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Damien Hirst (British 1965-), 'Heart Spin', 2009, unique acrylic and metallic paint on formed paper, signed by the Artist in black ink verso, further stamped with the Artists Signature verso, inscription reading; 'This painting was made by to celebrate the opening of Damien Hirst, Requiem, at the Pinchuk Art Centre, bearing the Artists blind stamp; sheet: 51.5 x 51.5cmARR sheet: 51.5 x 51.5cm In very good/artists condition No visible knocks, tears or creases to the sheet Multiple areas of ink to the sheet verso and some minor 'pin' holes to the sheet, as a result of the production process and not later damage This work has been stored flat and has not been framed.

A Ken Rush 2017 'Lincs Air Ambulance' accident scene, original signed acrylic painting, artist label to rear. 68cm x 57cm

GENE DAVIS (AMERICAN 1920-1985) UNTITLED 65-6 titled 65 6 on the stretcher acrylic on canvas 116 x 127cm; 45 1/2 x 50in 118 x 129cm; 46 1/2 x 50 3/4in (framed) Property from a London Collection Provenance Poindexter Gallery, New York Possibly Waddington Galleries, London John Monk, Hampton (architect) Acquired from the above by the present owner Executed in 1965, Davis was a leading proponent of Color Field Painting in Washington D.C. in the 1950s and '60s, best known for his distinctive stripe paintings such as the present example. Largely self-taught, in developing the works Davis considered his non-academic background a blessing, liberating him from the limitations of a traditional art school orientation. His early paintings and drawings, although they show the influence of such artists as the Swiss painter Paul Klee and the American abstractionist Arshile Gorky, display a distinct improvisational quality. The same preference for spontaneity characterised Davis' selection of colour in his stripe paintings; the works were not based on conscious use of theories or formulas, instead the artist often compared himself to a jazz musician who plays by ear, describing his approach to painting as 'playing by eye.' In another discussion of the works - a style that Davis explored for over twenty years - the artist also spoke not simply about the importance of the colours selected but about 'colour interval': the rhythmic, almost musical effects caused by the irregular appearance of colours or shades within a striped composition. Davis lived his entire life in Washington, D.C., growing up alongside fellow locals Kenneth Noland and Morris Louis who together formed the Washington Color School in the early 1950s. Other Color School adherents included Mark Rothko and Helen Frankenthaler, their work characterised by large areas of single flat colour populating an abstract composition. In 1965 the group was brought together in the landmark exhibition Washington Color Painters at the Washington Gallery of Modern Art in D.C. Championed by the New York art critic Clement Greenberg as part of the larger trend of Post-Painterly Abstraction, the work of the group was seen as the culmination of modernist painting, with its emphasis on the two-dimensional surface of the picture plane and its lack of reference to any subject matter.

JUSTIN KNOWLES (BRITISH 1935-2004) ⊕ UNTITLED 1965 : 27 signed and dated JUSTIN KNOWLES / 1965 : 27 on the reverse acrylic on canvas 185 x 214cm; 72 3/4 x 84 1/4in 210 x 242cm; 82 1/2 x 95 1/4in (framed) Property from a London Collection Provenance Acquired from the artist by the present owner in 1966 Exhibited Edinburgh, The Richard Demarco Gallery 8, Justin Knowles, 1967 Born in Exeter, and with little formal training behind him, Knowles met with immediate success as both sculptor and painter when he first exhibited in New York in the English Eye exhibition at Marlborough-Gerson Gallery in 1965, and was awarded second prize at the exhibtion Open Painting at the Ulster Museum, Belfast organised by the Arts Council of Northern Ireland in 1966. Writing in Studio International in 1972, Patrick Heron contended that Knowles' work was ‘eloquent and fertile’, and commanded ‘a sheerness of image that is absolutely masterly’. A devastating fire in 1973, however, destroyed a large proportion of his output, and he did not exhibit again until the 1990s - a period he termed the 'silent time'. Despite the huge loss of Knowles' corpus of work, his final years were largely successful. He began producing sculpture again, spare and beautiful works superbly finished in a range of materials. Thus followed a string of high-profile shows, including at the National Technical Museum, Prague; at Austin / Desmond Fine Art, London and at Lemon Street Gallery, Truro in the early 2000s. His aquamarine, iridescent cross commissioned by Exeter Cathedral in 2002 remains there to this day—a lasting memory of the artist's life-long achievements in his city of birth.

AN ILLUSTRATION FROM A PERSIAN EPIC ATTRIBUTED TO MU'IN MUSAVVIR: TWO WARRIORS IN COMBAT PERSIA, 17TH CENTURY gouache or acrylic on paper heightened with gold, laid down on card, depicting a warrior with a shield, bow and arrow, on a white horse, attacking his enemy on foot, soldiers looking on from behind the mountains 13.6cm x 16.6cm Mu'in Musavvir (c.1610s-1693) was one of the most significant and prolific painters of the Safavid period. Born in Isfahan were he spent most of his life, Musavvir studied under the great court painter Reza-I Abbasi who was considered the last great master of the Persian miniature. His reverence for his master is immortalised within a portrait which survives today in Princeton University Library. Musavvir’s long career (c.1635-1707) gave him the opportunity to produce a large body of work, and although much of it was concerned with traditional manuscript illustration, including several Shahnameh manuscripts, he also created refined single-page compositions. While his figural types relate closely to those of Reza-I-Abbassi, deviating only slightly in the treatment of eyes and mouths, his work resists western influences, remaining true to the traditional painting of the region. Musavvir is known as a master of illustration paintings, especially figural scenes and compositions depicting banquets and battles.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original acrylic on canvas painting of The Iron Giant. Depicted with an orange background and signed to the corner by Bazley. Painted exclusively for this auction. Measures approx: 9" x 7" Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

The Iron Giant (1999) - Richard Bazley (lead animator) - an original large acrylic on canvas painting of The Iron Giant. Depicted in the rain. Signed to the corner by Bazley. Painted exclusively for this auction. Measures approx: 24" x 30" Richard Bazley is an Emmy-nominated film director and a storyboard artist. Although now a Director of Live Action and animation, his background is in animation and his credits include Disney’s Pocahontas, Hercules, Tarzan and a lead animator and sequence director on the Warner Bros. film The Iron Giant which was released in 1999. Set during the Cold War in 1957, the film centers on a young boy named Hogarth Hughes, who discovers and befriends a giant alien robot. With the help of a beatnik artist named Dean McCoppin, Hogarth attempts to prevent the U.S. military and Kent Mansley, a paranoid federal agent, from finding and destroying the Giant.

