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Peter Klashorst (Dutch, b.1957 -) Signed Limited edition Pop Art.- digital offset print, from a limited series of six images, Signed by the artist in gold pen, numbered 4/45 lower left, from a series of six images, rolled, 42 x 29.5cm.Condition Report: strong colour, overall light creasing,

Mert & Marcus Piggott / Lara Stone: Art Edition Book With 'Lara Stone' Print, 2010, No.56 of 125, hardcover in clamshell box, 31.5 x 42cm (12.4 x 16.5in), 408 pages, together with print 'Lara Stone, Vogue Paris (London 2010)', signed by the artists and numbered, printed by hand in black and white on Harman Galerie FB digital paper, 35.5 x 45cm (14 x 17.7in) (2) Footnotes: Mert and Marcus are the creative tour de force who have styled and shot some of the most powerful brands and personalities of our time, such as Giorgio Armani, Roberto Cavalli, Fendi, Miu Miu, Gucci, Yves Saint Laurent, Givenchy, and Lancôme, and public figures including Lady Gaga, Madonna, Jennifer Lopez, Linda Evangelista, Gisele Bündchen, Björk, Angelina Jolie, and Rihanna. This XXL-sized Art Edition features some 300 pictures from their hyper-glamorous, hyper-glossy repertoire, complemented by an exclusive print. This edition is sold out. 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

TAI XIANGZHOU (b.1968)Cosmos Worlds 1 and 2, 2014Two paintings, ink on paper, each framed. 45cm high x 75cm wide (17 3/4in high x 29 1/2in wide). (2).Footnotes:泰祥洲(1968年生) 天象世界1和2 水墨紙本 鏡框 2014年作Born in 1968 to a scholarly family in the provincial capital of Yinchuan, Ningxia, in north-central China, Tai began his training in Chinese calligraphy at the young age of four. After studying interactive design in Auckland, New Zealand, he led successful careers in digital media and conservation, founding the cultural magazine 'Chinese Heritage'. In 2003, his encounter with the painter Liu Dan pushed him to further explore the techniques of traditional Song and Yuan dynasty paintings. By 2006, Tai had devoted himself to ink painting and had begun to investigate Chinese landscape paintings from the perspective of astrology. Under the mentorship of philosopher Bao Lin, he completed his PhD from Tsinghua University in 2012 with a dissertation entitled 'Phenomena of the Universe-The Concepts and Structure of Chinese Landscape Paintings.' This work was highly admired by renowned art historian Fang Wen, who recommended the book in the preface and recommended for publishing by the Zhonghua Book Company. Attending to the nature of the materials of painting, Tai has researched traditional papermaking techniques and now paints exclusively on paper and silk produced by tenth-century methods. He also only uses ink from the Qianlong era (1736-1795), which is considered to be one of the highest-quality inks. In addition to painting, Tai in 2010 created an interactive and multimedia installation based on classical Chinese cosmology, 'The Gateway of Expedient Means', modelled on medieval revolving repositories of Buddhist sutras and constructed in wood using traditional mortise-and-tenon joinery. He currently lives and works in Beijing. Tai Xiangzhou's works are in the Art Institute of Chicago; the Arthur M.Sackler Museum, Harvard University; the Asian Art Museum of San Francisco; the Brooklyn Museum; Princeton University Art Museum; and Yale University Art Gallery.For related paintings by Tai Xiangzhou, see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, pp.44-45.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

LI XUBAI (b.1940)Lush Mountain in Smoky Clouds, 2015Ink and pigment on xuan paper. 178cm long x 97cm wide (70in long x 38 1/4in wide).Footnotes:李虛白（1940年生） 雲煙翠嶂 水墨設色紙本 立軸 2015年作Li Xubai was born in Fuzhou, Fujian Province, 1940. He moved to Hong Kong in 1979, where he has been the editor of art magazines such as 'The World of Collectors' and 'Dragon Roots Art Magazine'. He moved again in 1996, but this time to Canada, where he now lives. Although he began his artistic career by teaching himself Western-style painting, he was interested in Chinese classical literature, poetry and landscape painting since the 1960s. His paintings are influenced by the Song masters of the 12th century, but he maintains his connection with the contemporary world by creating a seemingly flat pictorial space and a pixilated effect that reminds one of digital media. By choosing to paint in a classically derived style, Li Xubai asserts his cultural identity while working in a foreign land. The poems he inscribes on his paintings in traditional literati fashion usually mention his foreign residence, echoing numerous inscriptions by painterly predecessors who wistfully invoked their own political exile. In the present lot for example, Li wrote in the Song dynasty lyric-metre-style. According to the inscription, this painting and the poem were made in Canada at his home.Li's works have been exhibited widely, including at the University Museum and Art Gallery at the University of Hong Kong, Saatchi Gallery in London, and the He Xiangning Art Museum in Shenzhen.Compare with a related painting by Li Xubai, which was sold at Christie's Hong Kong, 29 May 2022, lot 1010.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

WANG TIANDE (b.1960)Digital-No.08-MH56, 2008Xuan paper, Chinese ink on paper, burn marks, framed. 56cm high x 14.5cm wide (22in high x 5 3/4in wide).Footnotes:王天德（1960年生） 數碼No.08-MH56 水墨、焰紙本 鏡框 2008年作Born in Shanghai in 1960, Wang Tiande is one of the most innovative calligraphers in China. A graduate of the Chinese Painting Department at the Zhejiang Academy of Fine Arts in 1988, he is now Dean and professor at the Art and Design Department at Fudan University in Shanghai. Wang's art is a serious meditation on the precarious relation between permanence and fleeting efflorescence, between the material and the immaterial, between past and present, between tradition and contemporaneity.He started to create his Digital series when he was on an artist's residency in Paris in 2002. A portion of his cigarette accidentally fell onto a piece of paper and hollowed it out; Wang drew inspiration from the burning and developed it into a creative technique. Furthermore, his direct encounter with contemporary art in Paris, especially conceptual art, not only inspired new approaches in his own work but also further convinced him of his love for the language of ink. In the Digital series Wang Tiande paints landscapes and calligraphies onto xuan paper and then enriches the images with cigarette burns. Rich in form and content, this series goes beyond any boundaries dividing painting and calligraphy. Wang Tiande's works are collected in several important and prestigious museums and galleries globally, including the British Museum, London; The Shanghai Art Museum; the Shenzhen Art Museum; Hong Kong Art Museum; Museum of Fine Arts, Boston; and the Metropolitan Museum of Art, New York. See a similar work by Wang Tiande, illustrated by C.Von Spee, Modern Chinese Ink Paintings, London, 2012, pp.98-99, no.28. For a related landscape by Wang Tiande, see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, p.78 and 197; and also China Onward: the Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2009, pp.290-291.For further information on this lot please visit Bonhams.com

WANG TIANDE (b.1960)Digital No. 06-M36, 2006Ink on xuan paper, burn marks, large panel, framed. 133cm long x 66cm wide (52 1/2in long x 26in wide).Footnotes:王天德(1960年生) 數碼No. 06-MH31 水墨、焰紙本 鏡框 2006年作Born in Shanghai in 1960, Wang Tiande is one of the most innovative calligraphers in China. A graduate of the Chinese Painting Department at the Zhejiang Academy of Fine Arts in 1988, he is now Dean and professor in the Art and Design Department at Fudan University in Shanghai. Wang's art is a serious meditation on the precarious relation between permanence and fleeting efflorescence, between the material and the immaterial, between past and present, between tradition and contemporaneity.He started to create his Digital series when he was on an artist's residency in Paris in 2002. A portion of his cigarette accidentally fell onto a piece of paper and hollowed it out; Wang drew inspiration from the burning and developed it into a creative technique. Furthermore, his direct encounter with contemporary art in Paris, especially conceptual art, not only inspired new approaches in his own work but also further convinced him of his love for the language of ink. In the Digital series Wang Tiande paints landscapes and calligraphies onto xuan paper and then enriches the images with cigarette burns. Rich in form and content, this series goes beyond any boundaries dividing painting and calligraphy. Wang Tiande's works are collected in several important and prestigious museums and galleries globally, including the British Museum, London; The Shanghai Art Museum; the Shenzhen Art Museum; Hong Kong Art Museum; Museum of Fine Arts, Boston; and the Metropolitan Museum of Art, New York. See a similar work by Wang Tiande, illustrated by C.Von Spee, Modern Chinese Ink Paintings, London, 2012, pp.98-99, no.28. For a related landscape by Wang Tiande, see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, p.78 and 197; and also China Onward: the Estella Collection, Chinese Contemporary Art, 1966-2006, Humlebaek, 2009, pp.290-291.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Harold Cohen (British 1928-2016) a mid-century coloured screen print 'For Duncan Black' signed and dated 52 in pencil to margin, unframed, image size 16.5cm x 17cm, sold along with a monochrome ink portrait, circle of or after Harold Cohen. ***Harold Cohen was a British artist whose innovations at the forefront of technology changed the face of computer art. Unfolding where art and artificial intelligence intersect, Cohen's artistic practice was punctuated by his famed invention of AARON, a computer programme designed to create art independently. Cohen's work attracted global attention and was exhibited at major institutions such as Tate London and SFMOMA. Having graduated from Slade School of Fine Art, Cohen's first solo exhibition was held at Ashmolean Museum, Oxford in 1951. Further solo shows followed, including at Whitechapel Gallery in 1965. Cohen represented the UK at the 1966 Venice Biennale, Documenta III, the Paris Biennale, and the Carnegie International. Cohen relocated to the United States as a visiting lecturer at the University of California, San Diego, in 1968. It would be almost three decades Cohen remained at UC San Diego as professor, chairman of the Visual Arts Department and eventually in 1992, director of the Centre for Research in Computing and the Arts. During this time Cohen began work on AARON, a venture to which he would devote the next five decades, instigating new areas of study and pioneering generative art. After his retirement from UCSD he continued to work on AARON and produce new artwork in his studio in Encinitas, California. In 2014, Cohen received the ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art.

