ARTILLERY AND MILITARYGRAY (JOHN): A Treatise of Gunnery, engraved plate, contemporary calf, W. Innys, 1731 - FOSTER (T.): Military Instruction from the Late King of Prussia to his Generals, 2 parts in one vol., third edition, 13 engraved plates, offsetting, ownership inscription of a young Henry Hardinge, later 1st Viscount Hardinge and Governor of India, contemporary calf, worn, Sherborne, Cruttwell, [c.1800] - An Abridgment of the English Military Discipline, title page repaired at gutter, bound with 'Rules and Articles', the latter ink-stained, modern half calf [ESTC R7189], Assigns of John Bill deceas'd, 1685 -MONEY (JOHN): Observations on the use of Chasseurs and Irregulars with an Army in an Inclosed Country, modern boards, T. Rickaby, 1798 - GRIFFITHS (F.A.): The Artillerist's Manual, and Compendium, 12 engraved plates, contemporary half calf, rubbed, Woolwich, J.M. Boddy, Artillery Place, 1839 - Abstract of Infantry Tactics... for the Use of the Militia of the United States, 32 engraved plates, contemporary calf, heavily rubbed, Boston, Hilliard, 1830, 8vo and 12mo - and approximately seventy other publications relating to the army and artillery (a lot)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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A 1970S CONTINENTAL GOLD COLOURED ABSTRACT NECKLACE The pierced shaped interlocking links conjoining to an articulated drop, with concealed clasp stamped 585 with makers mark EG Size/dimensions: approximately 44cm long Gross weight: 70.3 grams Condition Report: The necklace length isn't including the drop, the makers mark is a monogram so either EG or GE, the necklace is well linked but sometimes bunches up if not stored flat- however is is easy to flatten. The clasp is in good working order, and it has two safety catches. Condition Report Disclaimer
A SMALL COLLECTION OF JEWELLERY To include a synthetic ruby and diamond scrolled brooch, the circular cut synthetic rubies and eight cut diamonds amongst polished scrolls, with ruby accented drops; an abstract cultured pearl and ruby brooch, with an open textured form with circular cut ruby and cultured pearl accents; and an opal stick pin Size/dimensions: first brooch 2.9cm wide; second 3.8cm wide; opal 7mm long Gross weight: 26.1 grams Condition Report: The first brooch is converted from a double clip brooch, some general wear, signs of original fittings to the reverse Second, unmarked, some light wear commensurate with age and use Stickpin: has been converted from another piece, some light wear Condition Report Disclaimer
![MODERN ABSTRACT WATERCOLOUR IN MIXED MEDIA PAINTING ENTITLED ''DART [SOURCE]'' SIGNED N MOORES, TOGETHER WITH 2 SIGNED LANDSC](https://cdn.globalauctionplatform.com/199868a0-65f9-4f87-a0c8-ae9800a7fe5d/a3ce42bd-ac93-43da-8a44-ae9b01067a64/468x382.jpg)
MODERN ABSTRACT WATERCOLOUR IN MIXED MEDIA PAINTING ENTITLED ''DART [SOURCE]'' SIGNED N MOORES, TOGETHER WITH 2 SIGNED LANDSCAPE PHOTOGRAPHS OF DEVON BY THE PHOTOGRAPHER CHRISTOPHER MAYHEAD. ONE ENTITLED HOLWELL, NORTH DEVON THE OTHER WIDECOMBE WINTER ON LABELS TO REVERSE. SIGNED ON THE PHOTO
Henning Koppel for Georg Jensen, a silver and haematite ring, designed as a circular polished haematite cabochon set to an abstract silver surround, design no. 139, stamped 'GJLd' with oval mark and '925 S DENMARK', ring size L 1/2, weight 11.1gmsCR; Hematite is in good order, no cracks chips or losses. Some scratching and wear to the hematite commensurate with age and use. The band and mount shows heavy scratching and wear, and denting concentrated around the band commensurate with age and use. There is evidence of resizing to the band, but no signs of splitting or thinning. Please see additional pictures for further illustration.
Prefaces By Bernard Shaw. 1934. First edition. Quarto. pp viii, 802. Elaborate title-page design by John Farleigh. Period designer binding by Leighton-Straker of full two-tone morocco with abstract art deco gilt design, top edge gilt, other edges blue. Some spotting to prelims. Near fine. Constable & Co., London., 1934. The Complete Plays of Bernard Shaw. 1931. First edition. Quarto. pp viii, 802. Period designer binding by Leighton-Straker of full two-tone morocco with abstract art deco gilt design, top edge gilt, other edges blue. Some spotting to prelims.