Sayed Haider Raza (1922-2016)La Terre signed and dated 'Raza 85' lower centre; further signed, titled, dated and inscribed 'Raza/1985/200 x 200/'La Terre' verso acrylic on canvas, framed200 x 200cm (78 3/4 x 78 3/4in).Footnotes:ProvenanceProperty from a Corporate Collection, UK.The Collection of Vincent Grimaud, Paris;Christie's, Modern and Contemporary Indian Art Including Art from Pakistan And Sri Lanka, Sale 7501, 21st May 2007, London, Lot 7, Private CollectionChristie's, South Asian Modern & Contemporary Art, Sale 2336, 15th September 2010, New York, Lot 323. ExhibitedBombay, Gallery Chemould, Raza Anthology 1980-1990, 24th January – 10th February 1990.New York, Saffronart in association with Berkeley Square Gallery, Raza – A Retrospective, 21st September – 31st October 2007.PublishedSH RAZA: Catalogue Raisonné 1972 - 1989 (Volume II), New Delhi, 2022, p.402-403Pierre Sou-chand, L'age d'or de la peinture en Inde, Artension no. 11, September, Paris, 1989, p.18 (dated '1985') (illustrated) Geeti Sen, Raza, Lalit Kala Akademi, New Delhi, 1990, fig. 12 (illustrated).Exhibition catalogue, Raza Anthology 1980-1990, Gallery Chemould, Bombay, 1990, unpaginated (illustrated).Geeti Sen, Bindu: Space and Time in Raza's Vision, Media Transasia, New Delhi, 1997, p.135 (illustrated).Exhibition catalogue, Raza – A Retrospective, Saffronart in association with Berkeley Square Gallery, New York, 2007, Cat. no. 33, p. p 90-91, (illustrated).Alain Bonfand, Raza, Editions de la Difference, Paris, 2008, p.p. 124 – 125 (illustrated)Ranjit Hoskote, Ashok Vajpeyi, Yashodhara Dalmia and AVNI Doshi, S.H Raza: Vistaar, Art Musings, Mumbai, 2012, p.55 (illustrated).In La Terre, or 'The Earth', Sayed Haider Raza explores artistic inquiries centred on a pure visual order around line, tone, colour, texture and space, and the theme of nature. Painted in 1985, La Terre is a chef-d'oeuvre that marks a pivotal moment in Raza's career. After spending years immersed in the styles of the various currents of Western Modernism, his artistic journey reached a turning point as he began embracing key aspects of his Indian heritage into his body of work. Raza was born in rural Central India and studied art in Nagpur and Bombay before moving to Paris in 1950 to study at L'École des Beaux-Arts on a scholarship. The artistic scene that emerged in the latter half of the 20th century, influenced by the aftermath of World War II, sparked significant transformations for many artists in the French capital, as they sought new forms of expression. Among them, Raza, whose studies at Les Beaux-Arts led him to explore further on his journey towards abstraction. During his decades-long stay in France, his forms melted, and the artist progressively abandoned a desire to depict a tangible, constructed reality through his landscapes' interpretations. After delving into a variety of influences from Expressionism, Raza's abstract style evolved toward a more distinct geometric abstraction. By the late 70s, Raza had fully committed to the use of pure geometric forms in his work.Raza co-founded the Bombay Progressive Artists' Group (PAG) in 1947 alongside Krishna Hawlaji Ara and Francis Newton Souza, with the aim of diverging from the Western realist traditions taught in Indian art schools. The group sought to develop a modern artistic language that echoed India's essence. This marked the beginning of a broader shift, as artists sought to blend indigenous traditions with contemporary influences. By the 1970s and 1980s, Raza felt an increasingly strong emotional and spiritual connection to his native land. During this period, he began a series of paintings titled La Terre, including the work consigned here. Reflecting on this artistic journey, Raza stated: 'I was inspired to conceive a painting which could be a letter to my mother country, India, revealing my experiences, discoveries, and acquisitions. I hoped the painting could be evidence that I was never cut off from my sources. The memories, conscious and unconscious, were ever present' (Artist Statement, 1981, S. H. Raza, exhibition catalogue, London and New York, 2005).'I have never left India. I love my country, and I am proud of it, and it's not sentimental my friend. Don't think that it's only emotional. I have been linked with the profound spiritual, religious message that India has to give to Indians and to the world of which we are forgetful at times, even in India.' (Raza cited in 'A Conversation with Raza', Raza: A Retrospective exhibition catalogue, New York, 2007, unpaginated). Indeed, while much of the work produced by emerging abstract artists in the second half of the 20th century was shaped by Western influences, a distinct artistic language emerged. This new form of abstraction, described by Ashish Anand as 'a native language, qualified by Indian roots and steeped in an abstract lexicon that dates to the past, whether historical or mythological' (Indian Abstracts: An Absence of Form, Notes from the Director, New Delhi, 2014, p. 7), blended India's rich cultural heritage with modern abstract forms, embodying the evolution of artists like Raza.In La Terre, Raza's abstract work, is profoundly shaped by his early experiences in the forests of his native village, Barbaria, Madhya Pradesh. This 1985 work synthesizes an imagery of his homeland landscape through elements of nature, spatial expression, and spiritual geometry into a cohesive composition. In La Terre, Raza embraces abstraction as a creative catalyst to evoke the grandeur and lyrical subtleties of the Indian landscape. This work is emblematic of Raza's oeuvre, characterised by its recurring leitmotifs: a square canvas meticulously divided through the application of a distinct earthy colour palette and the use of intersecting horizontal, vertical and diagonal lines that create intricate triangular segments. This structure is deeply informed by the principles of Hindu philosophy, reflecting Raza's commitment to intertwining his artistic practice with his cultural heritage. Ultimately, this synthesis of form and meaning not only showcases Raza's distinctive style but also highlights the spiritual and philosophical underpinnings that define his artistic vision.'My work is my own inner experience and involvement with the mysteries of nature and form, expressed through colour, line, space, and light' (Artist Statement, 1981, S. H. Raza, exhibition catalogue, London and New York, 2005).P indicates that this is a Premium Lot. If you wish to bid on this lot, please refer to (page 2 /Auction Information) for bidding information.For further information on this lot please visit Bonhams.com

