and museums across the United States and internationally. His work was included in exhibitions at the New Orleans Museum of Art, the Museum of Modern Art in New York, and the Smithsonian Institution in Washington, D.C., among others. Aside from his artistic pursuits, Dureau was also an influential figure in the New Orleans arts community. He taught at the University of New Orleans and mentored many young artists, sharing his knowledge and passion for art. George Dureau's contributions to art, particularly in photography and painting, continue to resonate. His work challenged societal norms and celebrated the diversity of the human form, leaving a lasting impact on the representation of marginalized communities in art. Measures 9 x 8.99 Verso is blank.Mounted to archival quality paper.

Daido Moriyama is a renowned Japanese photographer born on October 10, 1938, in Osaka, Japan. He is known for his influential and groundbreaking work in street photography and is considered one of the most important photographers of his generation. Moriyama's distinct visual style captures the raw energy and urban chaos of post-war Japan. Moriyama began his career as an assistant to the photographer Eikoh Hosoe in the 1960s. He later became a freelance photographer and gained recognition for his black and white images that captured the gritty reality of Tokyo's streets. His work often focuses on the marginalized and forgotten aspects of urban life, highlighting the contradictions and complexities of modern society. One of Moriyama's notable projects is his book "Japan: A Photo Theater," published in 1968. This publication featured a collection of his photographs taken during his travels across Japan. The book showcased his distinctive style, characterized by grainy, high-contrast images, tilted angles, and a sense of spontaneity. It received critical acclaim and established Moriyama as a prominent figure in the photography world. Throughout his career, Moriyama has continued to produce an extensive body of work, publishing numerous books and exhibiting his photographs internationally. His subjects range from street scenes, urban landscapes, and everyday objects to portraits and close-ups of people. His photographs often evoke a sense of ambiguity, inviting viewers to interpret and engage with the images on their own terms. Moriyama's influence extends beyond his own photography. His daring and experimental approach to capturing the essence of the city has inspired generations of photographers worldwide. His work reflects the spirit of the Japanese avant-garde movement Provoke, which emerged in the late 1960s and sought to challenge traditional photography conventions. In recognition of his contributions to the art of photography, Moriyama has received numerous awards and honors, including the Photographic Society of Japan's Lifetime Achievement Award in 2004 and the Infinity Award for Lifetime Achievement from the International Center of Photography in 2019. Daido Moriyama's work continues to be celebrated for its rawness, immediacy, and ability to capture the essence of urban life. His photographs offer a unique perspective on the human experience, challenging viewers to see beyond the surface and explore the depths of the world around them.Measures 6.25 x 9.25 Verso is blank.Mounted to archival quality paper.

George Dureau (1930-2014) was an American photographer and painter known for his portraits of marginalized individuals, particularly those from the LGBTQ+ community and people with disabilities. He was born in New Orleans, Louisiana, and spent most of his life there. Dureau's artistic career began in the 1960s when he started painting and drawing. His work often depicted the human figure, focusing on the beauty and vulnerability of the human body. He later turned to photography, using it as a medium to capture his subjects with honesty and sensitivity. One of Dureau's notable bodies of work is his series of portraits featuring muscular, often nude, African American men. These photographs challenged societal norms and explored themes of masculinity, race, and sexuality. Dureau's work aimed to celebrate the beauty and diversity of the human form, often portraying his subjects in a vulnerable and intimate manner. Dureau's photographs gained recognition and were exhibited in galleries and museums across the United States and internationally. His work was included in exhibitions at the New Orleans Museum of Art, the Museum of Modern Art in New York, and the Smithsonian Institution in Washington, D.C., among others. Aside from his artistic pursuits, Dureau was also an influential figure in the New Orleans arts community. He taught at the University of New Orleans and mentored many young artists, sharing his knowledge and passion for art. George Dureau's contributions to art, particularly in photography and painting, continue to resonate. His work challenged societal norms and celebrated the diversity of the human form, leaving a lasting impact on the representation of marginalized communities in art. Measures 8.77 x 8.77 Verso is blank.Mounted to archival quality paper.