Rachid Koraichi (Algeria, born 1947)Standing Tablet from the Salome series glazed ceramic signed 'Rachid Koraichi' and dated '1991', executed between 1991 and 199215 x 45cm (5 7/8 x 17 11/16in).Footnotes:Provenance:Property from a private collection, LondonExhibited:Institut du Monde Arab, Contemporary Art Group Exhibition, Paris, 1992Leighton House Museum, Rachid Koraichi, Clay, Silk, Paper & Steel London , London, 1998Barbican Centre, Group Exhibition: Signs, Traces and Calligraphy, London, 1995 'When I think about it, I realise that the initial project, was 'Salome' presented in 1990, in part at the Institut du Monde Arabe and in part at Beaubourg, Everything else came from that. A project created with Michel Butor. It was my first installation, already establishing a link between Judaism, Christianity and Islam, evoking passion in its absolute, up to the sacrifice of one's own life, the passion for a woman that can lead one to kill one's best friend. All the paroxysms come together: love, passion, sacrifice. All the ingredients are mixed together.' - Rachid KoraïchiWe are delighted to have this magnificent work by the renowned Algerian artist Rachid Koraichi. This standing tablet formed part of his 'Salome' series, originally exhibited at the Pompidou Centre, Institut du Monde Arab in Paris and Leighton House Museum in London in the 1990s.Rachid Koraichi uses a wide variety of symbols based on Arabic and Berber writings, magical number systems and Chinese and Japanese characters as well as cryptograms of his own invention. He works with a range of mediums including canvas, paper, ceramic, glass, metal and silk. He often produces works in a series of seven, or uses seven elements in his designs, relating to the Muslim cosmogony of seven heavens, seven planets, etc. His works form part of the collections of major museums in London, Paris, Tunis, Baghdad and Amman.The art of calligraphy in North Africa stems from the significance of the written word of the Qur'an, the sacred scripture of Islam, believed to be the literal word of God. Various schools of style, as well as individual calligraphers can be traced back as far as the seventh century, the first century of Islam.During the 18th and 19th centuries the introduction of printing brought about the demise of the professional scribe, but calligraphers remained highly regarded. By the 20th century the influence of Western languages created social and political tensions. By 1950 calligraphy became a symbol of cultural and political identity against colonialism. By 1960, the letterisme (hurrufiyoun) movement flourished as 'painting by letters' became the dominant mode of artistic expression. By 1970 certain artists had transformed the traditional conventions of calligraphy into various abstract forms.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
Mohamed Melehi (Morocco, 1936-2020)Croisé B cellulose paint and lacquer on wooden panel, framedsigned and dated on the verso, executed in 1984200 x 120 cm (200 x 63 cm each panel)Footnotes:Provenance:Property from the distinguished collection of Mr AbdulMagid BreishExhibited:New York, The Bronx Museum of the Arts, Melehi: Recent Paintings, December 1984-February 1985 Published:In Vested Interests: from Passion to Patronage, The AbdulMagid Breish Collection of Arab Art, Skira, 2020, page 78, illustratedMelehi, Michel Gauthier, Skira, 2019, page 129, illustratedMelehi: Recent Paintings, New York, The Bronx Museum of the Arts, December 1984-February 1985 A MONUMENTAL DYPTICH BY MELEHI SHOWN AT THE ARTISTS LANDMARK EXHIBITION IN THE BRONX MUSEUM IN 1984'Sprayed in lacquer on wood panels, the motifs are geometrical and hard-edged: stripes, chevrons, crescents, disks and rippling bands all arranged in masses with Cubist disjunctions...the Berber art that has been Melehi's main source of inspiration...virtually unknown in the United States, are distinctly African in character and very beautiful. Melehi is a witty and highly intelligent man, totally absorbed in Moroccan culture, which has been affected by all the major Mediterranean civilizations including Carthage, Crete and Egypt.'- The New York Times, 1984'The wave meant music and movement. It is communication in space, it represents continuity, the sky, a women's sensuality, water ,and pulsating rhythm. Yet it is calm'- Melehi'Hard-edge painting made me rediscover the abstraction inherent in Islamic art... Moroccan art was always hard edge' - MelehiThe present monumental diptych by Mohammed Melehi harks from one of the artists most celebrated periods and participated in his seminal Bronx Museum retrospective. When Mohamed Melehi: Recent Paintings opened at New York's Bronx Museum of the Arts in 1984, it was the first major solo exhibition in the US for an artist from North Africa. A landmark in Melehi's artistic trajectory, Croise B represents an important confluence is Melehi's visual inspiration, which saw the artistic acknowledgement that avant-garde Western abstraction was in fact long predated by traditional, local patterns and geometric decorative schemes found in African and Eastern culturesThe resulting paintings blend Western geometric abstraction and Islamic art, and importantly pioneer Melehi's use of everyday paint materials such as cellulose that take inspiration from the craft culture of Morocco.Melehi studied at the École des Beaux-Arts in Tetouan, Morocco before going to study abroad at the Ecole superieure des Beaux-Arts Isabel de Hungria in Seville; the École supérieure des Beaux-Arts San Fernando in Madrid; the Academie des Beaux-Arts and the Istituto Statale d'Arte in