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Art Nouveau copper and brass fire screen with a floral painted bevelled plate, on cabriole legs, 76.5 x 45.5cm; Art Nouveau brass gong with striker, W.40cm; Eastern circular tray, Dia.59.5cm; smaller tray, and a modern Mr. Punch door porter. (6)

Furniture set in Art Nouveau (Modern) style, 7 parts, France, around 1905. Walnut, solid wood, with carved floral decoration. The smooth, rectangular seat frame ends in curls on tapered square legs set across the corner. Armrests and backrest in a movable form with a soft amorphous backrest with a central bouquet of lilies developing upwards. 7 items including: 1 bench, 2 armchairs and 4 chairs. Sofa, HxWxWxD: approx. 118.5 x 54 x 125 x 65 cm, armchair, HxWxWxD: approx. 114x52x65x65 cm. Chair, HxWxWxD: approx. 104x52x48x47 cm. Width: 1cm, Height: 1cm, Depth: 1cm, Weight: 1kg, Condition: Good, Material: 47

Kees van Dongen (Dutch/French 1877-1968): 'Paysage au Remorqueur' (Landscape with Tugboat), watercolour gouache and black crayon c.1905 signed 8cm x 14cmProvenance: Christie's Paris, 'Art Impressionniste et Moderne', 24th May 2006 Lot 57; then with Wolseley Fine Arts, Walterstone. Accompanied by a certificate of authenticity from the Wildenstein Institute, Paris, ref 06.03.21.9828.1237 dated 21st March 2006, stating their intention to include the present lot in a forthcoming catalogue raisonné.Notes: van Dongen was a central member of the Fauvist movement alongside artists such as Henri Matisse, André Derain and Maurice de Vlaminck. This work exhibits the more muted style and smaller scale of the landscapes, inspired by Rembrandt, which formed his earlier output. In 1926, Van Dongen was awarded the Legion d'Honneur, and in the following year the Order of the Crown of Belgium. His works are currently held in the collections of the Rijksmuseum in Amsterdam, the Museum of Modern Art in New York, and the National Gallery of Art in Washington D.C., among others.Condition Report:Some very slight cockling to the paper, otherwise very good condition. Behind museum glass, some poor restoration to the frame top-right.

ATTRIBUTED TO CARTIER - an Art Deco coral black enamel and diamond jabot pin, set with polished coral hoop and modern round brilliant and rose-cut diamonds, unsigned, hoop diameter 16.4mm, overall length 63.4mm, 4gNo damage or repair, enamel has 2 tiny edge chips, all stones present, diamonds bright and fiery, unmarked and unsigned

CIRILO MARTÍNEZ NOVILLO (Madrid, 1921 - 2008)."Landscape", 1979.Oil on canvas.Signed in the lower right corner. Signed with initials and dated on the back.Size: 46 x 55 cm; 69 x 77 cm (frame).Cirilo Martínez Novillo is one of the most outstanding representatives of the so-called School of Madrid, city where he begins his training in the School of Arts and Crafts. During the Civil War he entered the Escuela Superior de Pintura and attended the studio of Daniel Vázquez Díaz, who became his teacher and supported him throughout his career. In his studio Martínez Novillo met some of the painters linked to the Madrid School: Álvaro Delgado, Gregorio del Olmo, García Ochoa and San José. In 1946 he presented his work for the first time as part of a group exhibition held at the Bucholz gallery in Madrid. The following year he held his first individual exhibition at the same gallery. In 1948 he held an exhibition in the prints room of the Museum of Modern Art in Madrid, the critics began to echo his work and he was selected to take part in the exhibition "Arte Español", held in Buenos Aires and organised by the Ministry of Education. From then on he exhibited in various Spanish cities and in France, and took part in group exhibitions such as the Venice Biennial (1950) and the Salón de los Once (1951). Between 1952 and 1953 he travelled to Paris on three occasions thanks to various grants. His period of maturity began with a new visit to Paris at the beginning of the sixties, after which he travelled to Switzerland, Germany, Holland and Belgium, winning several medals at the National Exhibitions of Fine Arts, as well as the Painting Prize at the Hispano-American Biennial in Cuba. Although he did not belong to the Second Vallecas School, Martínez Novillo's painting is aesthetically close to that of the group. His production is mainly centred on landscape painting and still lifes, although at first he also devoted himself to the figure. The painter produced his landscapes through direct contemplation of nature, not by copying it, as he then made a selection of what interested him in his studio. Cirilo Martínez Novillo is represented in the Reina Sofía Museum, the Mapfre, AENA, Gaya Nuño and Santander Central Hispano Foundations, the Municipal Museum of Contemporary Art in Madrid, the Bilbao and Oviedo Fine Arts Museums, the Argentaria, Caja España and Telefónica collections and the Valdepeñas Museum.