Maqbool Fida Husain (1915-2011)Untitled (Tearing Apart) signed 'Husain' lower left; signed 'Husain 91' versoacrylic on board, framed57.3 x 89.6cm (22 9/16 x 35 1/4in).Footnotes:ProvenanceProperty from a private collection, Dubai. Acquired from the artist.'My horses like lightning, cut across many horizons. Seldom their hooves are shown. They hop around the spaces. From the battlefield of 'Karbala' to Baukura terra cota, from the Chinese Tse pei Hung horse to St. Marco horse, from ornate armoured 'Duldul' to challenging white of 'Ashwamedh' .... the cavalcade of my horses is multidimensional.' (Husain, Tata Steel Publications, 1987, p. 83)Horses figure prominently in Husain's work. The reasons for this are likely to be varied, though Husain notes that one of his earliest influences comes from the procession to commemorate the Prophet's grandson which involved the carrying of an effigy of his horse through the streets. The manner in which these horses are painted is reminiscent of a puppet or wooden effigy, strengthening the link with the Islamic holiday of the prophet's grandson. Additionally, Husain had worked in a children's toy and furniture factory during the 1940s and it is possible that many of his horse paintings draw heavily on the manner of the construction of puppet horses. Husain was also heavily influenced by the terracotta horses he saw during his visit to China. Since their domestication, horses have been important subjects for art and religion and have helped build civilizations, no less so in Hinduism. Husain was fascinated with his own roots but also learning and assimilating other cultures as sources of inspiration. As such this painting exemplifies this wonderfully: the horse as a symbol of power and tradition, a part of Islamic culture, an influence from China, and painted in a style reminiscent of European Cubism. 'All forms of art are born from one's roots', perhaps Husain wished to explore as many artistic roots as possibleFor further information on this lot please visit Bonhams.com

Maqbool Fida Husain (1915-2011)Ganesh Darbar signed and dated 'Husain '92' lower rightacrylic on canvas, framed90.7 x 151cm (35 11/16 x 59 7/16in).Footnotes:ProvenanceProperty from a private collection, London. Acquired from the artist.'...another favourite animal figure of Husain is the elephant with its myriad associations for the pre-globalised ordinary Indian. In the Indian mythology Airavat, the four-tusked white elephant that emerged from the churning of the ocean, is the mount of the Rain God Indra. The elephant is also a symbol of prosperity because of its association with goddess Laxmi. There are other mythological associations of the elephant, such as with Ashwatthama of Mahabharata and with Ganesha. In the Indian classical literature the elephant also stands for sensuous grace. That is why in the Sanskrit literature, a beautiful woman is described as gajagamini, the one who walks with the sensuous gait of an elephant. Finally, right from the ancient times up to the end of the twentieth century, the elephant was a ceremonial mount for the Royals of India...'The elephant's association with Ganesha is a part of the religious belief of the Hindus.' (K. Bikram Singh, Maqbool Fida Husain, Rahul & Art, 2008, pg. 192)Untitled (Ganesh Darbar) is a vivid and striking painting that seamlessly weaves together the artist's distinctive modernist aesthetic with deeply rooted Indian cultural and religious symbolism. In this piece, Husain places Lord Ganesha, the beloved elephant-headed god, at the centre of the composition, surrounded by two additional representations of Ganesha and three elephants. This arrangement reflects the multi-dimensional nature of the deity, who is revered not only as the remover of obstacles but also as a symbol of wisdom, prosperity, and new beginnings. The painting is a vibrant celebration of Indian spirituality and tradition, seen through the lens of Husain's dynamic, abstract style.At the heart of Untitled (Ganesh Darbar) is Ganesha, whose iconic figure dominates the composition. Husain portrays the deity with a fluid, almost gestural quality, using broad, sweeping brushstrokes to evoke Ganesha's elephantine features. The central Ganesha appears powerful yet approachable, an embodiment of divine energy and wisdom. His posture and placement exude a sense of calm authority, while the vibrant colours—deep reds and oranges surround him, radiating a sense of life and celebration. The two other Ganesha figures, slightly smaller in scale, mirror the central figure but add to the painting's sense of repetition and rhythm. Their presence suggests the multiplicity of Ganesha's aspects and roles in Hindu mythology, where he is often depicted in various forms and manifestations.The inclusion of three elephants around the central figures further amplifies the symbolism of strength, wisdom, and power. In Hindu tradition, elephants are revered for their association with majesty and calm strength, qualities that Ganesha, as the elephant-headed god, embodies. Husain's depiction of the elephants is characteristically bold and abstract, with their forms reduced to essential shapes and lines, yet still recognisable. These elephants, placed towards the bottom on either side of Ganesha, reinforce the sense of balance and stability within the composition, grounding the painting in an almost sacred symmetry. They also echo the central deity's own elephantine form, creating a visual dialogue between the divine and the earthly, the mythological and the real.Husain's use of colour and form in Untitled (Ganesh Darbar) is key to the painting's emotional and spiritual impact. The halo that surrounds Ganesha—in gold, conveys a sense of reverence. The oranges and reds that feature heavily on the canvas, are often associated with Hindu rituals and festivals, and create a festive atmosphere, suggesting that this is not just a static portrayal of Ganesha but a dynamic darbar, or court, where divine presence is celebrated and honoured. The rich, textured layers of paint reflect Husain's modernist approach, where the interplay between abstraction and figurative elements becomes a vital part of the visual narrative. The painting is not constrained by realism but instead allows for a more expressive, emotional portrayal of its subject.Untitled (Ganesh Darbar) also reflects Husain's broader approach to religious and mythological subjects throughout his career. Known for his deep engagement with Indian culture, Husain often turned to themes from Hindu mythology, despite his own Muslim background, demonstrating his belief in the universal nature of spiritual and cultural symbols. In this painting, Husain does not simply depict Ganesha as a religious icon; rather, he reinterprets the deity through his modernist vision, blending traditional iconography with his unique artistic style. The result is a work that feels both ancient and contemporary, deeply rooted in Indian tradition yet open to global, modernist interpretations.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 14th November 2023, lot 6.For further information on this lot please visit Bonhams.com

A large collection of watercolours, an oil painting and prints, to include: watercolour and acrylic paintings by: Parker Hagarty, Jane A. Cooper, Sheppard, Barabara Ashton and Ruth Fisher; an oil painting signed M. Sheppard; A c.19th century engraving of The Hamilton vase and one other unsigned etching; together with a print after Salvador Dali (22)

An original vibrant acrylic on canvas painting depicting a colorful Haitian village with people dancing and playing instruments. Artist signature in red on lower right. Housed in a wooden frame with a gilded border. Artwork dimensions: 24"L x 20"H. Frame dimensions: 24.75"L x 1.5"W x 20.75"H. Artist: Ossey Dubic (Haitian, 1943-2014)Issued: 20th centuryDimensions: See DescriptionCountry of Origin: HaitiCondition: Age related wear.