Italy and the Ecole nationale des Beaux-Arts in Paris.In 1964, Melehi returned to Morocco and became a professor of painting, sculpture and photography at the Ecole des Beaux-Arts of Casablanca from 1964 up until 1969 which was directed by Farid Belkahia. Melehi, Belkhahia and Chebaa formed the Casablanca group with an exhibition in Rabat in 1966. In addition to new modernist style in their personal work was also known for a pedagogy that focused on rooting modernism in local visual culture.Since the 1960s his body of work has been based around the recurrent motif of waves; the canvases are consistently hard-edged and optic abstractions. His lines are clean, the colours are clearly delineated and the brushstrokes and movements of his paintbrush are not visible. The waves themselves are often reconfigured, turned vertically to become flames, or cutting across the canvas on angle. The waves in his oeuvre have been linked to the waves on the beaches of Melehi's hometown Asilah.He has stayed consistent but reconfiguring similar elements in his research into colour and form, while continually varying small details, orientation, and the colour combinations, as well as adding other abstract shapes or symbols. He has re-worked his waves in other mediums, such as a sculpture in Mexico in 1968 for the International Meeting of Sculptors, in posters and murals or integrated into architectural projects.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
Ibrahim El-Salahi (Sudan, born 1930)Head I oil, enamel and mixed media on canvassigned 'EL SALAHI' and inscribed 'Head I' on the verso, executed circa late 1960's34 x 40cm (13 3/8 x 15 3/4in).Footnotes:Provenance:Property from a private collection, London Acquired directly from the artist by the present owner's aunt, circa late 1960'sNote:The authenticity of the present work has been confirmed by the artist and the present work is accompanied by a Certificate of Authenticity LOTS 18 & 19:TWO RARE AND HIGHLY SIGNIFICANT 1960'S OIL PAINTINGS BY IBRAHIM EL SALAHI'With the colours I was trying very hard to create something that appealed to the Sudanese public. You can almost smell the air and the dust in it. It's the colour of the savanna, the desert. Apart from the Nile, there is not much green in Sudan. I was trying to create a work that reflects the country's actual colours. I was keen to link it with people because I don't think an artist should live in isolation from his audience. I tried to use what they appreciate: a dark brown, which is burnt sienna, and black. I just tried to be as close as possible to nature, and to the people I live with and love'-Ibrahim El Salahi'To me the bird represents a sense of freedom. I am thinking of the people and their nomadic lives – they reject authority and they are all by themselves'-Ibrahim El SalahiBonham's is immensely privileged to present two astounding 1960's oil paintings by the doyen Sudanese modernism, Ibrahim El Salahi, the first canvas paintings by the artist to ever appear at international auction. In Head I, Salahi weaves together the modernist visual language absorbed during his European studies with local colours and symbolism. A large, almost primitive head is seen interlaced with folk animal motifs, the most important of which is the bird, a powerful symbol with both personal and religious meaning for the artist. For Salahi, the bird represents artistic freedom, as well as the nomadic freedom of Sudanese tribal life. In its religious and Quranic interpretation, the Sufi's believe that birds speak a mystical tongue which is said to be understood only by winged creatures as an indication of their favour in the eyes of the Divine.Both works are painted in tar-like mixed media and enamel that would comprise Salahi's signature technique upon the artists return to Sudan, representing the commencement of Salahi's mature period. Salahi's use of colour and media was very much a concerted effort on his part to reflect the tonal and environmental characteristics of his native land, and the artist notes of these series of works that you can 'almost smell the air and the dust in them' On this particular period of his oeuvre, Salahi states that he returned to Sudan 'a conceited young artist fresh from London' but, 'Over time I came to see that conditions in Sudan required a very different approach on the part of the artist... If I was to have a relationship with an audience, I had to examine the Sudanese environment, identify what it offered.... As an artistic resource...'. Accordingly El-Salahi stopped painting for two years embarked on a long and open ended exploration of 'what kinds of art were shown, and therefore appreciated, in typical Sudanese homes and public places... I was amazed to rediscover the riches I had seen all around me during my childhood, and whose value and rich meanings I had for years abysmally failed to grasp'.This search for a style culminated in the foundation a movement that became known as the Khartoum School, 'hoping to fill the gap between the artist and his audience, the cumulative outcome of different historical, social and political factors, I began an experiment later called 'the Khartoum School'. The common factor in the Khartoum School work was the abstract and representational symbolic potential of the Arabic letter'. Developed along with fellow artists such as Ahmed Shibrain and Kamala Ishag, the Khartoum school became then the foundational, visual language of Sudanese ModernismIbrahim Salahi is widely considered the founding father of Sudanese Modernism. In 1953 the Sudan government sent Salahi to the Slade