CHARLOTTE DE SYLLAS: PAIR OF NEPHRITE, CORAL AND CULTURED PEARL EARRINGS, 2001Each carved Canadian nephrite plaque inlaid with coral corallium rubrum and a cultured pearl, mounted in 18 carat yellow gold, maker's mark CdeS, London hallmark, length 2.6cm, fitted wooden caseFootnotes:Exhibited:'Charlotte De Syllas: Sculpted Gemstones', The Goldsmiths' Hall, London, 27th April - 22nd July 2016Literature:Exhibition catalogue, 'Charlotte De Syllas: Jewellery in Carved Gemstones', 2016, ill. p.58Please note, this lot will be subject to US Fish and Wildlife inspection if imported into the USA.In 1963, at Hornsey College of Art, Charlotte De Syllas enrolled on a new and innovative jewellery making course, recently established by the pioneering and hugely influential jeweller, Gerda Flӧckinger, CBE (b.1927). One of the first students to graduate, De Syllas' jewellery caught the attention of Graham Hughes, who purchased her entire body of student work for The Worshipful Company of Goldsmiths Collection. Hughes served as Art Director of The Goldsmiths' Company between 1951-1981 and actively promoted the work of British avant-garde jewellers. The 'International Exhibition of Modern Jewellery, 1890-1960' held at Goldsmiths' Hall under his leadership in 1961, marked a watershed moment for British jewellery design and the industry at large. Each of the four De Syllas jewels presented in this sale (lots 83 - 86) were exhibited at a major retrospective exhibition of De Syllas' work, held by The Goldsmiths' Company at Goldsmiths' Hall in 2016. The exhibition featured 73 unique pieces, covering her student work from the 1960s to her latest commissions. Prior to this, De Syllas won the first ever Jerwood Prize for Jewellery in 1995 (jointly with Peter Chang). Since graduating in 1966, she has taught and exhibited internationally and her work can be found in the permanent collections of the V&A Museum, the Crafts Council in London and the Alice and Louis Koch Collection at the Swiss National Museum in Zurich.De Syllas designs a jewel around the form of the gemstone she carves, creating sculptural pieces that are tailored specifically to each client – their complexion, hair colour, personality and personal preferences are all considered. Sculpting gemstones requires a great depth of understanding, experience, patience and skill and the art is fraught with many challenges. While the metal settings are secondary to the gemstone itself, De Syllas carefully considers the metal used in order to best enhance and seamlessly support each carving. She employs unconventional methods traditionally used in other fields, such as gunsmithing and dentistry and embraces new technologies, such as digital design drawing and laser welding. Her work is truly exceptional for its technical brilliance and fearless ingenuity. Nearly all of her pieces are private commissions, and this is likely to be the first time her jewellery has ever been presented to a global audience at auction.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

CHARLOTTE DE SYLLAS: NEPHRITE AND CORAL 'LEAF' BROOCH, 1992The delicately carved Canadian nephrite 'leaf' inlaid with a carved coral stem, mounted in 18 carat gold, maker's mark CdeS, London hallmark, length 3.8cm, wooden boxFootnotes:Exhibited:'Charlotte De Syllas: Sculpted Gemstones', The Goldsmiths' Hall, London, 27th April - 22nd July 2016Literature:Exhibition catalogue, 'Charlotte De Syllas: Jewellery in Carved Gemstones', 2016, ill. p.56Please note, this lot will be subject to US Fish and Wildlife inspection if imported into the USA.In 1963, at Hornsey College of Art, Charlotte De Syllas enrolled on a new and innovative jewellery making course, recently established by the pioneering and hugely influential jeweller, Gerda Flӧckinger, CBE (b.1927). One of the first students to graduate, De Syllas' jewellery caught the attention of Graham Hughes, who purchased her entire body of student work for The Worshipful Company of Goldsmiths Collection. Hughes served as Art Director of The Goldsmiths' Company between 1951-1981 and actively promoted the work of British avant-garde jewellers. The 'International Exhibition of Modern Jewellery, 1890-1960' held at Goldsmiths' Hall under his leadership in 1961, marked a watershed moment for British jewellery design and the industry at large. Each of the four De Syllas jewels presented in this sale (lots 83 - 86) were exhibited at a major retrospective exhibition of De Syllas' work, held by The Goldsmiths' Company at Goldsmiths' Hall in 2016. The exhibition featured 73 unique pieces, covering her student work from the 1960s to her latest commissions. Prior to this, De Syllas won the first ever Jerwood Prize for Jewellery in 1995 (jointly with Peter Chang). Since graduating in 1966, she has taught and exhibited internationally and her work can be found in the permanent collections of the V&A Museum, the Crafts Council in London and the Alice and Louis Koch Collection at the Swiss National Museum in Zurich.De Syllas designs a jewel around the form of the gemstone she carves, creating sculptural pieces that are tailored specifically to each client – their complexion, hair colour, personality and personal preferences are all considered. Sculpting gemstones requires a great depth of understanding, experience, patience and skill and the art is fraught with many challenges. While the metal settings are secondary to the gemstone itself, De Syllas carefully considers the metal used in order to best enhance and seamlessly support each carving. She employs unconventional methods traditionally used in other fields, such as gunsmithing and dentistry and embraces new technologies, such as digital design drawing and laser welding. Her work is truly exceptional for its technical brilliance and fearless ingenuity. Nearly all of her pieces are private commissions, and this is likely to be the first time her jewellery has ever been presented to a global audience at auction.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

CHARLOTTE DE SYLLAS: TOURMALINE 'TWIN' BROOCH, 2010The carved tourmaline crystal foiled with platinum and mounted in 18 carat white gold, maker's mark CdeS, London hallmark, length 8.0cm, fitted wooden boxFootnotes:Exhibited:'Charlotte De Syllas: Sculpted Gemstones', The Goldsmiths' Hall, London, 27th April - 22nd July 2016Literature:Exhibition catalogue, 'Charlotte De Syllas: Jewellery in Carved Gemstones', 2016, ill. p.51, shown with the other twin brooch, both carved from the same tourmaline crystal.In 1963, at Hornsey College of Art, Charlotte De Syllas enrolled on a new and innovative jewellery making course, recently established by the pioneering and hugely influential jeweller, Gerda Flӧckinger, CBE (b.1927). One of the first students to graduate, De Syllas' jewellery caught the attention of Graham Hughes, who purchased her entire body of student work for The Worshipful Company of Goldsmiths Collection. Hughes served as Art Director of The Goldsmiths' Company between 1951-1981 and actively promoted the work of British avant-garde jewellers. The 'International Exhibition of Modern Jewellery, 1890-1960' held at Goldsmiths' Hall under his leadership in 1961, marked a watershed moment for British jewellery design and the industry at large. Each of the four De Syllas jewels presented in this sale (lots 83 - 86) were exhibited at a major retrospective exhibition of De Syllas' work, held by The Goldsmiths' Company at Goldsmiths' Hall in 2016. The exhibition featured 73 unique pieces, covering her student work from the 1960s to her latest commissions. Prior to this, De Syllas won the first ever Jerwood Prize for Jewellery in 1995 (jointly with Peter Chang). Since graduating in 1966, she has taught and exhibited internationally and her work can be found in the permanent collections of the V&A Museum, the Crafts Council in London and the Alice and Louis Koch Collection at the Swiss National Museum in Zurich.De Syllas designs a jewel around the form of the gemstone she carves, creating sculptural pieces that are tailored specifically to each client – their complexion, hair colour, personality and personal preferences are all considered. Sculpting gemstones requires a great depth of understanding, experience, patience and skill and the art is fraught with many challenges. While the metal settings are secondary to the gemstone itself, De Syllas carefully considers the metal used in order to best enhance and seamlessly support each carving. She employs unconventional methods traditionally used in other fields, such as gunsmithing and dentistry and embraces new technologies, such as digital design drawing and laser welding. Her work is truly exceptional for its technical brilliance and fearless ingenuity. Nearly all of her pieces are private commissions, and this is likely to be the first time her jewellery has ever been presented to a global audience at auction.For further information on this lot please visit Bonhams.com

JR, French b. 1983- Mont Fermeil, France, 2013;digital print on on Hahnemühle Photo Rag 308g art paper,edition of 1000,21 x 29.7 cm,(unframed)(ARR)

Tunji Adeniyi-Jones (British 1992-), 'Poetic Feet', 2022, digital print on wove paper, signed and numbered from an edition of 25 to the accompanying Certificate Of Authenticity, published by Art For Black Lives; sheet: 29.7 x 20.7cmARRsheet: 29.7 x 20.7cm

Juno Calypso (British 1989-), 'Milk', 2019, digital print in colours on 315gsm Hahnemuhle Fine Art Paper, signed, dated, and numbered from an edition of 100 in black ink; sheet: 27.8 x 38.9cmARRsheet: 27.8 x 38.9cmIn very good conditionNo knocks, tears or creases to the sheetThis work has been stored flat and has not been framed. 

A polyurethane resin troll skull144cm wide This was commissioned for Beowulf TV series Please note the plinth is not included in this lot  The Rod Vass Collection - Lots 363-371 Rod Vass is a professional visual artist who originally studied Fine Art at Newcastle and Sunderland Colleges of Art. He then worked as an Archaeological artist at Newcastle University before moving to London to pursue an art career. Rod exhibited and sold paintings and began a parallel career as an illustrator, represented in London and New York. He also began to create 3D sculptural works for Film, TV and other clients. In 1997 he formed Armordillo Ltd, where he pioneered and developed the use of sculpting with sprayed polyurethane resins and foams within the film industry, starting with 650 suits of armour for Ridley Scott’s Oscar winning film Gladiator. Since its inception, Armordillo has been engaged in research and development into a wide range of experimental sculptural processes. Along with their specialist team, Rod and Armordillo have created works for numerous well known film and TV projects. In recent years Rod has been joined by his son Louis Vass, who has added his artistic abilities and highly developed digital art skills to the Armordillo portfolio. His 3D designs have brought a high level of sophistication to the design process – enabling realistic 3D images of design work to be viewed in situ even before construction has begun. Their work ranges in scale from intricately detailed models to huge set pieces measuring thousands of square feet. The current large sculptures at Summers Place reflect their interest in the combination of traditional artistic skills with the latest technology. Most of these sculptures started life as pieces created for Film, TV and live performance. All have been re-worked and re-purposed as freestanding statement pieces, suitable for outdoor or indoor display. The materials are relatively lightweight, allowing for easy installation in a range of locations. They are completely weatherproof and can be left outdoors indefinitely. Each piece has a makers plaque authenticating it as a genuine Rod Vass creation. The artists are currently concentrating primarily on private commissions and are happy to consider proposals for sculptural designed pieces at any scale. Garden OrnamentGarden Statuary Film Prop