Pablo Picasso (1881-1973) was a renowned Spanish painter, sculptor, printmaker, ceramicist, and stage designer who is widely regarded as one of the most influential artists of the 20th century. He is best known for co-founding the Cubist movement and for his contributions to Surrealism. Picasso's artistic career spanned over seven decades, during which he produced an estimated 50,000 artworks, including paintings, sculptures, ceramics, drawings, and more. His work is characterized by his innovative approach to form, color, and perspective, often pushing the boundaries of traditional artistic techniques.Some of Picasso's most famous works include ""Les Demoiselles d'Avignon"" (1907), a groundbreaking painting that is considered a precursor to Cubism, and ""Guernica"" (1937), a powerful anti-war mural depicting the bombing of the town of Guernica during the Spanish Civil War. These and many other works by Picasso continue to be celebrated and studied in the art world. Picasso's artistic style evolved throughout his career, and he experimented with various techniques and mediums. He was also highly prolific and produced works in different periods, including the Blue Period, Rose Period, African art-inspired Period, and later, his Cubist and Surrealist phases. In addition to his contributions as an artist, Picasso's influence extended beyond the art world. He was an important figure in shaping modern art and had a profound impact on subsequent generations of artists. His legacy and artistic achievements continue to be celebrated and studied to this day. Measures 12.75 x 10.52 Printed circa 1980sVerso is blank.Mounted to archival quality paper."

Daido Moriyama is a renowned Japanese photographer born on October 10, 1938, in Osaka, Japan. He is known for his influential and groundbreaking work in street photography and is considered one of the most important photographers of his generation. Moriyama's distinct visual style captures the raw energy and urban chaos of post-war Japan. Moriyama began his career as an assistant to the photographer Eikoh Hosoe in the 1960s. He later became a freelance photographer and gained recognition for his black and white images that captured the gritty reality of Tokyo's streets. His work often focuses on the marginalized and forgotten aspects of urban life, highlighting the contradictions and complexities of modern society. One of Moriyama's notable projects is his book "Japan: A Photo Theater," published in 1968. This publication featured a collection of his photographs taken during his travels across Japan. The book showcased his distinctive style, characterized by grainy, high-contrast images, tilted angles, and a sense of spontaneity. It received critical acclaim and established Moriyama as a prominent figure in the photography world. Throughout his career, Moriyama has continued to produce an extensive body of work, publishing numerous books and exhibiting his photographs internationally. His subjects range from street scenes, urban landscapes, and everyday objects to portraits and close-ups of people. His photographs often evoke a sense of ambiguity, inviting viewers to interpret and engage with the images on their own terms. Moriyama's influence extends beyond his own photography. His daring and experimental approach to capturing the essence of the city has inspired generations of photographers worldwide. His work reflects the spirit of the Japanese avant-garde movement Provoke, which emerged in the late 1960s and sought to challenge traditional photography conventions. In recognition of his contributions to the art of photography, Moriyama has received numerous awards and honors, including the Photographic Society of Japan's Lifetime Achievement Award in 2004 and the Infinity Award for Lifetime Achievement from the International Center of Photography in 2019. Daido Moriyama's work continues to be celebrated for its rawness, immediacy, and ability to capture the essence of urban life. His photographs offer a unique perspective on the human experience, challenging viewers to see beyond the surface and explore the depths of the world around them.Measures 6.25 x 9.25 Verso is blank.Mounted to archival quality paper.

Andrew Wyeth was an American artist known for his realistic and highly detailed paintings, primarily in the medium of tempera and watercolor. He was born on July 12, 1917, in Chadds Ford, Pennsylvania, and died on January 16, 2009, in the same town. Wyeth came from a family of artists, with his father, N.C. Wyeth, and his son, Jamie Wyeth, also being renowned painters. Andrew Wyeth gained significant recognition for his regionalist and realist depictions of the American countryside, particularly the landscapes and people of Pennsylvania and Maine. He often painted scenes of rural life, capturing the simplicity and beauty of everyday objects and the starkness of the winter landscape. Wyeth's work is characterized by its attention to detail, muted colors, and a sense of solitude and introspection. One of Wyeth's most famous paintings is "Christina's World" (1948), which portrays a young woman named Christina Olson crawling through a field toward her house. This painting, along with others, contributed to his reputation as a prominent American artist. Throughout his career, Wyeth received numerous honors and awards, including the Presidential Medal of Freedom, which he received in 1980. His works are displayed in several prominent museums, such as the National Gallery of Art in Washington, D.C., and the Museum of Modern Art in New York City. Andrew Wyeth's contributions to American art have made him one of the most recognized and celebrated artists of the 20th century. Measures 12.74 x 8.98 Printed circa 1960sVerso is blank.Mounted to archival quality paper.