School of Art for three years, where he specialised in painting and drawing. Returning to Sudan in 1957, Salahi taught for a number of years at the School of Fine and Applied Art, Khartoum Polytechnic, now Sudan University. UNESCO and Rockefeller Foundation scholarships gave him the opportunity to work and travel in the US twice in the 1960s. After a short period back in London as assistant cultural attaché at the Sudanese Embassy, in 1972 he became the Sudan government's undersecretary for culture and information, a job which landed him in jail as a political prisoner, having been wrongly suspected of anti-government activities. In 1977, he went into voluntary exile in the Gulf State of Qatar, where he worked as an adviser and translator for the government, and in the UK. He is now based in Oxford. Salahi's work is held in several major institutions including The British Museum, London; The Museum of Modern Art, New York; The Metropolitan Museum of Art, New York, and Mathaf: Arab Museum of Modern Art, DohaThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Ramses Younan (Egypt, 1913-1966)Abstract Composition mixed media on paper, framedsigned 'R.Y' and dated '1945' (lower left), executed in 194527 x 37cm (10 5/8 x 14 9/16in).Footnotes:Provenance:Property from a private collection, LebanonThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Adam Henein (Egypt, 1929-2020)Owl bronzeengraved 'A.E' and numbered 'I/IV', number 1 from an edition of 4, executed circa 1960s44 x 39cm (17 5/16 x 15 3/8in).Footnotes:Provenance:Property from the distinguished collection of Mr AbdulMagid BreishIllustrated:Skira, In Vested Interests: from Passion to Patronage, The AbdulMagid Breish Collection of Arab Art, page 69'I was steeped in Egyptian Pharaonic art, right from childhood. I lived with that art, I lived in that art, or rather it dwelled in me as soon as I began to sense and perceive the elements and beings of the world around me. Pharaonic sculpture appears as a block, which, although apparently stable and motionless, is animated by an inner movement, making the dense and intimidating mass into a block that is once compact and mobile. It is on the basis of this principle that the Pharaohs were able to combine heaviness with grace; their sculpted blocks seemed, in spite of their weight and their mass, to float on water.' - Adam HeneinBonhams are delighted to present this magnificent sculptures= by one of the most prominent Arab sculptors of our time. Abstract forms, pure volumes and dynamic movement characterise his mature works. 'Owl' is elegantly striking by its expressive and asymmetrical rendition and the simplicity of its planes. This artwork embodies a sense of simple monumentality and timelessness that is characterised by an allusive simplification of form that is both modern and archaic. The sculpture is elegant, coherent and a characteristic style of its own that is undeniably inspired by both ancient Egyptian Pharaonic art and European Modernism while reflecting the sophistication of the artist.During the 1960s, Adam Henein produced a number of sculptures of animals. Most likely inspired by funerary, ritualistic and relief sculpture from the ancient Egyptian period, when animals were revered. Henein chose to depict cats, dogs, horses and other creatures, including this solid and distinguished imagining of an owl. Much like in ancient Egypt, Henein expresses physical characteristics with minimal lines, showing essential features with simple hints of wings, eyes and a beak. Despite the portly and sturdy, rounded sculpture adding a sense of weight to the owl, the smooth surfaces and clean lines create an air of elegance, the simplicity and refinement of which shows Henein's mastery of his chosen materials.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Manoucher Yektai (Iran, born 1922)Newspaper and Brushes oil on canvas, framedsigned 'Yektai' and dated '56' (lower middle), executed in 1956128 x 136cm (50 3/8 x 53 9/16in).Footnotes:Provenance:Property from a private collection, Los AngelesAcquired from Poindexter Gallery, New York City, 1957Exhibited:Poindexter Gallery, Manoucher Yektai, New York City, 1957A MONUMENTAL PAINTING OF A STILL LIFE BY MANOUCHER YEKTAI 'Yektai wanted to render us conscious of our existence from second to second, of the joy of breathing, of the rapid changes of things' – John Ashberry'Around the mid 1950's, Yektai entered his present phase, a period of immense bravura, lyricism, power, directness and of a determined abstract commitment' – Robert Pincus-Witten'His style, overrun by thick, torrential impastos as elegant as they are volatile, barely respects the shapes and edges of things. 'nature' here suggests a movement that attracts the gestural propensities of the artist. ...there are so many exciting passages - particularly in the several tomato plants in which form and movement are as engaged as in his figures. Yektai continues to grow.' - Clement GreenbergBonhams have the rare honour of presenting one of the most formidable examples of Manoucher Yektai's inimitable and striking expressionist still life compositions rendered in a rare and magnificent cobalt blue palette Monumental, powerful and enigmatic, 'Still Life' exhibits all the lyrical intensity of Yektai's dramatic technique; an artist at the creative high point of his career, Yektai's 1950's work is exemplified by exhilarating lyric flurries of paint, thick rapier like strokes, and a virtuoso handling of impasto.Unlike his later, more sombre, paired down still life compositions, like other works from the 1950's, the present work is imbued