Mert Alas and Marcus Piggott'Kate Moss' Art Edition Book No.126-150, 2017No.179, Published by Taschen, hardcover in clamshell box, 408 pages; with print 'Kate Moss, Love Magazine' (London 2009), signed by the artists and numbered, printed by hand in black and white on Harman Galerie FB digital paper, unframed, unopened, (image for illustration purposes only) 34.5 x 45cm (13.7 x 17.7in)Footnotes:Mert and Marcus, are the creative tour de force who have styled and shot some of the most powerful brands and personalities of our time, from Miu Miu to Angelina Jolie, Givenchy to Gisele Bündchen. This XXL-sized Art Edition features some 300 pictures from their hyper-glamorous, hyper-glossy repertoire, complemented by an exclusive print. Edition sold-out.ProvenanceBought by the vendor from TaschenThis 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

FOUR BOXES AND LOOSE CDS, ART MATERIALS, CAMERAS, STORAGE BOXES AND SUNDRY ITEMS, to include approximately sixty CDs, artists to include Spandau Ballet, The Shadows, and Michael Ball, some classical, assorted part used watercolour and acrylic paints, a Windsor & Newton table easel, a Dansette 222 transistor radio, a Vivitar DVR410 digital camera, a faux leather storage box and two small leather drawers, two Free Masonry aprons, a box of household linens, a wooden cased mantel clock, etc (4 boxes + loose) (sd)

**Contemporary - Vogue Art, gilt embellished digital print on paper, signed indistinctly in the print (lower left). (144 x 60 cm glazed frame)**(ARR may apply)

BILL VIOLA (B. 1951)Ablutions 2005 Colour video diptych on two flat panel displays mounted vertically on wall7:01 minutesPerformers: Jeff Mills, Lisa Rhoden102 by 122 by 10.8 cm.40 3/16 by 48 1/16 by 4 1/4 in. This work was executed in 2005 and is number 2 from an edition of 7, plus 1 artist's proof.Footnotes:This work is accompanied by a certificate of authenticity. ProvenanceJames Cohen, New YorkPrivate CollectionSale: Sotheby's, London, Contemporary Curated, 24 November 2020, Lot 126 Acquired directly from the above by the present ownerExhibitedNew York, James Cohen, Bill Viola, 2005 (another example exhibited)Bern, Kunstmuseum Bern and Cathedral of Bern, Bill Viola: Passions, 2014 (another example exhibited)Uppsala, Uppsala Cathedral, Bill Viola, Visitation Reformation, 2017 (another example exhibited)Philadelphia, Barnes Foundation, I Do Not Know What It Is I Am Like: The Art of Bill Viola, 2019 (another example exhibited)From one of the most pioneering artists of the contemporary period whose name is synonymous with the Video Art movement, Ablutions is a timeless and captivating work of art whose religiosity and humanity deliver an unwavering sense of Bill Viola's celebrated oeuvre. A key chapter of his seminal seven-part Purification series – made up of The Approach, The Arrival, The Disrobing, Ablutions (presented here), Basin of Tears, The Dowsing and Dissolution – this work stands alone as an earie and transfixing piece of pure beauty that was created in response to Wagner's opera Tristan und Isolde in 2005, when Viola collaborated with Peter Sellars for his production at the Opéra national de Paris that year; a staging of the work that saw significant acclaim and multiple revivals in seasons since. A twin-screen presentation, capturing the careful rinsing of palms and digits between a male and female subject over the course of seven minutes, Ablutions is presented in Viola's quintessential slowed frame rate that brings the most intimate and tender details to bear in an unsettling, thought-provoking work by the artist. Devoid of sound, the hypnotic simplicity of the performance feels heightened and intense, stirring images of devotion, of worship, and catharsis. As a work of art set against Wagner's opera, Viola's Ablutions takes a symbolic function: it reveals the inner realisation of love in the mind of the lovers that can only be achieved through a process of joint cleansing and sacrifice. As the artist commented on his response to the opera: 'Richard Wagner's Tristan und Isolde is the story of a love so intense and profound that it cannot be contained in the material bodies of the lovers. In order to fully realize their love, Tristan and Isolde must ultimately transcend life itself. [...] They trace the movement of human consciousness through one of its most delicate, poignant states: the surrender to an absolute, all-consuming love. [...] Act I presents the theme of Purification, the universal act of the individual's preparation for the symbolic sacrifice and death required for the transformation and rebirth of the self' (the artist in: Giuliano Picchi, 'Bill Viola, Tristan und Isolde', Scenography Today, 18 October 2018, Online).Ablutions is a significant and wonderfully compelling work that takes one of the greatest operas ever composed as its inspiration. Viola nonetheless maintains a distance from the grand narrative of Wagner's masterpiece, and in the present work we see the artist's mastery in full flow, conjuring Renaissance painting as readily as sacred gestures. An artist who has defined Video Art, being one of the first to use digital technology at its emergence, Bill Viola's practice has unquestionably shaped the landscape of contemporary art and film, and his works reside in global museum collections that include the Chicago Art Institute; the Fondation Cartier, Paris; the Kunstmuseum Basel; The Redtory Museum of Contemporary Art, Guangzhou; and the Tate Collection, London.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

David Farrell, British 1919 - 2013 - Brian Jones, Mick Jagger & Keith Richards, c.1963; digital fibre print, image size: 38 x 55.5 cm (ARR) Provenance: with Osbourne Samuel, London (according to the label attached to the reverse); the Collection of an Important Patron of British Art 

A BOX AND LOOSE METALWARES, CAMERA, TRIPOD AND SUNDRY ITEMS, to include a heavy brass figure of a Staffordshire Bull Terrier, an Evergreen Studio collection 'In the Rough' pewter sculpture, a Raku fired art pottery plate depicting a cottage in a rural landscape by Eeles Family Pottery, a boxed Traveler SX410z digital camera, a Soligor Video Tripod 2001, etc (1 box + loose) (sd)

JR,French b.1983-Cleaning of the exhibition in Paris Centre, number 7, 2006;digital print on on Hahnemühle Photo Rag 308g art paper,edition of 1000,21 x 29.7 cm,(unframed)(ARR)

Martyn studied photography at Harrow College of Art and after graduating in 1974 then assisted various leading photographers before going freelance.He became part of the New Wave music scene of the seventies, working with acts such as Blondie, The Jam, Sham 69 and The Cure to name a few. He has contributed or staged several photography exhibitions,’ Blondie in Camera 1978’ and The Jam ‘About the Young Idea’ 2015. Rock ‘n’ Roll and Fast cars 2019. In the late 1970’s he was invited to contribute to the Sunday Telegraph Magazine where he was assigned portrait and feature shoots with some of the great personalities of the arts world, while at the same time contributing to the iconic ‘Car Magazine’ producing automotive and travel stories. In recognition of his images, becoming a Fellow of the British Institute of Professional Photography in 1987.In recent years he has moved to a digital platform, becoming an active photo-blogger and content provider a producing travel features and images for Media groups in UK, Europe and USA, in addition to cataloguing and preserving his extensive archive rock bands and musicians.

PAMELA BONE (1925-2021) Six Creative Colour Landscapes, printed or framed 2012, a set of six colour photographs, Cibachrome prints, each from (1970s?) negatives of manipulated images using pre-digital technology, some or all these prints are from multiple superimposed negatives, five signed in ink on the image, four with photographer's hand written notes taped verso regarding the images and framing, images 31cm x 29.3cm, in identical glazed frames 51cm x 49cm Note 1: These six photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey Note 2: : Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”

Ca. 490-480 BC.Attributed to the Athena painter. This vase depicts a scene from a centauromachy, showing a hoplite soldier on one knee, thrusting the point of his spear into his opponent's mid-section. The centaur, rearing up on hind legs and armed with a large fir tree branch, takes hold of the hoplite by his helmet's high crest. Five nonsense letters are scattered in upper field. For a similar lekythos by the Athena Painter, with the same subject, see the white-ground example in the Museo Nacional de Belles Artes, Havana, inv. no 141 (J. D. Beazley, Attic Black-Figure Vase-Painters, Oxford, 1956, p. 523, no. 7, Beazley Pottery Database no: 330755).We are a dynamic company proud of the innovations we can bring to the traditional Ancient Art market. This is one of the first catalogues in the world to offer NFTs/DOTs of Ancient Art. Apollo Art Auctions and Coinllectibles, world leaders in digital art markets, have started working on this collaboration to bring Ancient Art together with digital content. Lots 1 to Lot 5 in this catalogue have been specially chosen due to their beauty and fantastic provenance to be transformed into DOTs. The buyer of each lot will receive both the physical and digital assets, which gives ownership over the DOT that making it a liquid access on both traditional and virtual marketplaces.From Coinllectibles Coinllectibles™️Coinllectibles Coinllectibles™️ is a technology company supporting the collectibles industry with a focus on rare memorabilia and artworks that exist and have intrinsic value in the real world, whether tangible or intangible in nature. Coinllectibles™️ applies blockchain, marketplace, metaverse and DOT technologies as tools to enhance the real-world collectibles industry. The technology underpinning DOTs (digital ownership tokens) has multiple functional use cases that Coinllectibles™️ is applying to areas including art and collectibles areas. A DOT (Digital Ownership Token) is a proprietary DOT format that provides a gold standard of rights and title of ownership of a digital asset, securely underpinned by smart contracts and legal documents stored on the blockchain, each with a unique identification code and metadata, also beneficial title to the relevant Collectible to which it is pegged.Size: L:238mm / W: 98mm; 343.05gProvenance: Part of an Oxford gentleman’s collection; from an old British collection formed in the 1980’s. Ex, Christie’s, Lon- don, 2 July 1980, lot 75. Fine Antiquities, Christie’s, London, 2 July 1980, lot 75. Fine Antiquities, Ex, Christie’s London, 6 June 1989, lot 490. Fine Antiquities, Ex, Christie’s London, 11 July 1990, lot 161. Private collection, Geneva, Fine Antiquities, Ex, Christie’s London, 6 June 1989, lot 490. The Castle Ash- by Vases; Ex, Christie’s, London, 2 July 1980, lot 75. Spencer Joshua Alwyne Compton, Second Marquess of Northampton (1790 - 1851), Castle Ashby, and thence by descent.