An original acrylic painting on paper by Cuban Franciscan priest Miguel Angel Loredo, who is renowned for his dedication to youth, advocacy for human rights, and resilience in the face of political oppression in Cuba. This artwork was created to support the Franciscan Order of Cuba. Artist signature on lower right: Loredo. An invitation to the benefit auction where this artwork was featured is taped to the back of frame. Housed in a wooden frame with a white mat. Artwork dimensions: 10.5"L x 13.5"H. Frame dimensions: 16.75"L x 1"W x 20.75"H. Artist: Miguel Angel Loredo (Cuban, 1938-2011)Issued: c. 1990Dimensions: See DescriptionCondition: Age related wear.

Delightful original acrylic on canvas painting by British artist Joyce Roybal of two angels made with glossy reliefs of textured and smooth paint. Signature on lower right: J. Roybal. Housed in a gilt and beige wooden frame with a linen mat. Artwork dimensions: 23.50"L x 19.50"H. Frame dimensions: 30.25"L x 26"H x 1.75"W. Artist: Joyce Roybal (British b. 1955)Issued: c. 1990Dimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.

A beautiful large canvas acrylic painting that captures a garden view with buildings and a distant church, all set against a sky with lovely hues of sunset. Artists signature in the lower right side. Housed in a brown and gilded dappled pattern frame with a wooden inner border. Artwork dimensions: 36.25"L x 23.5"H. Frame dimensions: 46"L x 1.25"W x 33.25"H. Artwork can be unframed and rolled for shipment. Artist: Jose Mariano Gil (Cuban, 20th century)Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

Olivier Mosset 1944 Schweiz Ohne Titel. 1974. Acryl auf Leinwand. Verso auf der umgeschlagenen Leinwand signiert und datiert. 100,5 x 100,5 cm (39,5 x 39,5 in). [KA]. • Zusammen mit Daniel Buren, Michel Parmentier und Niele Toroni gehört Olivier Mosset der ephemeren Gruppe 'BMPT' an. • Die Kreisbilder der späten 1960er und frühen 1970er Jahren gehören zu den meistgesuchten Werken des Künstlers. • Die Werke von Olivier Mosset sind u. a. in den Sammlungen der Pinault Collection, Paris, und dem Museum of Modern Art, New York, vertreten. PROVENIENZ: Privatsammlung Süddeutschland (seit ca. 1984, Art & Public, Genf, verso auf dem Keilrahmen mit einem Etikett). 'A practice – which is really a mixture of confusions and certainties – begins as a concrete reality that gets the better of the analysis by obliterating the practice it wanted to actualize.' Olivier Mosset 1999, zit. nach: Olivier Mosset. Sans illusions, in: L’art c’est l’art, Neuchâtel, Musée d’etnographie, S. 178. Mit seinen beeindruckenden monochromen, abstrakten, geometrischen Gemälden ist Olivier Mosset eine Schlüsselfigur der Nachkriegsabstraktion. Obwohl sich sein Werk einer einfachen Kategorisierung und Fragen nach der beabsichtigten Bedeutung entzieht, lässt es sich am besten als rebellische Form der konzeptuellen Abstraktion beschreiben. Unser Werk 'Ohne Titel' von 1974 gehört zu der berühmten Serie, die der Künstler 1966–1974 schafft: eine Folge von nahezu identischen Ölgemälden mit einem schwarzen Kreis in der Mitte auf weißer Leinwand. Die Werke sind alle gleich; die Leinwände sind ein 1 Meter x 1 Meter großes, weiß bemaltes Quadrat mit einem schwarzen, 3,25 Zentimeter dicken mittigen Kreis. Der Kreis – der wegen seiner Radikalität oft als Null oder als 'O' interpretiert wird, das auf den ersten Buchstaben von Mossets Vornamen verweist – ruft ein anderes allografisches System auf: die Rundheit der musikalischen Notation. Durch seine Wiederholung wird der Kreis als stummes oder leises Pulsieren entschlüsselt. Olivier Mosset arbeitet damals bereits seit fast einem Jahrzehnt an dieser Serie und entwickelt eine klare, scharfe mechanische Bildsprache, die jeden Eindruck menschlicher Autorschaft verneint. Ähnlich wie Andy Warhol, dem Mosset 1967 begegnet, es damals mit seinen 'Campbell's Soup Cans' tut, stellen die Kreismalereien die Konzepte künstlerischer Urheberschaft, Authentizität und Wert in Frage. Mosset beginnt erstmals mit dieser Bildsprache zu experimentieren, als er Teil der Pariser anti-expressiven, anti-individualistischen 'BMPT'-Gruppe wird, zu der auch Daniel Buren, Michel Parmentier und Niele Toroni gehören. Mit ihrem experimentellen Ansatz in der Malerei versucht die Gruppe, etablierte Methoden der Kunstproduktion in Frage zu stellen und eine neue soziale und politische Funktion für Kunst und Künstler zu theoretisieren. In den zehn Jahren, in denen Olivier Mosset seine Kreisbilder sowie seine späteren Versuche mit weiteren Formen und Farben schafft, repräsentiert sein Werk weiterhin reine Materialität und regt zu offenen physischen Erfahrungen von Oberfläche, Maßstab und Muster an. Olivier Mossets Werke wurden in zahlreichen Einzel- und Gruppenausstellungen in den USA und Europa gezeigt. Er hat mehrere Retrospektiven und präsentiert 1990 seine Arbeiten im Schweizer Pavillon auf der 44. Biennale von Venedig und 2014 auf der Manifesta 10 in St. Petersburg. Die Werke von Olivier Mosset sind auch in bedeutenden ständigen Sammlungen zu sehen, darunter im Museum of Modern Art in New York, im Centre Pompidou in Paris und im Musée des beaux-arts in La Chaux-de-Fonds in der Schweiz. [KA] Aufrufzeit: 07.12.2024 - ca. 17.09 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONOlivier Mosset 1944 Schweiz Ohne Titel. 1974. Acrylic on canvas. Signed and dated on the reverse of the folded canvas. 100.5 x 100.5 cm (39.5 x 39.5 in). [KA]. • Along with Daniel Buren, Michel Parmentier and Niele Toroni, Olivier Mosset was a member of the ephemeral “BMPT” group. • The circle pictures from the late 1960s and early 1970s are among the artist's most sought-after works. • Olivier Mosset's works are part of, among others, the Pinault Collection, Paris, and the Museum of Modern Art, New York. PROVENANCE: Private collection, Southern Germany (since around 1984, Art & Public, Geneva, with a label verso on the stretcher). 'A practice – which is really a mixture of confusions and certainties – begins as a concrete reality that gets the better of the analysis by obliterating the practice it wanted to actualize.' Olivier Mosset 1999, quoted from: Olivier Mosset. Sans illusions, in: L’art c’est l’art, Neuchâtel, Musée d’etnographie, p. 178. With his striking monochromatic abstract geometric paintings, Olivier Mosset is a critical figure in post-war abstraction. Although his work defies easy categorization and questions of intended meaning, it is best described as a rebellious form of conceptual abstraction. Our work “Untitled” from 1974 is part of the famous series the artist created from 1966 to 1974: a series of almost identical oil paintings with a black circle in the center of a white canvas. All the works are identical; the canvases measure 1 meter x 1 meter, with a square painted white and a black, 3.25-centimeter-thick circle in the center. The circle – often interpreted as a zero or an “O” because of its radicalness, which refers to the first letter of Mosset's first name – invokes another allographic system: the roundness of musical notation. Through its repetition, the circle is decoded as a mute or quiet pulsation. Mosset worked on this series for almost a decade, developing a clear, sharp, mechanical visual language that negates any impression of human authorship. Like Andy Warhol, whom Mosset met in 1967 and pursued the same path with his “Campbell's Soup Cans,” the circle paintings question the concepts of artistic authorship, authenticity, and value. Mosset began experimenting with this imagery when he became part of the anti-expressive, anti-individualist Parisian “BMPT” group, including Daniel Buren, Michel Parmentier, and Niele Toroni. Through their experimental approach to painting, the group sought to challenge established art production methods and proposed theories about a new social and political function for art and artists. During the decade that Olivier Mosset was occupied with the circle paintings and his later experiments with other shapes and colors, his work continued to represent pure materiality and to encourage open physical experiences involving surface, scale, and pattern. Olivier Mosset's works have been featured in countless solo and group exhibitions in the United States and Europe. He has had several retrospectives and presented his work in the Swiss Pavilion at the 44th Venice Biennale in 1990 and Manifesta 10 in St. Petersburg in 2014. Olivier Mosset's works are part of major collections, including the Museum of Modern Art in New York, the Centre Pompidou in Paris and the Musée des beaux-arts in La Chaux-de-Fonds in Switzerland. [KA] Called up: December 7, 2024 - ca. 17.09 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