with a palpable sense of density and dynamism. Here we may notice the influence of action painting on Yektai's style with its powerful, energetic technique evident in the torrent of lush decisive strokes. This painterly looseness, however, is channelled within a well-contained, tight composition – the unlikely harmony of freedom and discipline writ large in paint.Born in Tehran, Yektai is considered one of the unsung founders of the New York School of Abstract Expressionism. After an early encounter with Iranian painter Mehdi Vishkaei, Yektai decided almost overnight to become an artist, failing to show up for his school exams one morning and proclaiming that he was destined to be a painter.Renowned for shunning easel painting, Yektai's habit of working his canvases from the floor stem from a painting session in the outskirts of Tehran in the 1930's, where he found himself unable to work with his canvas propped against a tree due to the wind, ending up finishing the composition on the ground, a method that would stay with him for his whole career, and one to which he attributes much of his dynamism and artistic freedom.Between 1945 and 1947, he studied with Amédée Ozenfant in Paris, France, and later in New York City. In 1951 and 1952 Leo Castelli brought some friends, including early Abstract-Expressionist painters, to see Yektai's New York exhibitions shows. Castelli introduced him to the 9th Street Club in 1951 and he soon became a friend of Rothko,Tobey, Guston, and others. In the mid-1950S he was included in classic group exhibitions of early Abstract-Expressionism at the Stable Gallery and elsewhere, with older generation artists such as DeKooning, Pollock, Newman, and Kline. From 1957 till 1965 he showed at Poindexter. With this background it would be easy to regard Yektai as a key member of the New York School.In composition and technique, 'Still Life, Framed' is a unique blend of the artists dramatic gestural style and the influence of the still life genre, and in particular the palette and textural quality of post-impressionists like Cezanne and Toulouse Lautrec. An artist that was a key member of one of the defining movements of twentieth century art, Yektai nevertheless demonstrated an artistic freedom and originality which set him apart from his peersThis 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
Massoud Arabshahi (Iran, 1935-2019)Sacred Geometry mixed media on canvassigned 'Massoud Arabshahi' (lower left and verso), executed in 1986127 x 116cm (50 x 45 11/16in).Footnotes:Provenance:property from a private collection, Los Angeles'Ten Powers, and nine spheres, eight heavens made He,And planets seven, of six sides, as we see,Five senses, and four elements, three souls,Two worlds, but only one, O man, like thee.'-Omar KhayyamMassoud Arabshahi was one of the key protagonists of the Iranian neo-traditionalist movement, and notably one of the only artists of his ilk to pursue their agenda through pure painting and not calligraphy. Fascinated by the textual, architectural and mathematical elements of traditional Persian imagery, Arabshahi's work is punctuated by motifs which carry strong metaphorical significance. All this is done with an unequivocally modern and wholly abstract aesthetic.The severe, charcoal hue that Arabshahi employs in the present work recalls ancient Persian rock reliefs of the kind found at Persepolis, Behistun and Pasargade combined with interlaced metallic mesh forms often seen on tomb enclosures in Shi'ite shrines. The mixture of geometrical and angular shapes all contains esoteric significance for Arabshahi. An artist enraptured by the recurrence of symbols, his works are riddled with semiotic iconography: arc shapes denote the perfection of celestial geometry and abstract glyphs recall ancient Persian cuneiform, their indiscernibly a testament to the extinction of the culture that once gave them meaning.For millennia human art has demonstrated the ability to reflect, narrate, and signify meaning through signs and symbols. Arabshahi's compositions ultimately remind us that regardless of the age we live in, or our varying modes of expression and communication, we all have the innate propensity to invest in symbols and images, elements of our collective consciousness uncapturable in words.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Sirak Melkonian (Iran, born 1931)Abstract Landscape oil on canvas, framedsigned 'S.Melkonian' and dated '1973' on the verso, executed in 197370 x 100cm (27 9/16 x 39 3/8in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Saliba Douaihy (Lebanon, 1915-1994)Abstract Composition oil on canvas, framedsigned 'Saliba Douaihy', further signed and dated '1981' on the verso, numbered I, the verso bearing the Brigitte Shehadeh gallery stamp, executed in 198170 x 50cm (27 9/16 x 19 11/16in).Footnotes:Provenance:Property from a private collection, LebanonFormerly with Galerie Brigitte Shehadeh, ParisExhibited:Galerie Brigitte Shehadeh, Saliba Douaihy, Paris, 1981Bonhams are proud to be offering a superlative work from one of the leading Lebanese 20th Century artists Saliba Douaihy. Born in northern Lebanon within the small town of Ehden, Douaihy was seen as having a talent for the arts from an early age, which led to him being heavily encouraged to develop his craft. Douaihy's work transformed throughout his life, from early works following classical landscape paintings seen in Lebanese church pieces, to later works such as 'Abstract Composition' following ideas and themes from American Abstract expressionism and Formalism. His body of work involves radical changes and refined artistic instinct. 