Ca. 664-332 BC, Late Dynastic Period.An Ancient Egyptian stone statuette depicting the god Osiris. He is shown seated in mummiform with a braided divine beard, an atef-crown, and a peaceful, idealised face. He is posed with the arms folded across the chest holding a crook andflail. Osiris is the most significant and important god in the Egyptian pantheon. He is known firstly as a god of fertility, then as a god of the underworld. In his role of lord of the underworld, he was associated with a pharaoh and is, thus, generally portrayed as a deceased pharaoh, as seen on this figure. This very important example was exhibited at Kres- ge Art Gallery, Michigan State University, 1985 to 2002. Published: J. Eisenberg, Art of the Ancient World, vol XXII (2011), no.158.We are a dynamic company proud of the innovations we can bring to the traditional Ancient Art market. This is one of the first catalogues in the world to offer NFTs/DOTs of Ancient Art. Apollo Art Auctions and Coinllectibles, world leaders in digital art markets, have started working on this collaboration to bring Ancient Art together with digital content. Lots 1 to Lot 5 in this catalogue have been specially chosen due to their beauty and fantastic provenance to be transformed into DOTs. The buyer of each lot will receive both the physical and digital assets, which gives ownership over the DOT that making it a liquid access on both traditional and virtual marketplaces.From Coinllectibles Coinllectibles™️Coinllectibles Coinllectibles™️ is a technology company supporting the collectibles industry with a focus on rare memorabilia and artworks that exist and have intrinsic value in the real world, whether tangible or intangible in nature. Coinllectibles™️ applies blockchain, marketplace, metaverse and DOT technologies as tools to enhance the real-world collectibles industry. The technology underpinning DOTs (digital ownership tokens) has multiple functional use cases that Coinllectibles™️ is applying to areas including art and collectibles areas. A DOT (Digital Ownership Token) is a proprietary DOT format that provides a gold standard of rights and title of ownership of a digital asset, securely underpinned by smart contracts and legal documents stored on the blockchain, each with a unique identification code and metadata, also beneficial title to the relevant Collectible to which it is pegged.Size: L:145mm / W:75mm; 580gProvenance: Property of a Central London Gallery, acquired by a British collector, ex-private Bandy collection, Rochester, Michigan, USA; ex Royal Athena Gallery, 1986. Exhibited: Olympia Art & Antiques fair, London June 2022.

Ca. 400-200 BC.A terracotta votive of hollow form depicting a young male. His young visage comprises of large almond-shaped eyes, incised pupils, a prominent aquiline nose, full bow -shaped lips, naturalistic ears and a slender neck. He is shown with characteristic Etruscan wavy coiffure beneath a long veil. The unarticulated verso forms the veil which also covers the crown of his head. For similar see: Bonhams28 November 2019, lot 81.We are a dynamic company proud of the innovations we can bring to the traditional Ancient Art market. This is one of the first catalogues in the world to offer NFTs/DOTs of Ancient Art. Apollo Art Auctions and Coinllectibles, world leaders in digital art markets, have started working on this collaboration to bring Ancient Art together with digital content. Lots 1 to Lot 5 in this catalogue have been specially chosen due to their beauty and fantastic provenance to be transformed into DOTs. The buyer of each lot will receive both the physical and digital assets, which gives ownership over the DOT that making it a liquid access on both traditional and virtual marketplaces.From Coinllectibles Coinllectibles™️Coinllectibles Coinllectibles™️ is a technology company supporting the collectibles industry with a focus on rare memorabilia and artworks that exist and have intrinsic value in the real world, whether tangible or intangible in nature. Coinllectibles™️ applies blockchain, marketplace, metaverse and DOT technologies as tools to enhance the real-world collectibles industry. The technology underpinning DOTs (digital ownership tokens) has multiple functional use cases that Coinllectibles™️ is applying to areas including art and collectibles areas. A DOT (Digital Ownership Token) is a proprietary DOT format that provides a gold standard of rights and title of ownership of a digital asset, securely underpinned by smart contracts and legal documents stored on the blockchain, each with a unique identification code and metadata, also beneficial title to the relevant Collectible to which it is pegged.Size: L:340mm / W:235mm; 5.2KgProvenance: Ex. New York Gallery; previously part of collection of Dr. Angelo R. Bergamo, NJ., Ex. Christies NYC, June 1993. Thermoluminescence Report from Oxford Authentication LTD. Exhibited: Olympia Art & Antiques fair, London June 2022.

Ca. 100 - 300 AD.Wearing a heavily draped chiton with a knotted belt beneath the breasts and wrapped in a himation falling from her proper left shoulder and across her waist, her right arm outstretched holding a patera, this female figure is identified as a goddess by the form of her diadem. The figure’s pose and dress draw heavily on the Greek Classical tradition. She is one of the twelve Olympian gods and chief goddess of the Greek and Roman pantheon; sister and consort of adulterous Zeus/Jupiter (q.v.); protector of women and patron deity of marriage and childbirth. For similar see: Auckland Museum Acc. No. 87. 4. We are a dynamic company proud of the innovations we can bring to the traditional Ancient Art market. This is one of the first catalogues in the world to offer NFTs/DOTs of Ancient Art. Apollo Art Auctions and Coinllectibles, world leaders in digital art markets, have started working on this collaboration to bring Ancient Art together with digital content. Lots 1 to Lot 5 in this catalogue have been specially chosen due to their beauty and fantastic provenance to be transformed into DOTs. The buyer of each lot will receive both the physical and digital assets, which gives ownership over the DOT that making it a liquid access on both traditional and virtual marketplaces.From Coinllectibles Coinllectibles™️Coinllectibles Coinllectibles™️ is a technology company supporting the collectibles industry with a focus on rare memorabilia and artworks that exist and have intrinsic value in the real world, whether tangible or intangible in nature. Coinllectibles™️ applies blockchain, marketplace, metaverse and DOT technologies as tools to enhance the real-world collectibles industry. The technology underpinning DOTs (digital ownership tokens) has multiple functional use cases that Coinllectibles™️ is applying to areas including art and collectibles areas. A DOT (Digital Ownership Token) is a proprietary DOT format that provides a gold standard of rights and title of ownership of a digital asset, securely underpinned by smart contracts and legal documents stored on the blockchain, each with a unique identification code and metadata, also beneficial title to the relevant Collectible to which it is pegged.Size: L: 23.5cm / W:98mm; 1.7kgProvenance: Private collection of an Oxford professional.Ex. Bonhams. Private USA collection:From an old New York collection from1990’s. Ex Sotheby's, New York.

Ca. 200 BC.Perhaps from Centurpipe, Sicily, depicted wearing a chiton, her body twisting spirally to the right, head thrown back and turned sharply to her right. Left leg raised behind her, arms positioned out before her, redpainted hair tied in a chignon, chiton preserving blue and pink strikes, on a reelshaped base original to the figure. We are a dynamic company proud of the innovations we can bring to the traditional Ancient Art market. This is one of the first catalogues in the world to offer NFTs/DOTs of Ancient Art. Apollo Art Auctions and Coinllectibles, world leaders in digital art markets, have started working on this collaboration to bring Ancient Art together with digital content. Lots 1 to Lot 5 in this catalogue have been specially chosen due to their beauty and fantastic provenance to be transformed into DOTs. The buyer of each lot will receive both the physical and digital assets, which gives ownership over the DOT that making it a liquid access on both traditional and virtual marketplaces.From Coinllectibles Coinllectibles™️Coinllectibles Coinllectibles™️ is a technology company supporting the collectibles industry with a focus on rare memorabilia and artworks that exist and have intrinsic value in the real world, whether tangible or intangible in nature. Coinllectibles™️ applies blockchain, marketplace, metaverse and DOT technologies as tools to enhance the real-world collectibles industry. The technology underpinning DOTs (digital ownership tokens) has multiple functional use cases that Coinllectibles™️ is applying to areas including art and collectibles areas. A DOT (Digital Ownership Token) is a proprietary DOT format that provides a gold standard of rights and title of ownership of a digital asset, securely underpinned by smart contracts and legal documents stored on the blockchain, each with a unique identification code and metadata, also beneficial title to the relevant Collectible to which it is pegged.Size: L:312mm / W:135mm; 880gProvenance: Ex. Christie's, December 2002, lot 54. Accompanied by original invoice (8500$). Superb provenanced object. Ex. Palladion Antike Kunst, Basel, Catalog, 1976, no. 85. Literature: Simon, The Kurashiki Ninagowa Museum, Greek, Etruscan and Roman Antiquities, no.148. Exhibited: Olympia Art & Antiques fair, London June 2022.

§ PREM SAHIB (BRITISH 1982-) YOUR DISCO NEEDS YOU XXXVI - 2017 Digital print on ceramic tile, signed, titled and dated verso Dimensions:17cm x 20 cm (6.75in x 8in), unframedProvenance:Provenance: To be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: Your Disco Needs You XXXVI (2017) is a digital print of a landscape on a white tile, glazed and fired after printing so that the image sits faintly on the surface like a bruise or a stain, hazy and opalescent. The work recalls a glimpsed reflection, in a public urinal's white tiled wall, of a leafy cruising spot in a London park. Spaces exterior and interior; public and private; expansive and intimate; memorialised and forgotten, all fleetingly combine in an eternalised ephemeral moment, a continuation of Sahib's archiving of queer spaces fading from view or relegated to the margins.The work of Prem Sahib embodies a poetic and provocative "destabilised minimalism", referencing the architecture of public and private spaces, structures that shape individual and communal identities, senses of belonging, alienation and confinement. Mixing the personal and political, abstraction and figuration, Sahib's formalism is suggestive of the body as well as its absence, drawing attention to traces of touch and frameworks of looking.In 2023, Sahib will publish That Fire Over There with Book Works, an artist's book developed from Descent, a three-part exhibition at Southard Reid, London in 2019 – 2020. Sahib’s work has been shown widely including solo institutional exhibitions Balconies, Kunstverein Hamburg, 2017 and Side On, ICA London, 2015, as well in group shows at spaces that include Sharjah Art Foundation, Migros Museum, Whitechapel Gallery, Hayward Gallery, KW Institute of Art, Des Moines Art Centre and the Gwangju Biennale. Their work is in the collections of Tate, The Arts Council, Government Art Collection, UK; Walker Art Center, Minneapolis, USA; Astrup Fearnley Museum of Modern Art, Norway; X Museum, Beijing, China; and MONA, Australia.