A framed and mounted Acrylic painting titled Healing Service at Brecon Cathedral by M. Gibson-Watt, 13 1/4" x 16 3/4".

VALERIO ADAMI (N. 1935)L'artiste ému par la grandeur des ruines antiques 1976 signé, titré et daté 10.11.76 / 29.11.76 au reversacrylique sur toile signed, titled and dated 10.11.76 / 29.11.76 on the reverse acrylic on canvas 145.9 x 113.6 cm. 57 7/16 x 44 3/4 in.Footnotes:Provenance Galerie Maeght, Paris Collection particulière, ParisExposition Marseille, Musée Cantini, Adami, œuvres récentes et portraits, juillet - septembre 1977, p. 40, illustré en noir et blancAllusive, serpentine, péremptoire, la ligne, chez Valerio Adami, est mue par un désir aux soupirs indiscrets : sa création relève du lapsus pictural. Dans une perspective énigmatique et accélérée, ses œuvres, articulées en compositions complexes, semblent reposer sur une narration cinématographique. L'ellipse, le montage, les coupes, en son Œuvre se déclinent, au gré des toiles et des dessins, dans lesquels l'espace et la profondeur ne s'appartiennent plus : la ligne, seule, décide.Artiste majeur de la figuration narrative, Valerio Adami fit partie de l'exposition La Figuration narrative dans l'art contemporain en 1965 à Paris (la deuxième consacrée au mouvement), puis de l'emblématique - intitulée en référence à Roland Barthes - Mythologies Quotidiennes II, en 1977 au musée d'Art Moderne de la ville de Paris, organisée par Gérard Gassiot-Talabot, défiant la dérision statique du pop américain par la « précieuse mouvance de la vie », selon les mots du critique d'art. Opposant la narration au récit, en introduisant une dimension temporelle dans une image fixe, ces artistes (Télémaque, Arroyo, Rancillac, Aillaud etc.), avec fièvre et détermination, pimentèrent la peinture d'un nouveau langage.Leurs œuvres, nées de l'effervescence de l'image (publicité, bande dessinée), en détournant la signification première de la représentation, offrent à notre regard un sens inavoué et inattendu, sur fond d'un embrasement inventif et contestataire, en ces années 1960-1970.C'est un découvrant, à l'âge de 17 ans, l'œuvre de Kokoschka Les thermophyles que le jeune Adami pour la peinture se passionne. « Chaque tableau est un précipité chimique de la pensée tracée par la globalité de l'Œuvre » dira le peintre. Considérant l'art comme une rhétorique (ses lectures du peintre Anton Raphael Mengs sont très éclairantes), Valerio Adami explore avec une intensité palpable la condition humaine, cristallisant dans nos petits quotidiens des vérités perdues, qui justifient pourtant à elles seules que l'on vive. Ses personnages, comme autant de voyageurs immobiles, semblent traverser la même histoire, comme s'ils étaient de tous les temps. Dans une poésie exhalant le mystère de ses fables, « le tableau n'est pas fait de la même substance que la vision », dit-il, le peintre nourrit nos cœurs.Dès son installation à Paris en 1970, l'ARC lui organise une exposition au musée d'Art Moderne de la ville de Paris, avant que le Centre Pompidou, quelques années plus tard, lui consacre une importante rétrospective. Ses œuvres ont aujourd'hui rejoint les plus grandes institutions internationales.Appartenant à la même collection, au goût très éclairé, ces trois œuvres incarnent à merveille son esthétique inspirée du cloisonnisme français, de même que sa mythologie personnelle (rare, son autoportrait entre en une conversation intérieure avec le peintre du romantisme noir Johann Heinrich Füssli). Son laboratoire intime, entre exhumation de souvenirs et métamorphose de l'image, révèlent un équilibre d'une délicatesse gracile. Le dessin achevé, par un agrandissement, Valerio Adami offre la vie à la matière, c'est alors que la couleur chante. Traduisant la douleur, l'envie, le mensonge, les teintes légères ou pensives, nées d'une mûre réflexion, s'appliquent, allégoriques. L'allusion, guidée par associations d'idées, épouse dans le secret de son art la métaphore. Ce qui était affleurement est devenu une direction : si la couleur est un langage, la ligne est un état de l'âme.Allusive, serpentine, decisive, the line for Valerio Adami is driven by intrusive sighs of desire: his creative act is a form of pictorial spoonerism. With an enigmatic, accelerated perspective, his works, articulated in complex compositions, bring to mind a cinematic narrative. The ellipsis, montage and cuts in his work are expressed with paintings and drawings in which space and depth are no longer complementary: the line alone decides.A major artist of narrative figuration, Valerio Adami was part of the 1965 exhibition La Figuration narrative dans l'art contemporain in Paris (the second devoted to that movement), then of the emblematic Mythologies Quotidiennes II (in reference to Roland Barthes), in 1977 at the Musée d'Art Moderne de la Ville de Paris. Organized by Gérard Gassiot-Talabot it challenged the static derision of American pop with the 'precious movement of life', in the words of the art critic. Opposing narrative and anecdote, a temporal dimension is introduced into a still image, these artists (Télémaque, Arroyo, Rancillac, Aillaud etc.), at once passionate and determined, spiced up painting with a new language.Their works, born during the rise of the image (advertising, comics), by hijacking the primary meaning of representation, offer our gaze a hidden, unexpected meaning, in an environment of inventive and anti-establishment conflagration in the 1960s-1970s.At the age of 17, Adami's fascination for painting began when he discovered Kokoschka's Thermophyles. 'Each painting is a chemical precipitate of the thought charted within the entire Oeuvre', noted the painter. Considering art as rhetoric (his readings of the painter Anton Raphael Mengs are very enlightening), Valerio Adami explores the human condition with palpable intensity, crystallizing in the trivia of everyday life lost truths, which in themselves justify one's life. His characters, like as many immobile travellers, seem to be transiting through the same stories, as if they were everlasting. In a poem that exudes the mystery of his fables: 'the painting is not made of the same substance as vision', he says - the painter feeds our hearts.As soon as he moved to Paris in 1970, the ARC organized an exhibition for him at the Musée d'Art Moderne de la Ville de Paris, and the Centre Pompidou devoted a major retrospective to him a few years later. Today, his works can be found in many major international institutions.All part of the same highly discerning collection, these three works are a perfect example of his French Cloisonné-inspired aesthetic, as well as his personal mythology (a rare self-portrait in deep conversation with the dark Romantic painter Johann Heinrich Füssli). His intimate laboratory, confronts the exhumation of memories and the metamorphosis of the image, to expose a gracefully delicate balance.Once the drawing is complete, Valerio Adami enlarges it to bring the medium to life, and at once the colours sing. After much reflection he depicts pain, envy, deceit, choosing delicate or pensive hues, applied allegorically. Guided by idea associations, innuendo and metaphor are coupled in the secrecy of his art. What was but an emergence becomes a direction: if colour is a language, the line is a mirror of the soul.This lot is subject to the following lot symbols: AR WAR Goods subject to Artists Resale Right Additional Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