'Abstract Composition' from the series 'Hard Edge' is a rich minimalist work. Only four colours are found in the composition, Red, Blue, Yellow, and Green. Each colour is applied to the canvas in precise lines as geometric shapes. A leaf green segment sits above all other colours, engulfing the work. It leads the viewers eye to the outer edges of the work. Two rich segments of red and a single yellow shape act as barriers to either side of the green plane. A precise blue segment darts through the left-hand side cutting the outer red away from the yellow. The application of the paint within the simplistic composition can allude to a lack of perspective in some works. Here it does the opposite. Douaihy uses colour theory and precise geometric shapes to create the feeling of depth and dimension. Douaihy was awarded a grant from the Lebanese government to study abroad. He studied in New York and was introduced to the energetic and modern art scene. This was an integral part to his future themes and his 'Hard edge' series of abstract, minimalist paintings. Rothko and Hans Hoffman were important acquaintances as they were masters of colour theory, knowing how to extract depth from colour with very simplistic compositions. Douaihy became attuned to the ideas of formalism from his readings on Immanuel Kant. This inspired many parts of this work. These influences led to this dedication of hard-edged shapes depicted as flat surfaces. Douaihy's stance encapsulates the ideas and values that influenced all later pieces by him. The painting demonstrates his mastery of the minimalist aesthetic as well as the two fundamental aspects in formalist painting: colour and shape.'Abstract Composition' is truly a compositional masterpiece. Douaihy emphasises the compositional elements along with the purest idea of colour theory that creates the spectacular depth within this work. The work epitomises why he is a true pioneer of Arab Modernism.Douaihy participated in many exhibitions including the Salon Des Artistes Francais, Paris (1934); the New York fair; the Guggenheim Museum; the Salons des Realites Nouvelle, Paris; the Pennsylvania Academy of Fine Arts and University Art Gallery, New York. Douaihy won many prizes and awards. They included the Lebanses National Ord of the cedar (1956), the Philadelphia Academy of Fine Arts Award (1968) and the Medaglia d'Oro of the Accademia d'Itlia dello Arte e del Lavoro (1980).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Mashkoor Raza (Pakistani, B. 1950) UntitledUntitled signed and dated '21 lower rightoil on canvas69 x 155.5cm (27 3/16 x 61 1/4in).Footnotes:Raza is a versatile painter, who works across the figurative, abstract and calligraphic. He is well known for his use of bold colours and abstract forms as evidenced in the first three lots, but is equally accomplished in using cubism and shades of white to paint galloping horses. His works have been exhibited in the USA, the UK, Canada, the UAE, Malaysia, India and Bahrain. He was the recipient of the Tamgha-e-Imtiaz (Pride of Performance award) in 2007, Pakistan's highest national literary award.Lot to be sold without reserve.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
Qudsia Nisar (Pakistani,?-2021)Untitledsigned and dated '92 upper left watercolour on paper 36.4 x 54.1cm (14 5/16 x 21 5/16in).Footnotes:Nisar was a non-figurative abstract painter and considered to be the pioneer in using watercolours to express abstract ideas without using conventional forms. Her originality lay in her abilities to combine bright colours with subtle pastel shades in innovative forms. She received the Tamgha-e-Imtiaz in 2008.Lot to be sold without reserve.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
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."Quatre colours aparien le mon", 1970.Lithograph on paper, H.C. copy.Signed and justified in pencil.Work published in "Miró engravings vol. 3 (1973-1975)". Jacques Dupin, Ed. Polígrafa S.A., Barcelona 1992. Fig. 826.Size: 90 x 62.5 cm; 108.5 x 81 cm (frame).Miró began to produce graphic work in 1928 and 1929. It was after the Civil War that lithography took pride of place in his production, and he devoted himself to it with the same intensity as if it were a painting or a drawing. The simplification of forms, the strength of colour, the appreciation of the background of the paper and his particular signs and symbols are interwoven in a plastic and poetic whole that takes us back to his particular universe. Black and night blue confront red and yellow, playing with the star, the dot, the moon and the hair, some of his characteristic signs. The beauty of the work lies in its graphic and colourful rhythm, in its visual impact, which is alien to the attempt to understand what the images represent.Joan Miró trained in Barcelona, between the Escola de la Lonja and the Galí Academy. As early as 1918 he held his first exhibition at the Galeries Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. Today his work can be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Museo Reina Sofía in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