§ KAREN KNORR (AMERICAN/BRITISH 1954-) THE LOVESICK PRINCE, AAM KHAS, JUNHA MAHAL, DUNGARPUR PALACE (SMALL), FROM INDIA SONG - 2013/2018 Colour pigment print, A.P. 1, signed to artist's studio label verso Dimensions:60cm x 76cm (24in x 30in)Provenance:Provenance: To be offered to support The House of St Barnabas (Registered Charity 207242)Based in a Grade 1 listed townhouse in Soho, The House of St Barnabas has helped Londoners affected by homelessness since 1862. In 2013 the building became a members’ club with a difference; combining a not-for-profit creative and cultural space at No. 1 Greek Street with an Employment Academy for people affected by homelessness. Participants learn their craft in front of house, in the kitchen, the bar, or in the charity’s offices: since opening, 254 participants have graduated from the 12-week programme, many of which have secured lasting employment after graduation.The House of St Barnabas’ cultural events, music, and the generosity of members are key to the success of the charity, but the building also showcases work by both established and emerging contemporary artists. The permanent collection of visual art includes the works of Banksy and Tracey Emin alongside a programme of temporary exhibitions supporting emerging artists.The House have kindly been donated 11 works for sale, ranging from sculpture to paintings to support the charity's work. Most of the pieces have been donated by the artists themselves or by the galleries who represent them. Below we take a closer look at the works featuring in our January 2023 sale.2023 is the year of the house’s 10th anniversary. With your support and dedication, the charity hopes to continue to break the cycle of homelessness.Note: Note: Please note this work is sold with accompanying Ceritificate of Authenticity, issued by the artist.Karen Knorr’s past work from the 1980’s onwards took as its theme the ideas of power that underlie cultural heritage, playfully challenging the underlying assumptions of fine art collections in academies and museums in Europe through photography and video. Since 2008 her work has taken a new turn and focused its gaze on the upper caste culture of the Rajput in India and its relationship to the "other" through the use of photography, video and performance. The photographic series considers men's space (mardana) and women's space (zanana) in Mughal and Rajput palace architecture, havelis and mausoleums through large format digital photography.Karen Knorr celebrates the rich visual culture, the foundation myths and stories of northern India, focusing on Rajasthan and using sacred and secular sites to consider caste, femininity and its relationship to the animal world. Interiors are painstakingly photographed with a large format Sinar P3 analogue camera and scanned to very high resolution. Live animals are inserted into the architectural sites, fusing high resolution digital with analogue photography. Animals photographed in sanctuaries, zoos and cities inhabit palaces, mausoleums , temples and holy sites, interrogating Indian cultural heritage and rigid hierarchies. Cranes, zebus, langurs, tigers and elephants mutate from princely pets to avatars of past feminine historic characters, blurring boundaries between reality and illusion and reinventing the Panchatantra for the 21st century.The subjects of Karen Knorr’s work are as geographically diverse as the artist’s own biography: Knorr was born in Germany and raised in Puerto Rico, before she ventured to Paris and settled in London. While she works in video and installation, she is perhaps best known for her photographs and digital collages. Principal themes in her work include the stratification of class, the distribution of privilege and wealth, value systems, the symbolic role of animal representations, and issues of power at the foundation of cultural heritage. Knorr prefers to look at the privileged rather than the disenfranchised; her subjects have included wealthy English classes and their patriarchal systems and frequented clubs. More recently, Knorr has produced a series of digitally modified interiors set in India, based on fables and injustices.

JUAN GOMILA (Barcelona, 1942)."Ondulación", 1980.Triptych.Oil on canvas.Signed, titled and dated on the back.Size: 250 x 30 cm. q.v.Juan Gomila is one of the leading artists on the Spanish post-Pop Art scene. He began his work in the sixties, focusing on the reflection on the value of colour and signs in a world saturated with signs. In 1974 he represented Spain at the Alexandria Biennial, winning First Prize, and three years later he also represented Spain at the São Paulo Biennial. In 1978 he won Second Prize for Painting at the VII International Biennial of Sport in the Fine Arts (Barcelona), and in 1980 he again represented Spain, this time at the Venice Biennial. In 2007 he began to work exclusively with digital photography, and the following year he presented a major retrospective exhibition at the Barjola Museum in Gijón. He is currently represented in the MNCA Reina Sofía, the Contemporary Art Museums of Vilafamés, Palma de Mallorca and Bialystock (Poland), the Biblioteca Comunale in Milan, the Museo Jovellanos in Gijón, the Museo de Bellas Artes de Asturias, the Textil de la Indumentaria in Barcelona, the Salvador Allende Museum in Santiago de Chile, the collections of the Consejo Superior de Deportes, Argentaria, Caja de Asturias, Azcona and Pere A. Serra and the Masaveu and Aena Foundations.

EVA DAVIDOVA (Bulgaria, 1969)."Untitled (Dani)", 2007.Digital photograph, copy 2/3.Signed, titled and numbered on the back.Label of the gallery N2, Barcelona, on the back.Measurements: 100 x 70 cm.Eva Davidova, in the photographic series to which this work belongs, works with spatial and corporal displacement. She plays with visual paradoxes and unnatural movements, explores the poetics of the absurd and confronts viewers with their own interpretations. A Bulgarian-Spanish artist living in New York, Eva Davidova uses her art to vindicate the ecological disaster and the political implications of technology, among other everyday social issues, which she works through the absurd. Her work has been exhibited at the Bronx Museum, the Everson Museum, the Albright Knox Museum, the MACBA, the Círculo de Bellas Artes, the CAAC, the Centro de Arte Contemporáneo La Regenta, the Cervantes Institutes in Sofia and Tangiers, as well as in numerous private galleries. He has won several international awards, including the M-Tel Prize for Contemporary Bulgarian Art and a Residency Unlimited grant in New York from the National Endowment for the Arts.

MATTEO MAURO, (Catania, Sicily, 1992)."She", 2020.Resin sculpture.Finished with gold and white satin varnish.Limited edition of 190/200.The work will be available approximately 15 days after payment has been made.Dimensions: 25 x 10 x 10 cm.Matteo Mauro observes and explores the world with the eyes of an artist. He looks for new solutions and embraces old ones in his infinite mediation between reality and dreams. His artistic process mixes analogue and digital tools to generate artworks with a distinctly contemporary sensibility, which critics have deemed hyper-contemporary. Matteo Mauro's studio creates a wide range of artworks, including sculptures, paintings, video art, installations and augmented reality pieces.The artist was born in Sicily, but has lived and travelled in many countries. He spent more than a decade in London, where he first established his artistic practice and continues to live today. Mauro has worked and studied with several influential designers, including Ron Arad and Isaie Bloch, and has taught Digital Communication at London's LSBU and UCL universities.Mauro has received numerous awards for his work, including the Master of Art 2018 and the European Excellence of Arts and International Van Gogh Prize, awarded by Roy Dalí, son of Salvador Dalí.His pieces have been exhibited in several museums and galleries, including the Royal Academy of Arts, the Museo Marte, the Museo della Fabbrica, Le Salon des Indépendants at the Grand Palais in Paris, the Ing-Creatives in Dubai, the Songyang Museum Contemporary Art, the Fondazione Museo Crocetti, while some exhibitions are scheduled at the Datong Art Museum and the MACAM Modern and Contemporary Art Museum in the near future.However, Matteo Mauro does not limit himself to painting or creating artworks, but is also the author of the worldwide distributed book Inscripciones Micromegálicas. Matteo Mauro's studio is currently located in Catania, Italy.

HIRO ANDO (Japan 1973)."Mology pandasanGreen", 2011,Mixed media and polychrome pigment (cast resin). Exemplary 1/8.With protective plexiglass cover with led and base with mirror.Signed and justified on the base.Measures: 33 x 29 x 34 cm.Sculpture made of resin cast in round, covered with green pigment The soft materials, the bright colours, the sharp but rounded shapes of Hiro Ando's sculptures take us to the Manga world in which the artist's generation grew up. Hiro ANDO's art is the meeting of the Meiji era and Manga, it is Shogun in the land of Pokémon, it is traditional Japan seen through young eyes: it is definitely Japanese Neo Pop art. The sculpture presents an aesthetic with a pop or even kitsch finish, not only because of the histrionic use of colour and the industrial finish that sacralises what looks like an "Art toy" and turns it into an artistic object, but also because, through the choice of the panda, it manages to refer to kind values, arousing a certain sentimentality with regard to the piece, as is usual in the kitsch current.In 1995, Hiro Ando began a career as an illustrator after graduating from Tama Art University in Tokyo. In 2005, he founded an artists' studio in Tokyo with another artist, Saori Nakamishi, to manage the creation and promotion of other young neo-pop artists who include their own popular culture in their creations. Today, about 10 artists are part of this "Crazynoodles" studio. Hiro Ando is a versatile artist. He has used oil on canvas, digital media and worked in video art. Hiro's technique consists of making several basic sketches before painting on canvas. The latter take shapes and emerge from the streets of Tokyo at night, are dressed in colours and graphics and move in groups. Hiro paints dark cityscapes with red fish scattered across the canvas. The combination of the two themes makes the whole canvas dynamic and violent, with a strange sense of eternity due to the red fish reminiscent of old Japanese paintings and watercolours. Recently, Ando added sculptures to his wide variety of media and began working on a series of sculptures inspired by his Japanese folk culture. Throughout his international career he has participated in numerous group and solo exhibitions including; Ando Sculptures, Galerie Tony Rocfort, la Baule, France, Collective Show, COVA Gallery, Eindhoven, Colors of Japan, Galerie 193, Paris, Context Art Miami, ZK Galleria, San Francisco, USA, CrazyColors CrazyNoodles, Galerie JacobPaulett, Paris, Permanent Ando Show, Artion Gallery, Greece, Ando Sculptures Show, ZK Gallery, San Francisco, USA and Show CrazyNoodles, Galerie Jacob Paulett, Paris, among many others. His work currently forms part of important private and public collections, including the collections of the Israel Museum and the Salsali Private Museum, Dubai.

Framed Highlands Stag - Wrapped Canvas Graphic Art Canvas Digital Print Onto 100% Cotton Canvas, Which Is Then Stretched By Hand Across A Solid Timber Frame Mounted In A Distressed Wood Gold Foil Finish Frame 73 x 104cm

DAVID MEAD (British, 1906-1986) - A beech wood in autumn, oil on canvas board, signed, also signed and inscribed verso (24 x 36in; 61 x 91.5cm). Dirty old varnish, superficial blemishes. Provenance: Stacy Marks, EastbourneCondition Report:  History of Giclee Print Process. Jack Dunganne created the term to represent any inkjet-based prints used as fine art prints. The process was invented in 1991 when he was looking for print medium term expressing the collaborations of fine arts and new digital printing. It is now widely used in galleries and print shops. This work of art shows signs of hand finishes and is dated 1965 verso by Stacey Marks Gallery.