Sue Atkinson (British 1949-2021) "Bait Diggers on a Snowy Beach" Signed, titled on artist's label verso, acrylic.19.5 x 19.5cm (framed 41.5 x 41.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

David Alderman (British 20th/21st century) "Changing A Wheel, Friday Rush Hour, Oxford Road Station, Manchester" Signed, titled and dated Nov. 2012 on verso, acrylic on board.28.5 x 29cm (framed 48 x 48.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.

Donald McIntyre R.I., R.Cam.A., S.M.A. (British 1923-2009) "West Coast Sea No. 1 (Iona)" Signed, titled on artist's label verso, acrylic on board.50.5 x 60.5cm (framed 74 x 84cm)Todmorden Fine Art.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks.

Nicholas Ferenczy (British 1959-) "The Red Barn" Signed, titled and dated 2024 on verso, acrylic on canvas.30 x 20.5cm (31.5 x 21.5cm)The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed.

Peter Stanaway (British 1943-) "Bird Sale" Initialled, titled and dated 2017 on verso, acrylic on board.24 x 34.5cm (framed 39.5 x 49.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has one or two very minor scuffs and knocks commensurate with age.

Peter Stanaway (British 1943-) "Austerlands Chimney, Saddleworth" Signed, titled and dated 2006 on verso, acrylic on canvas39 x 49.5cm (framed 56.5 x 66.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are a few minor surface marks found across the painting. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.

Donald McIntyre R.I., R.Cam.A., S.M.A. (British 1923-2009) "Nocturne, Portnahaven" Initialled, titled on artist's label verso, acrylic on board.19.5 x 27.5cm (framed 41 x 48.5cm)Todmorden Fine Art.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks.

John Thompson (British 1924-2011) Profile of a man Monogrammed, signed on verso, acrylic on canvas.49 x 38.5cm (framed 70.5 x 60.5cm)From the Estate of the Artist.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.

David Alderman (British 20th/21st century) "Manchester, Hidden Gem" Signed, titled and dated Oct. 2014 on verso, acrylic on board.37.5 x 48cm (framed 53.5 x 63.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.

Sue Atkinson (British 1949-2021) "Hot Day, Sandsend" Signed, titled on artist's label verso, acrylic on canvas.75.5 x 100.5cm (framed 100.5 x 126cm)Bought directly from the artist.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some scuffs and knocks.

Mal Burton (British 20th/21st century) "The Workers" Signed, titled and dated 2024 on artist's label verso, acrylic on canvas.30.5 x 30.5cmArtists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is unframed.

David Wilde (British 1918-1978) "Alice and Mickey discover the Diamond Tree at Aber (& the Noughts & Crosses Butterfly flies in" Signed and titled, acrylic on board.50 x 60cm (framed 56 x 66cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed behind perspex. There are some minor scuffs and scratches across the perspex. The frame has some minor scuffs and knocks commensurate with age.

David Coulter (British 20th/21st century) "River (Irwell) Sunset" Signed, titled on verso, acrylic on canvas.59 x 49cm (framed 65 x 55cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There is a small fleck of paint loss towards the upper centre edge of the canvas. The painting is ornately framed but not glazed. The frame has some minor scratches commensurate with age.

David Alderman (British 20th/21st century) "Rain and Mist, Manchester" Signed, titled and dated Sept 2014 on verso, acrylic on board.29 x 39.5cm (framed 50 x 60cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.

John Thompson (British 1924-2011) Female figures in a garden Signed and indistinctly dated, acrylic on board, in artist's original hand-painted frame.49.5 x 43.5cm (framed 63.5 x 57.5cm)From the Estate of the Artist.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are one to two minor surface marks across the board. The painting is ornately framed and glazed. The frame has some scuffs and knocks commensurate with age.