BOSCO SODI (Mexico City, 1970)."Barcelona", 2006.Mixed media on canvas.With label of Il Museo Internazionale di Arti Applicate Oggi, on the back.Signed, dated and titled on the back.Measurements: 180 x 180 cm.In Sodi's work, the connection with the land, with the raw materials linked to each place prevails, so that each painting is uniquely related to the place where it was created. He explores gesture and matter in connection with the spiritual, using raw materials: pigments, sawdust, natural fibres, resins, volcanic elements... giving a textured result. Based in New York, Barcelona, Berlin and Mexico City, Bosco Sodi is a young and renowned Mexican artist with a self-taught background, who has become the heir to the tradition of Informalism and Abstract Expressionism. He points to Rothko and Tàpies as two of his masters; he admires the former for his masterful use of colour, and the latter for his interpretation of material and his appreciation of oriental sensibility. Sodi's work has gone through different periods, the result of his research. In his own words, he uses painting as "an inexhaustible source of new sensations", and defines it as "painting of the soul". The dazzling chromatism reflected in his work, and the explosion of vitality it contains, are intimately linked to the materials, which give shape to magmatic orographies. To achieve this material expressiveness he uses all kinds of elements, from sawdust to earth or iron filings, as well as large quantities of pigment. This conjunction of materials also has to do with the fact that Sodi conceives the physical act of painting as something telluric; he works the materials with his hands, directly, shaping them as a ploughman works the earth. On the other hand, chance also plays a leading role in his work: accident and the unexpected act as another element that gives shape to his works. Throughout his career, Bosco Sodi has held solo exhibitions in Spain, Mexico, Italy, Portugal, Colombia, Japan, the United States and Germany, the most recent being those held at the Museo de San Ildefonso in Mexico City and the Taka Ishii gallery in Kyoyo (Japan), both in 2012. He has also held personal exhibitions at important art centres such as the Bronx Museum in New York, the Casa de Asia in Barcelona, the Tokyo Wonder Site Shibuya and the Museo Internazionale delle Arti Applicate Oggi in Turin. He has also taken part in group exhibitions all over the world, and participated in fairs such as Art Basel, FIAC, ARCO, FRIEZE, MACO, Hong Kong Art Fair, CORNICE, SCOPE Basel, Los Angeles Art Show, China International Gallery Exposition, Art Cologne, etc.
DENYS SABALDASH (Nova Kakhovka, Ukraine 1989)."Tempestas", 2021.Acrylic on canvas.Signed in the lower right corner and on the back.Size: 70 x 50 cm.Enclosed certificate of the artist.Exceptional artist, Denys Sabaldash, is the protagonist and creator of various works of art. His work is immense, both in number and variety. He took painting classes from 1996 to 2003, and studied at the National Academy Arts Anb Architecture in Kiev from 2009 to 2012. His works have been sought after and highly sought after in private collections. He has exhibited in different venues internationally; at the Ukrainian Art and Culture Centre (2016), Parallax Art Fair in London (2018), Luxembourg Art Fair (2020), Eka Moor Gallery in Madrid (2021), Espacio Cultural Abierto in Madrid (2021), Spain Art Today I in Madrid, Spain Festiarte in Marbella, Geoje Museum, and South Korea: Haegeumgang Theme Museum, Tyrrell. In addition, the artist has pieces on display at the Art i Oci Gallery in Valencia.In his works the artist uses an abstract language, based on irregular geometry, with an organic character both in its layout and colours. It is an open style whose basic characteristic is the conception of the pictorial surface as an open field, without limits and without hierarchy. The forms are the result of thoughtful composition and experimentation. In his paintings he dispenses with all figuration and proposes a new reality different from the natural one.
JOSEP GUINOVART BERTRAN (Barcelona, 1927 - 2007)."Composition in a wheat field".Mixed media and matter on canvas.Signed in the lower left corner.Size: 28 x 22 cm, 34 x 29 cm (frame).Josep Guinovart trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He had his first solo exhibition at the Syra galleries in Barcelona in 1948. He soon acquired solid prestige, collaborated with Dau al Set and took part in the October, Jazz and Eleven Salons. In the 1950s, thanks to a grant, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, were to be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Around 1957 he began an informalist and abstract tendency, with a strong material presence both through the incorporation of various elements and objects (burnt wood, boxes, discarded objects) and through the application of techniques such as collage and assemblage. From the 1960s onwards he moved away from the poetics of Informalism and began to produce works full of signs and gestures, which contain a strong expressive charge in the lines and colours. During the 1970s he systematically used materials such as sand, earth, clay, straw and fibre cement, and in the following decade he focused on experimenting with the three-dimensional projection of his works, which took the form of the creation of environments or spatial settings such as the one entitled Contorn-extorn (1978). Guinovart's artistic output is very varied: mural paintings, theatre sets and scenographies, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He took part in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his prizes include the City of Barcelona in 1981, the National Plastic Arts Prize in 1990 and the Generalitat's Plastic Arts Prize in 1990. In 1994 the Espai Guinovart was opened in Agramunt, Lérida, a private foundation with a permanent exhibition of the artist's work. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Open Air Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.