Neil Pengelly 'MY FAIR LADY' (Audrey Hepburn) - signed and marked AP/1 - Original artwork with handmade frame, fully embellished and entirely created by Neil Pengelly, the artwork overspills onto frame - 21.75" x 27" - PROVENANCE: Donated to and sold on behalf of Macmillan Caring Locally, Canvas for the Mac - the full hammer price will be going to the charity - About the Artist: Neil Pengelly is a Northants based artist who honed his skills in drawing and painting and more recently digital artworks - now creating artworks that marry all three skills together. Each original piece of art is resplendent with added touches of acrylic and oil paints and bejewelled with diamond dust and micro glitters.

Street Art - - Banksy. (1974). The Walled Off Hotel Box Set. Digitaldruck auf Velin, Beton, Sprühfarbe, IKEA Rahmen. 25,5 x 25,5 x 4,5 cm. - Guter Zustand. Beigegeben: Original nummerierte Rechnung des "The Walled Off Hotel". - Jedes Exponat durch die jeweils individuelle Verwendung der Sprühfarbe mit unikatärem Charakter. - Die Arbeit wurde ausschließlich im Walled Off Hotel in Palästina vertrieben und ist seit längerem ausverkauft. Digital print on paper, concrete, spray paint, IKEA frame. Numbered on verso. - Good condition. - Each exhibit with unique character thanks to the individual use of spray paint. The work was sold exclusively in the Walled Off Hotel in Palestine and has been sold out for a long time. - Added: original numbered invoice.

A LADY'S ART DECO "DIGITAL" WRISTWATCH, with apertures for hours and minutes, un-numbered sixteen jewel movement in a plain 18ct white gold oblong case, on angular shoulders, on cord strap with 9ct gold fastener (Est. plus 21% premium inc. VAT)Watch case, glass and strap weigh 7.8g gross, movement 4.8g, appears to be working, case good, stamped 18/.75

La Vie en Rouge - Olivia Roze Spray paint on canvas 594 x 878 mm  ARTIST STATEMENT: This piece is a stencilled spray piece using street art techniques. I was inspired by Teddy Baden’s work after being selected for an Art for Guernsey Scholarship and visiting Teddy in London. I wanted to capture a moment in time using a modern technique; also creating something beautiful and delicate. The flow of the hair and the free expression of the face, then stripped back to black and white with one bold colour to make the expression pop!ABOUT THE ARTIST: Olivia Roze won the Public Vote Prize in the Sovereign Art Foundation Students Prize, Guernsey 2021 with her artwork "Freya" and also was selected for an Art for Guernsey Scholarship. Olivia studies Creative and Digital Arts at the College of Further Education. Olivia's aspriations are "to share my art with many, and also take my education further and study a Fine Art bachelors degree at university."

A sheet of A3 tracing paper of the original preliminary cutaway artwork depicting the iconic Armoured Personnel Carrier vehicle from James Cameron's 1986 masterpiece Aliens. Drawn by by John R. Mullaney in 2014.Commissioned by Insight Editions and 20th Century Fox Studios, the artwork formed a crucial stage of the approval process between studio and artist for the eventual art's publication in the high-end collectible title Alien : The Weyland-Yutani Report. Hand-drawn by John, the original artwork was approved by the studio and publisher as well as by a project Brain Trust of franchise consultants, comprising of prominent collectors, archivists and enthusiasts from the fan community. The artwork is as screen-accurate as available reference allowed, with the artist piecing together all the details using rare on-set production photography and film-stills to ensure a definitively canon reproduction of the vehicle's layout. The artwork evolved over an extensive series of approval versions, as John worked closely with project collaborator and 2D artist Graham J. Langridge to hone the detail. The artwork was then reproduced at large format size and carefully traced to form the set-up for the final full colour artwork which appears on pages 114-115 of The Weyland-Yutani Report.The artwork's evolution can be seen in a special making-of film produced by the artist who is also an award-winning film-maker. The time-lapse film has currently received over 60,000 views on Youtube, and continues to wow fans and viewersAbout the ProjectOf all the franchises John has been commissioned to illustrate, the Alien franchise remains his most personally beloved. Between 2005 and 2006 John created his self-initiated cutaway art of the Colonial Marines Dropship from the 1986 sequel as a proof of concept for an entire book of cutaways depicting the iconic craft and locations from the franchise. The artwork became a limited edition collectible produced by Acme Archives and rapidly sold out. In 2014 he was commissioned by Insight Editions to paint a cutaway of Aliens' APC which appeared alongside the Dropship art and 8 other new artworks of hardware from the franchise in high end collectible Alien: The Weyland-Yutani Report. The making-of film APC Cutaway : Special Edition which John created to promote his work in Insight's publication, continues to wow viewers seven+ years after its release amassing over 60,000 views on Youtube. Both the Dropship and APC cutaway originals artworks sold to a private collector. In 2018 John was commissioned to produce six new colour 2D artworks of craft from the series for Free League's Alien Role Playing Game title, with each piece rendered using the same intricate techniques as for his 3D cutaway work. Valuation note: the full colour artwork later sold to a private collector for £3,500. Click here to see the full gallery of John's work for Alien.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers. John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of 300gm watercolour paper of the original artwork produced by John R. Mullaney depicting the iconic USCMC Cheyenne Dropship from James Cameron's 1986 feature Aliens. Painted by John R. Mullaney in 2019. Paper measures 50 x 18,5cm.The art was commissioned by Free League Publishing and 20th Century Fox Studios as one of six new 2D vehicle artworks to appear in the 2019 title ALIEN : The Role Playing Game. The painting is as screen-accurate as available reference allowed, with the artist using rare on-set production photography and film-stills to ensure a faithful reproduction of the vehicle's exterior. Hand drawn and painted using multiple layers of watercolour washes, the original artwork was approved by the studio and publisher. The ship's decals and liverie were added digitally for greater accuracy and flexibility, but the artist has subsequently added these details by hand to enhance the original painting. The artwork appears on pages 144-145 of Free League's acclaimed RPG publication (see images, book not included in lot).About The ProjectOf all the franchises John has been commissioned to illustrate, the Alien franchise remains his most personally beloved. Between 2005 and 2006 John created his self-initiated cutaway art of the Colonial Marines Dropship from the 1986 sequel as a proof of concept for an entire book of cutaways depicting the iconic craft and locations from the franchise. The artwork became a limited edition collectible produced by Acme Archives and rapidly sold out. In 2014 he was commissioned by Insight Editions to paint a cutaway of Aliens' APC which appeared alongside the Dropship art and 8 other new artworks of hardware from the franchise in high end collectible Alien: The Weyland-Yutani Report. The making-of film APC Cutaway : Special Edition which John created to promote his work in Insight's publication, continues to wow viewers seven+ years after its release amassing over 60,000 views on Youtube. Both the Dropship and APC cutaway originals artworks sold to a private collector. In 2018 John was commissioned to produce six new colour 2D artworks of craft from the series for Free League's Alien Role Playing Game title, with each piece rendered using the same intricate techniques as for his 3D cutaway work. Click here to see the full gallery of John's work for Alien.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world-famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration and is also an award-winning filmmaker.

A sheet of A4 tracing paper of the original preliminary cutaway artwork produced by John R. Mullaney depicting the iconic Pulse Rifle from James Cameron's 1986 masterpiece Aliens. Drawn by John R. Mullaney in 2013. Page measures 35 x 21cm.This concept art was used to convey art direction given to ILM artist Drew Pace as a mock-up for a digital cutaway artwork of the weapon for a proposed in-universe publication called The Weyland-Yutani Files. Conceived by John and the Alien Brain Trust between 2012 and 2013, the project was ultimately surpassed by Insight Editions' The Weyland- Yutani Report - licensed by 20th Century Fox Film Corporation – for which John was chosen by Fox as one of the two illustrators.When planning the content for this title, the Pulse Rifle artwork was used as a proof of concept for weapons cutaways but ultimately the publisher did not have the budget for this and a full-colour non-cutaway artwork of the iconic weapon was instead produced. Working from photos provided by the Harry Harris collection, John's final colour artwork of the Pulse Rifle appears on pages 104-105 of The Weyland-Yutani Report (see lot images, book not included in lot).About The ProjectOf all the franchises John has been commissioned to illustrate, the Alien franchise remains his most personally beloved. Between 2005 and 2006 John created his self-initiated cutaway art of the Colonial Marines Dropship from the 1986 sequel as a proof of concept for an entire book of cutaways depicting the iconic craft and locations from the franchise. The artwork became a limited edition collectible produced by Acme Archives and rapidly sold out. In 2014 he was commissioned by Insight Editions to paint a cutaway of Aliens' APC which appeared alongside the Dropship art and 8 other new artworks of hardware from the franchise in high end collectible Alien: The Weyland-Yutani Report. The making-of film APC Cutaway : Special Edition which John created to promote his work in Insight's publication, continues to wow viewers seven+ years after its release amassing over 60,000 views on Youtube. Both the Dropship and APC cutaway originals artworks sold to a private collector.In 2018 John was commissioned to produce six new colour 2D artworks of craft from the series for Free League's Alien Role Playing Game title, with each piece rendered using the same intricate techniques as for his 3D cutaway work. Click here to see the full gallery of John's work for Alien.About the ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world-famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration and is also an award-winning filmmaker.