Richard Clare (British 1964-) "Denshaw, Saddleworth" Signed, titled on verso, acrylic on board.29.5 x 29.5cm (framed 46.5 x 46.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor knocks and losses.

Nicholas Ferenczy (British 1959-) "David's Pool" Signed, titled and dated 2024, newsprint collage and acrylic on canvas.30 x 40cm (framed 31.5 x 41.5cm)The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed.

Mal Burton (British 20th/21st century) "Home with the Logs" Signed, titled and dated 2024 on artist's label verso, acrylic on canvas.30.5 x 30.5cmArtists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is unframed.

David Bez (British 20th/21st century) Lake scene Signed, acrylic on paper.21 x 30cm (framed 39 x 47cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed.

Donald McIntyre R.I., R.Cam.A., S.M.A. (British 1923-2009) "Grey Day, Portscatho" Initialled, titled on artist's label verso, acrylic on board.28.5 x 40cm (framed 40 x 51.5cm)Todmorden Fine Art.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks.

Olivia Pilling (British 1985-) "Hiking along Hadrian's Wall" Initialled, titled on gallery label - 'Collect Art' verso, acrylic on canvas board.34.5 x 44.5cm (framed 55.5 x 65.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed.

David Wilde (British 1918-1978) "Enchanted Wood" Signed and titled, acrylic on board.45.5 x 71.5cm (framed 56 x 82.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately reframed but not glazed.

Nicholas Ferenczy (British 1959-) "The Isle of Grain, Kent" Signed, titled and dated 2024 on verso, acrylic, pencil and ink on canvas.40 x 30cm (framed 41.5 x 31.5cm)The painting is in very good, original condition with no obvious faults to report. The painting is framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.

EIGHT VINTAGE PRINTS AND PAINTINGSincluding four vintage still lifes and two Half moon prints, the half moon prints in frame, 42 x 39cm; Chokin collection Japanese bird picture etched into metal, and an acrylic painting of blue boat on shore (8)

* COLIN BROWN, DRAGONFLY mixed media on board, signed, titled and dated 2005 versoframed and under glassimage size 60cm x 60cm, overall size 63cm x 63cmNote: Colin Brown is a fine artist and former graduate of Duncan of Jordanstone, Dundee who has lived and exhibited in Europe for several years. He is now based in Stonehaven in northeast Scotland. After graduating, a John Kinross Scholarship awarded by the Royal Scottish Academy enabled him to spend four months in Florence. In 1988 he established a studio in Glasgow, where he began practicing as a full-time artist. He also spent four years in Dusseldorf painting and exhibiting with several German galleries. Colin Brown’s practice draws upon a range of media, particularly acrylic paint and collage. His work draws upon human histories, random and specific mark-making, urban imagery, and a mix of handwriting and printed script to explore the spirit of modern society. Brown has developed a strong international profile with regular solo and group exhibitions worldwide, including major solo shows in Hanover (1998), London (2010) and Singapore (2013). His work has received a number of awards, most notably an Artists Grant from the Pollock-Krasner Foundation, New York in 1996.

* ANGUS GRANT, GREEN SALMON oil on canvas, signedframedimage size 47cm x 35cm, overall size 52cm x 41cm Note: Angus Grant is a painter and craftsman, based in the Cairngorms National Park. His work is inspired by this beautiful location and the changing light on the landscape. In particular, his paintings feature lochs, mountains and wildlife. His studio is at the Spey Bank Studio in Grantown-on-Spey. Angus’s love of fishing is also an important part of his recent collections. He loves to explore the lochs of the Cairngorms and beyond, often finding inspiration instead of fish. Angus says: “Time spent walking or fishing is never wasted and constantly throws up new ideas and imagery to use in my pictures.” Angus initially studied art at Central St Martins School of Art, before going on to study jewellery design at Middlesex University, where he specialised in Japanese-style carving and acrylic. He taught Western Jewellery Design at the National Institute of Jewellery Design in Gudgerat, where he also learned about traditional goldsmithing. After university, he worked for jewellery designer Kirt Holmes in London. He returned to the Highlands in the early 2000s to start his own jewellery business. Angus currently teaches art and design at Grantown Grammar School, tutors the Spey Art Group, and teaches various adult workshops on painting, printmaking, ceramics, jewellery-making and pottery. He is joint owner of the Spey Bank Studio with his partner, Jane Candlish. “The way the light changes here is of great interest to me. The Cairngorms never look the same from one day to the next. In my paintings, I try and capture something of that fleeting ethereal quality of light.”

* GAIL STIRLING ROBERTSON, REEKIE LUMS acrylic on board, signed, titled label versoframed and under glass image size 22cm x 22cm, overall size 34cm x 34cm Artist's label versoNote: Gail has always been a fan of unusual and imaginative art. As a child she discovered the paintings of Rodney Matthews and Roger Dean on album covers and posters, and admired their ability to create a whimsical version of ordinary things. At school, Salvador Dali was an artistic influence, and she was lucky enough to get up close to several of his paintings in the MoMA in New York. As a huge music fan, Gail briefly studied sound engineering after deciding she did not want to go to Art school (despite preparing a portfolio). However, she continued to paint while working and raising her two children, and decided to become a self-employed artist in 2011. For artworks where specific locations are featured, Gail uses photographs to help with initial building placement, but will manipulate and change the structures to provide the most pleasing composition. This manipulation is not only helpful when hiding some of the less attractive features of a scene, but allows her to enhance features which might normally be overlooked. Painting on either stretched canvas or canvas board, Gail will usually cover the whole area with a theme colour which dictates the overall mood of the finished piece. She will then sketch in the main features of the painting using pastel pencil, moving the lines with a wet paintbrush until the desired positioning is achieved. The painting is built up from there. Gail's work is exhibited widely at numerous galleries in Scotland.

* RONNIE RUSSELL, ARRAN FROM THE AYRSHIRE COAST oil on canvas, signed, titled label versoframed and under glass image size 23cm x 46cm, overall size 38cm x 60cm Handwritten label versoNote: Ronnie Russell was born in Aberdeen but has lived most of his life in Troon. After spending about twenty-four years in textile design, Ronnie became a full-time artist and cartoonist, specialising in personalised birthday, anniversary and special event cards. He also paints colourful Scottish landscapes, working in acrylic and watercolour mediums. He exhibits his work in several galleries throughout Scotland, such as the Riverside Gallery in Inverness, the Heinzel Gallery in Aberdeen, and the Framework Gallery in his home town of Troon. Ronnie is also a regular exhibitor in the 'Save The Children' exhibition at the Maclaurin Art Gallery in Ayr and the Pitlochry Theatre Art Gallery. His work may be found in many private collections around the globe, including a painting in the collection of The House Of Lords in London. He is also known locally as a comic raconteur, performing his comedic cartoon talks in various venues.