ADELA RODRÍGUEZ DUFLOS (Réallon, France, 1947)."28 project", 1995.Iron, mirror and paint.Sizes: 140 x 50 x 30 cmPresents catalogue.Sculpture catalogued on page 23 of "Adela, Galeria Maeght - Barcelona".With the presence of her work in various public and private collections, important national and international competitions and her exhibitions in prestigious galleries in Spain and abroad (Argentina, France, Germany, Switzerland, USA, etc.), the Barcelona artist Adela (1947) has made a name for herself many years ago. In her artistic evolution, Adela first went through a stage inclined towards surrealism and hyperrealism, then through another one with an abstract, tachist mood, to finally arrive at her current work, which is more rooted in the conceptual sphere. He has experimented with the most diverse techniques (painting, engraving, drawing, photography, collage, sculpture and installation). This transformative process is the result of his search for a purification of visual language.
SALVATORE GARAU (Italy, 1953)."Centrale idroelectrica",Acrylic on canvas.Signed, dated, titled and located on the back.Size: 139 x 139 cm.In this work the author uses an abstract language, based on irregular geometry, with an organic character both in its outline and in the colours. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thought-out composition and experimentation, with an image of a gestural nature, not limited to a composition, but going beyond it, indicating to the spectator that it is about forms, ideas or suggestions that go beyond the boundaries of the purely pictorial.An Italian artist born in Santa Giusta (Sardinia), Salvatore Garau trained at the Academy of Fine Arts in Florence, graduating in 1974. After an initial period devoted to music, he focused his career on visual art. He held his first solo exhibition in 1984, and since then has shown his work in various European cities. In 2003 he participated in the Venice Biennale and held an exhibition at the European Parliament (Strasbourg). Six years later he held a major solo exhibition at the Musée d'Art Moderne et Contemporain in Saint-Étienne (France). He is currently represented in the Museo del Novecento and the Pablleon of Contemporary Art in Milan, the Museum of Modern Art in Bologna, the Museum of Modern and Contemporary Art in Saint-Étienne, the MACAM in Maglione, the Museum of the Italian Embassy in Seoul, the Sala Parpalló in Valencia and other important collections.
DENNIS HOPPER (United States, 1936-2010)"James Rosenquist, 1964Photography, iris print.Edition 22/250.Signed and numbered in pencil.Size: 42,5 x 58 cmDennis Hopper was recognised as a great multi-faceted artist, working as an actor, film director, director and photographer, making his name with the release of his film "Easy Rider" in 1969.Hopper's beginnings in the world of photography were due to his relationship with James Dean, who encouraged him to start out as a photographer despite the fact that he had no training. From then on, he was accompanied by a Nikon F camera with which he took thousands of photographs that left their mark due to their sensitive content and their compositional and photographic ability.This work as a photographer led him to hold several exhibitions that became the subject of retrospectives and catalogues. He was an intuitive photographer who captured the world of painting and abstract expressionism, reflecting textures, masses, volumes and the most abrupt details. All this in an almost documentary style, sometimes crude and close to abstraction. He was interested in the streets, billboards and shop windows, emphasising the backgrounds and reflections. It is worth mentioning his work in the world of Hollywood, where he captured portraits of actors such as Jane Fonda and David McCallun. Hopper's career was largely due to his work as an actor and filmmaker, but it is worth mentioning his role in the world of photography, in which he showed great taste, as well as a remarkable creative and visual capacity.
RENE PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985).Untitled, 1969.Oil on cardboard.Signed and dated in the lower right corner.Size: 76 x 56 cm; 103 x 82 cm (frame).René Portocarrero is known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his works in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, together with other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He took part in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the International Sambra Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.
JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983)."La Nuit Tentaculaire, 1969.Lithograph on paper, copy 38/75.Signed and justified in pencil.Work published in the catalogue "Mourlot / Maeght #639". Figure 639.Size: 65 x 63 cm; 99 x 97 cm (frame).Joan Miró trained in Barcelona, between the Escuela de la Lonja and the Galí Academy. In early 1918 he held his first exhibition at the Galerías Dalmau in Barcelona. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. From this point onwards his style began to evolve, leading him to more ethereal works in which organic forms and figures were reduced to abstract dots, lines and patches of colour. In 1924 he signed the first Surrealist manifesto, although the evolution of his work, which is too complex, makes it impossible to ascribe him to any particular orthodoxy. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective to him which was to be his definitive international consecration. During the 1950s he experimented with other artistic media, such as engraving, lithography and ceramics. From 1956 until his death in 1983, he lived in Palma de Mallorca in a sort of internal exile, while his international fame grew. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale in 1954 and the Guggenheim Foundation in 1959, the Carnegie Prize for Painting in 1966, the Gold Medals of the Generalitat de Catalunya (1978) and of the Fine Arts (1980), and was named Doctor Honoris Causa by the universities of Harvard and Barcelona. His work can currently be seen at the Joan Miró Foundation in Barcelona, inaugurated in 1975, as well as in major contemporary art museums around the world, such as the Thyssen-Bornemisza, the MoMA in New York, the Reina Sofía Museum in Madrid, the National Gallery in Washington, the MNAM in Paris and the Albright-Knox Art Gallery in Buffalo.
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