A sheet of A3 tracing paper containing the original high-detail preliminary for the cutaway artwork of The Baneblade Tank as published in Warhammer 40,000 Apocalypse: Catacylismic Battles – 2013 / Published by Games Workshop. Drawn by John R. Mullaney in 2016. Measures 42 x 30cm.Commissioned in 2012, this precisely drawn high-detail artwork was the basis for the eventual full-colour artwork published the following year and underwent multiple changes before this final preliminary was approved by Games Workshop.The exterior of the Baneblade tank was set up using a photo of the vehicle's GW model kit, but the interior had never been seen before and required extensive collaboration between John and the GW team. Running with their brief that the interior should look like a 'World War II U-boat meets a Cathedral', John employed real world submarines and tanks as reference to achieve a mechanical verisimilitude. GW supplied John with a wealth of reference and instructions to create the look of the 40K architecture mythos & its characters, including the wealth of servo skulls, servitors and human gunners that inhabit the vehicle.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of 300gm watercolour paper containing the original watercolour, gouache and ink character art composited into the cutaway of 'The Night Buzzard' as featured in Star Wars Episode IX Rise of Skywalker. Painted by John R. Mullaney in 2020.Measures 26x18.5cm. The three characters were hand drawn and painted at a larger scale than the cutaway itself to allow for more detail and flexibility of positioning before they were digitally composited into the eventual piece. Reference photography of each character was provided by Lucasfilm and this was used to ensure screen-accuracy. An additional unpainted image of Ushar peering inside a storage crate was drafted before John and the team at DK and Lucasfilm decided he would be depicted in a different posture and location. Ushar's mace was also drafted before it was decided to composite the photographic version of the character's weapon. Consideration had to be given to each character's colouring to ensure it matched the lighting of the main cutaway and the relative position in which they would be located. The artwork appears on pages 252-3 of DK's 2020 title Star Wars Complete Vehicles Incredible Cross-Sections. It remains the only canon depiction within the Star Wars universe of the entire vehicle interior used by the sequel trilogy's primary adversary.About The ProjectIn 1999 John was approached by Dorling Kindersley and Lucasbooks to be the third illustrator on their world-famous Star Wars Incredible Cross Section series. Since then he has had his meticulously detailed work published in many of the series’ titles including the Night Buzzard most recently commissioned & published in 2020. Thanks to a close working relationship with Lucasfilm’s archive and art departments, each image is extensively researched for accuracy and based on exclusive access to behind the scenes reference material. The pieces John completed in the early two thousands were approved by George Lucas, whilst approvals for more recent commissions have been overseen and rubber-stamped by Pablo Hidalgo - the head of Lucasfilm’s story group. Click here to see the full gallery of John's work on Star WarsAbout The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers. John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of 300gm watercolour paper containing the original watercolour, gouache and ink character art composited into the cutaway of 'The Night Buzzard' as featured in Star Wars Episode IX Rise of Skywalker for Dorling Kindersley's (see images, book not included in lot) . Painted by John R. Mullaney in 2020. Measures 9 x 33,5cm. The three characters were hand drawn and painted at a larger scale than the cutaway itself (see lot 205) to allow for more detail and flexibility of positioning before they were digitally composited into the eventual piece. Reference photography of each character was provided by Lucasfilm and this was used to ensure screen-accuracy. Two of the characters would be composited into the artwork as gunners manning the ship's weapon meaning it wasn't necessary to paint the full extent of their character. Consideration needed to be given to each character's colouring to ensure it matched the lighting of the main cutaway and the relative position in which each character would be located. The artwork appears on pages 252-3 of DK's 2020 title Star Wars Complete Vehicles Incredible Cross-Sections. It remains the only canon depiction within the Star Wars universe of the entire vehicle interior used by the sequel trilogy's primary adversaryAbout The ProjectIn 1999 John was approached by Dorling Kindersley and Lucasbooks to be the third illustrator on their world-famous Star Wars Incredible Cross Section series. Since then he has had his meticulously detailed work published in many of the series’ titles including the Night Buzzard most recently commissioned & published in 2020. Thanks to a close working relationship with Lucasfilm’s archive and art departments, each image is extensively researched for accuracy and based on exclusive access to behind the scenes reference material. The pieces John completed in the early two thousands were approved by George Lucas, whilst approvals for more recent commissions have been overseen and rubber-stamped by Pablo Hidalgo - the head of Lucasfilm’s story group. Click here to see the full gallery of John's work on Star Wars.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of A3 tracing paper of an initial preliminary artwork depicting the legacy characters' route through Mos Eisley spaceport as featured in Star Wars Episode IV A New Hope. Drawn by John R. Mullaney in 2001.Measures 29.5 x 19cm. This artwork was produced as part of the planning process undertaken by the artist, DK art editor John Kelly and Lucasfilm's project consultant Curtis Saxton.The artist's brief was to produce an aerial cityscape view of the infamous “hive of scum and villainy”. But accurately plotting the buildings glimpsed in the Mos Eisley sequence required a forensic approach. By using shadow directions seen in the 1977 original as well as the 20th anniversary reissue edition, and matching background architecture that appeared in more than one shot, the team were able to calculate the relationship between buildings which line the route taken by Kenobi, Skywalker and the droids - from the outskirts of the city to the notorious Cantina, before they later head to Docking Bay 94. With the route plotted, the artist was then able to build up the rest of the spaceport ultimately creating one of his most ambitious and prestigious paintings to date, with the eventual artwork personally approved by George Lucas. Originally appearing on pages 12-13 of the original title: Inside the Worlds of Star Wars Trilogy, the art has been subsequently published in multiple reprints of the Inside the Worlds of Star Wars and Incredible Cross-Sections series.Two decades on from the creation of this vital first planning sketch, the final illustration remains the only published canon depiction of the city's layout in the franchise's history.About The Series In 1999 John was approached by Dorling Kindersley and Lucasbooks to be the third illustrator on their world-famous Star Wars Incredible Cross Section series. Since then he has had his meticulously detailed work published in many of the series’ titles including the Night Buzzard most recently commissioned & published in 2020. Thanks to a close working relationship with Lucasfilm’s archive and art departments, each image is extensively researched for accuracy and based on exclusive access to behind the scenes reference material. The pieces John completed in the early two thousands were approved by George Lucas, whilst approvals for more recent commissions have been overseen and rubber-stamped by Pablo Hidalgo - the head of Lucasfilm’s story group. Click here to see the full gallery of John's work on Star Wars.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of A3 tracing paper containing the original high detail preliminary for the cutaway artwork of Truth and Reconciliation as featured in Halo Warfleet – An illustrated Guide to the Spacecraft of Halo (see images, book not included) licensed by 343 Industries and published by Egmont. Drawn by John R. Mullaney in 2016. Measures 42 x 25cm.This detailed artwork underwent extensive discussion as most of the internal elements had yet to be seen within the Halo universe, with just the Hangar seen in gameplay. A notable detail from gameplay present within the preliminary which did not make it into the final colour artwork is the bridge, the position of which proved too elusive for 343 to definitely locate within the ship. More than just a preliminary, this artwork acted as a high-detail blueprint for the final artwork, precise as the scale allows. Once approved, the artwork was then reproduced at large format size and carefully traced with a lightbox onto watercolour paper to form the set-up for the final full colour artwork. The eventual artwork which was set-up using this preliminary art appears on pages 62-63 of Halo Warfleet – An illustrated Guide to the Spacecraft of Halo.About The ProjectIn 2016 John was approached by illustrator Hans Jenssen asking if he would like to collaborate on a Halo cutaways project on which he was already working. This was a huge deal for John – given that just under two decades earlier John had begun his career in architectural illustration by forensically studying Hans' and Richard Chasemore's work in DK's first Star Wars Incredible Cross Sections title. Aspiring to one day work on these famous titles – which he did in 2001 – John has ever since based a great deal of his cutaway technique on Hans' work. Published by Egmont, licensed by the team at 343 Industries, and overseen by lead-writer of the Halo Universe Kenneth Peters, the book project saw Hans produce artworks of all the human-built ships in the book whilst John depicted the Covenant fleet. These ships’ organic curves and unusual design represented a departure from the more utilitarian designs seen in Star Wars and Alien, as well as an opportunity to apply new digital techniques to the hand painted artworks. Click here to see the full gallery of John's work for Halo.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

A sheet of A3 tracing paper containing the original high detail preliminary for the cutaway artwork of High Charity as featured in Halo Warfleet – An illustrated Guide to the Spacecraft of Halo (see images, book not include) licensed by 343 Industries and published by Egmont. Painted by John R. Mullaney in 2017.Measures 29 x 34cmThe interior of this vast entity had never been seen before within the Halo universe, so the authors and illustrator spent significant time and effort establishing the internal layout and structure. The artwork evolved over multiple iterations with the artist setting up some of the geometry using 3D modelling, before transferring approved geometry to the high detail hand-drawn artwork which was then scaled up to form the basis for the full-size artwork. More than just a preliminary, this artwork acted as a high-detail blueprint for the final artwork, precise as the scale allows. Once approved, the artwork was then reproduced at large format size and carefully traced with a lightbox onto watercolour paper to form the set-up for the final full colour artwork. The eventual artwork which was set-up using this preliminary art appears on pages 56-67 of Halo Warfleet – An illustrated Guide to the Spacecraft of Halo.About The ProjectIn 2016 John was approached by illustrator Hans Jenssen asking if he would like to collaborate on a Halo cutaways project on which he was already working. This was a huge deal for John – given that just under two decades earlier John had begun his career in architectural illustration by forensically studying Hans' and Richard Chasemore's work in DK's first Star Wars Incredible Cross Sections title. Aspiring to one day work on these famous titles – which he did in 2001 – John has ever since based a great deal of his cutaway technique on Hans' work. Published by Egmont, licensed by the team at 343 Industries, and overseen by lead-writer of the Halo Universe Kenneth Peters, the book project saw Hans produce artworks of all the human-built ships in the book whilst John depicted the Covenant fleet. These ships’ organic curves and unusual design represented a departure from the more utilitarian designs seen in Star Wars and Alien, as well as an opportunity to apply new digital techniques to the hand painted artworks. Click here to see the full gallery of John's work for Halo.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

Grayson Perry, CBE RA. King of Hearts. Digital Artwork Giclée Print on Hahnemühle Pearl Paper, 44.5 x 32 cm, canvas size 59.4 x 42 cm. Artists proof, signed."Grayson Perry is an English contemporary artist, writer and broadcaster. He is known for his ceramic vases, tapestries, and cross-dressing, as well as his observations of the contemporary arts scene, and for dissecting British ""prejudices, fashions and foibles"".Perry won the prestigious Turner Prize in 2003 for his innovative pictorial stories and his incisive satirical depictions of English cultural and social life, and has since gone on to mount various solo exhibitions worldwide, including at the Tate St Ives, Cornwall, and most recently at the National Museum in Oslo, Norway with his show Grayson Perry. Fitting In and Standing Out. which will run until March 2023. Perrys works revolve around themes such as identity, social classes, gender roles and consumer society. His art exposes and challenges societys norms, values and taboos, all of which are structures that influence how we see and express ourselves and how we are seen by others.Grayson has been involved with the TLC Deck of Cards since its inception when he designed one of the Joker cards of the first Deck. He then created the Queen of Diamonds for Volume 2 in 2020, and has continued with the aesthetic themes from previous designs with his King of Hearts for Volume 3. This relevant and timely piece, depicting a recently appointed king, features the classic ruff collar as seen in previous works, and makes use of the mirror style layout most commonly associated with traditional decks of cards. "