* STEPHEN FRENCH (SCOTTISH b. 1953), BROUGHTY FERRY, STILL WATERS acrylic on board, signed, titled versoframedimage size 22cm x 69cm, overall size 35cm x 82cm Note: Stephen French is a Dundee and Kilchoan based artist who likes to keep his work eclectic and to stay open to new directions, so subjects and media are always morphing. Yet his technique, palette and composition remain consistent. He enjoys combining traditional painting skills with a subversive take on artists’ clichés but with the overall imperative of visual decoration. Born in Clydebank in 1953, Stephen went to Dundee Art College and graduated BA in Drawing and Painting in 1975 and then in 1976 received the Greenshields Award to study painting in Paris. He went on to have an extremely successful career in design, winning two Design Centre Awards. He was a consultant with The Design Council and became a member of Memphis Milano. Becoming disenchanted with the industry, he returned to painting full time and has gone on to exhibit at the Pompidou Centre, Tokyo Museum of Art, the Barbican and the Victoria and Albert Museum. His work is also regularly exhibited at galleries around Scotland.

* GAIL STIRLING ROBERTSON, SOUTH QUEENSFERRY SMOKE acrylic on board, signed, titled versoframed and under glass image size 17cm x 17cm, overall size 32cm x 32cm Artist's label versoNote: Gail has always been a fan of unusual and imaginative art. As a child she discovered the paintings of Rodney Matthews and Roger Dean on album covers and posters, and admired their ability to create a whimsical version of ordinary things. At school, Salvador Dali was an artistic influence, and she was lucky enough to get up close to several of his paintings in the MoMA in New York. As a huge music fan, Gail briefly studied sound engineering after deciding she did not want to go to Art school (despite preparing a portfolio). However, she continued to paint while working and raising her two children, and decided to become a self-employed artist in 2011. For artworks where specific locations are featured, Gail uses photographs to help with initial building placement, but will manipulate and change the structures to provide the most pleasing composition. This manipulation is not only helpful when hiding some of the less attractive features of a scene, but allows her to enhance features which might normally be overlooked. Painting on either stretched canvas or canvas board, Gail will usually cover the whole area with a theme colour which dictates the overall mood of the finished piece. She will then sketch in the main features of the painting using pastel pencil, moving the lines with a wet paintbrush until the desired positioning is achieved. The painting is built up from there. Gail's work is exhibited widely at numerous galleries in Scotland.

This fun small painting, created with acrylic and enamel on wood, depicts a yelling cat with X marks throughout its body. Handwritten title, date, and artist's signature on the back. Red Dot Miami 2007 is also written on the back. Red Dot is one of the art fairs that takes place annually during Miami Art Week the first week in December during Art Basel Miami. The piece is�Housed in a wooden black frame. Artwork dimensions: 6"L x 8"H. Frame dimensions: 7"L x 1.25"W x 8.75"H. Issued: 2007Dimensions: See DescriptionCondition: Age related wear.

Titled: Las Dulces Maneras Del Combate. This large acrylic painting includes a sharp-edged anchor with a cement core that is in the center of an undefined background. The cordless maritime tool is painted with a smooth surface while Acosta has created a heavy impasto of muted colors that he burrowed with deep tools. Acosta has left paint drip on parts of the anchor that appears to float in a thick ocean base. Signed and dates top right. On Verso: Acosta, Las dulces maneras del combate, Acrylic; 55"x 70", Miami 1994 May, pen signature. On side of canvas: signed W. C. Estill, Domingo De Montejo. Artist: Gustavo AcostaIssued: 1994Dimensions: 70.75"L x 0.75"W x 54.5"HProvenance: The Bass Museum of Art Condition: Good condition.

20TH CENTURY SCHOOL Farm and surrounding pastoral landscape Acrylic painting on board, unsigned, 73cm x 119cm, frame 87cmx 134cm. Ex Wright Marshall Ltd, Lot 392 24/02/2018.

John L Chapman (b.1946) Homeward, farm hands leading Shire Horses across a snow covered field, signed lower left, acrylic on board, 41 x 81 cm, frame 57 x 97 cm Condition:The painting is on board, framed without glazing. The board appears to be in good condition, no obvious faults or losses. The paint surface appears stable and well preserved, no obvious paint loss or deterioration. Colours are good. Frame has sound joints and good condition overall, ready to hang.

ONE FRAMED ABSTRACT PRINT AND ONE FRAMED ABSTRACT ACRYLIC PAINTING

A framed acrylic painting study of friesian cows entitled Stand and Stare signed by the artist Kenneth James Saterlay the reverse with The Mall Exhibition label and one other smaller acrylic painting study of a river (2) 54x44cm and 36x28cm. NO RESERVE

Desmond Davies (Artist D.2021) - The Last Of The Summer Wine (BBC Sitcom 1973-2010) - A large acrylic on canvas painting of the 'classic' trio of Bill Owen (Compo), Brian Wilde (Foggy) and Peter Sallis (Cleggy). Signed to the corner and dated 2004. Framed.Total size: 64cm x 87cm.

AN ACRYLIC PAINTING ON PAPER DEPICTING SHIPS IN A HARBOUR

A MID CENTURY ACRYLIC PAINTING ABSTRACT ON BOARD75cm x 50cm Framed 85cm x 60cm

▲ Tim Gustard (b.1954) Champagne flute and cheese with mustard pot signed 'Gustard' l.r., acrylic28 x 20cmCondition ReportFramed: 59.5 x 51cmThe work appears to be executed on acrylic painting paper. Well presented and ready to hang. Not viewed out of glazed frame.

▲ Tim Gustard (b.1954) Apple and tankardsigned 'Gustard' l.r., acrylic28.5 x 20cmCondition ReportFramed: 65.5 x 54cmThe work appears to have been executed on acrylic painting paper. Well presented and ready to hang. Not viewed out of glazed frame.

Damien Hirst (b.1965)Spin HeartWith signature, inscription and stamp versoAcrylic paint on paperThis painting was made to celebrate the opening of Damien Hirst, Requiem at the Pinchuk Art Centre on April 25-26th 2009.Dimensions:26.5 in. (H) x 25 in. (W)