Grayson Perry, CBE RA. King of Hearts. Digital Artwork Giclée Print on Hahnemühle Pearl Paper, 44.5 x 32 cm, canvas size 59.4 x 42 cm. 1/1 signed."Grayson Perry is an English contemporary artist, writer and broadcaster. He is known for his ceramic vases, tapestries, and cross-dressing, as well as his observations of the contemporary arts scene, and for dissecting British ""prejudices, fashions and foibles"".Perry won the prestigious Turner Prize in 2003 for his innovative pictorial stories and his incisive satirical depictions of English cultural and social life, and has since gone on to mount various solo exhibitions worldwide, including at the Tate St Ives, Cornwall, and most recently at the National Museum in Oslo, Norway with his show Grayson Perry. Fitting In and Standing Out. which will run until March 2023. Perrys works revolve around themes such as identity, social classes, gender roles and consumer society. His art exposes and challenges societys norms, values and taboos, all of which are structures that influence how we see and express ourselves and how we are seen by others.Grayson has been involved with the TLC Deck of Cards since its inception when he designed one of the Joker cards of the first Deck. He then created the Queen of Diamonds for Volume 2 in 2020, and has continued with the aesthetic themes from previous designs with his King of Hearts for Volume 3. This relevant and timely piece, depicting a recently appointed king, features the classic ruff collar as seen in previous works, and makes use of the mirror style layout most commonly associated with traditional decks of cards. "

Katie Ponder. Three of Spades. Digital artwork print in paper. Signed and numbered 1/1. 29 x 20.5cm. "Katie Ponder has developed a unique style that is both fresh and contemporary but with references to art deco and with a touch of Gothic inspiration also. Ballet, tarot cards, mythology and patchwork quilts have all been key sources of inspiration behind Katies work. Katies work is developed digitally but to create a hand made quality she applies different textures from printing, collage and media experiments to create a rich and tactile look to her images. Recently Katie has enjoyed working with silkscreen printing and making limited edition prints. Katie attended Falmouth University where she received a 1st class with honours degree in illustration. On graduating from Falmouth Katie was the winner of the AOI Book Award for New Talent. In 2017 She was winner of the second prize for Folio Society Book Illustration Competition and winner of the House of Illustration Peoples Choice Award. Katie has also been the winner of the Glyndebourne Tour Art Competition. Katies list of clients include: Dorling Kindersley, Penguin, Simon and Schuster, Oh Comely Magazine, Glyndebourne, Canterbury Cathedral and her work has been exhibited at Somerset House. Most recently, Katie has revealed her work for the Royal Mail, having designed the prestigious 2022 Stamp Collection.

Karl Singporewala, ARB RIBA. Queen of Spades. 'Gaia'. Timber Marquetry. Karl Singporewala is an architect and sculptor. As a practising member of the Royal Institute of British Architects, working internationally from London, his practices architecture is always a product of collaboration which focuses on social impact, the role of beauty in buildings and the art of construction. His artwork, however, is more personal in nature and embellished by personal circumstances that draw on his Zoroastrian Parsee heritage. His architectural drawings and sculptural maquettes are held in both public and private collections world-wide. Select exhibitions include the Saatchi Gallery, V&A digital futures, The New York Institute of Technology, The Royal West Academy (RWA), Bristol and at The Royal Academy of Arts, London. In 2020, his artwork was awarded the inaugural RWA Art Prize for work by a Black Asian or Ethnic Minority artist. He is currently shortlisted to be a royal academician at the Bristol Academy.

Estate Of John Challis - Fan Art - a collection of x3 assorted pieces of fan made artwork. Comprising of x2 digital artworks, one showing Boycie & Marlene from Only Fools & Horses, the other showing a montage of Only Fools scenes. The third item is a 'Boycie & Marlene' name sheet on card. All three autographed by Challis in black ink, undedicated. A4 largest. A portion of the proceeds from the Estate Of John Challis will be donated to three charities that he supported: British Hedgehog Preservation Society (1164542), The Cuan Wildlife Rescue (1096812), and Tusk Trust (803118).

Mark Lyken (Scottish b. 1973)  Let Me Taste Your Smoke Kiss Spray paint and acrylic on canvas  Signed titled and dated by the artist in black pen verso 50 x 50 cm (19 x 19 in) Mark Lyken is a multitalented visual and acoustic artist dividing his time between painting, composing electronic sound works and film making. His paintings and visual art are heavily influenced by digital transformation, technological meditation and the idea of computers as prosthesis of human personality as well as scale and time of a living cosmos.

John Baldessari, American 1931–2020, Give me a B, Give me an A..., 2009; 10-part leporello, digital pigment print (Ditone) on Hahnemühle Photo Rag paper, presented in a folio,signed in ink and numbered 33/75 in pencil on a label attached to the reverse, stamped Forty Are Better Than One 2009, published by Schellmann Art Production, Munich & New York, folded dimensions: 32 x 25 cm, complete sheet: 32 × 250 cm, (unframed) Please refer to department for condition report

Tracey Emin CBE RA, British b. 1963- You forgot who you are, 2013; etching on Somerset soft white wove, signed, titled, dated, numbered 154/200 in pencil, published by Emin International, and comes with a certificate from IMMA art editions sheet: 36.5 x 40.5 cm, (unframed) (ARR) Note: This was made available by IMMA Art Editions for Tracey Emin's exhibition Desire: A Revision from the 20th Century to the Digital Age, September 2019 - March 2020Please refer to department for condition report

Damien Hirst, British b. 1965- What he will do 3056, The Currency, 2016; unique enamel on handmade paper from an original edition of 10,000, with 5,149 remaining, signed, titled, dated and numbered 3056, 21 x 29.7 cm, (unframed) (ARR) Note: Hirst aimed to “challenge the concept of value through money and art,” forcing buyers of his NFT project “The Currency” to decide between owning the physical artwork or the digital token connected to it.The project consisted of 10,000 unique NFTs that were each associated with corresponding artworks the British artist made in 2016. No two colours used in the artworks are the same, and each is stamped by the artist with a microdot and a hologram of Hirst’s visage.Hirst announced that his collectors would have to make a choice between the physical artwork and its digital version; asking them, in effect, to vote for which had more lasting value.Please refer to department for condition report

JULIEN, ISAAC1960 LondonTitel: Baltimore. Datierung: 2003. Technik: 3-Kanal-Videoprojektion von drei parallel laufenden Filmen. Zeit: 11:36 min. Auf SUB-MASTER Digital Betacam und drei DVD-R. Exemplar: Ex. 4/6. Zu der Videoinstallation liegt ein vom Künstler unterschriebenes Zertifikat vom 21. Juli 2004 vor. Zudem wird sie durch umfassende Installationsanweisungen begleitet.Provenienz: - Victoria Miro Gallery, London- Sammlung Prof. Dr. Thomas Olbricht, EssenDie Arbeit "Baltimore" thematisiert die Kinematisierung der Videokunst. Das Walter Art Museum, das Contemporary Museum und das Great Blacks in Wax Museum werden zu den zentralen Orten und Thema von Juliens Werk, ähnlich früherer Arbeiten wie "Vagabondia" und "Three", in denen ebenfalls Museen zum Handlungsort werden. Durch die präzise gewählten Drehorte rückt Julien so auch die im Oeuvre des Künstlers häufig anzutreffenden Themenschwerpunkte Rassismus und Gender in den Fokus seiner Beobachtungen. Julien verbindet diese Orte in einer Art Hommage an die Filme des Schauspielers und Regisseurs Melvin Van Peeble, mit dem "Blaxploitation-Kino", das mit seiner "tough talking, hard-living"-Mentalität als Symbol für "black empowerment" steht. Die Videoinstallation ist nicht nur ironisch und weist Bezüge zur Strömung der Funk-Musik auf, sie vereint ebenso Nostalgie und Futurismus und schwankt zwischen rauen und feinen Elementen. Durch diese übergreifende Umsetzung der Arbeit entzieht sich Juliens Werk der einfachen Kategorisierung.Erläuterungen zum Katalog

Alecos Fassianos (Greek, 1935-2022)Les poissons de la nuit signé en grec et daté '1986' (en bas à droite)acrylique sur papier contrecollé sur toile115 x 93cm (45 1/4 x 36 5/8in).signed in Greek and dated (lower right) acrylic on paper laid on canvasFootnotes:ProvenanceD. Pierides collection, Athens. Private collection, Athens.ExpositionsAthens, Pierides Museum, Fassianos, the Painter, the Engraver, 1991, no. 8, p. 12 (catalogued, p. 12, and illustrated im the exhibition catalogue, p. 23).Metsovo / Athens / Nicosia, Cyprus, Averoff Art Gallery / Pierides Art Gallery – Pierides Foundation / Municipal Art Centre of Nicosia, Ichthys, Spiritual and Artistic Symbol in Greek Tradition, October 28 1995 - January 31, 1996 / March 11 – May 26, 1996 / June 14 July 28, 1996 (illustrated in the exhibition catalogue, p. 151). Thessaloniki, Municipal Art Gallery, Alecos Fassianos, Unknown Works from S. G. Zachariades Collection, February 25 - April 26, 2009 (illustrated in the exhibition catalogue, pp. 66 [detail], 67).Rhodes, Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, S. G. Zachariades Collection, July 30 - November 13, 2009 (illustrated in the exhibition catalogue, pp. 82 [detail], 83).LittératureY. Kolokotronis, Still Life in Modern Greek Art from the 19th Century to the Present Day, Athens 1992, p. 22 (mentioned), p. 181 (illustrated).Epiphania, Kinisis Business Administration Bulletin - Pierides Art Gallery, Athens 1992, p. 52 (illustrated).C. Christou, Greek Art, 20th Century Painting, Ekdotike Athenon editions, Athens 1996, no. 135, p. 251 (discussed), p. 165 (illustrated).C. Christou, Greek Painting in the Twentieth Century, Association for the Dissemination of Beneficial Books edition, vol. 2, Athens 2001, p. 96 (illustrated). Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, Educational Program, Rhodes 2009 (illustrated).Contemporary Greek Art institute Digital Platform, dp.iset.gr, Alecos Fassianos Works, p. 3 (illustrated).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