EMILIO SALA FRANCÉS (Alcoy, Alicante, 1850 - Madrid, 1910)."In the garden".Oil on cardboard (fan country).Signed in the lower left corner.Measurements: 22 x 62 cm; 46 x 79 cm (frame).Emilio Sala trained at the San Carlos School of Fine Arts in Valencia, where he was a disciple of his cousin, the painter Plácido Francés. In 1871 he made his first trip to Madrid, where he devoted himself to studying and copying the works of the masters of the Prado Museum, especially those of Velázquez. At that time he began to take part in the National Exhibitions of Fine Arts, winning first medals in the editions of 1878 and 1881. In 1885 he travelled on a scholarship to Rome to study the Italian Renaissance, where he made friends with Francisco Padilla, Federico de Madrazo and Joaquín Sorolla. He later exchanged his scholarship and travelled to Paris, where he took part in the Universal Exhibition of 1889, winning a second medal. In 1891 he won the Gold Medal at the Berlin Exhibition. He took part in the Salon des Beaux-Arts on the Champs Elysées for several years, with works of a literary and genre nature and some portraits. On his return to Spain he settled permanently in Madrid, and in 1906 the chair of Theory and Aesthetics of Colour was created for him at the San Fernando School of Fine Arts. He was appointed academician of merit at the Academy of Fine Arts in Rome, and was awarded the Cross of St Michael (Munich, 1885) and the Grand Cross of the Order of Isabella the Catholic (1899). Emilio Sala's work can be found in the Hispanic Society of New York, the Prado Museum, the Museum of Modern Art in Madrid, the Municipal Fine Arts Museums of Granada, Valencia, l'Empordà, Cáceres, Santander and Málaga, the Lázaro Galdiano, the Camón Aznar, the Theatre Museum in Almagro and the National Museum of Fine Arts in Santiago de Chile, among many others.

EDOUARD HALOUZE (France, 1895-1958)."Parisian Characters", ca. 1920.Watercolour and gouache on paper.Signed in the lower right corner.Work published in the Gazette du Bon Ton.Size: 25.5 x 20.5 cm; 38 x 33 cm (frame).Edouard Halouze uses in this composition a plastic art of clear modernist roots, based on fluid lines and nuanced colours, a completely personal style at the level of the great artists of the Paris of the moment. Halouze presents us with an elegant couple, caught in a moment of leisure, possibly on their way out of the theatre, judging by their elegant clothes. The male figure wears a long morning coat and top hat, has a neat, upturned moustache and holds a walking stick in his right hand; the girl wears a long dress to match her hat, high and with a mottled veil decorated with a large bow. The two are walking towards the carriage waiting in front of them, while a small poodle prances through the streets of early 20th-century Paris. The modernist school focused its attention on the contemporary urban world rather than on the literary symbol. What stands out in this work is the impression of transience; in the modern, industrial, urban world in which nothing remains, in which society is constantly changing.

EMILIO SALA FRANCÉS (Alcoy, Alicante, 1850 - Madrid, 1910)."Portrait of a seated young woman".Oil on canvas.Provenance: Private Collection of Luis García Berlanga.Signed in the lower right corner.Measurements: 116 x 90 cm; 131 x 104 cm (frame).Oil on canvas, in which the artist has captured the portrait of a seated girl. This type of images starring young ladies were very common during the 19th century, as they allowed the recreation of values such as delicacy and sumptuousness, as can be seen in this case in the treatment of the white dress of the protagonist. The author proposes an intimate image featuring a young woman who has stopped reading and whose gesture seems to recreate the words she has read, reminiscent in a certain way of the idea also put forward in Madame Bovary, on the influence of literature on young women.Emilio Sala trained at the San Carlos School of Fine Arts in Valencia, where he was a disciple of his cousin, the painter Plácido Francés. In 1871 he made his first trip to Madrid, where he devoted himself to studying and copying the works of the masters of the Prado Museum, especially those of Velázquez. At that time he began to take part in the National Exhibitions of Fine Arts, winning first medals in the editions of 1878 and 1881. In 1885 he travelled on a scholarship to Rome to study the Italian Renaissance, where he made friends with Francisco Padilla, Federico de Madrazo and Joaquín Sorolla. He later exchanged his scholarship and travelled to Paris, where he took part in the Universal Exhibition of 1889, winning a second medal. In 1891 he won the Gold Medal at the Berlin Exhibition. He took part in the Salon des Beaux-Arts on the Champs-Elysées for several years, with works of a literary and genre nature and some portraits. From 1890 he moved away from history painting, which was in great demand in Spain but little appreciated in France, and devoted himself to genre painting, landscape and illustration in publications such as "Blanco y Negro" and "La Ilustración Española y Americana". On his return to Spain he settled permanently in Madrid, and in 1906 the chair of Theory and Aesthetics of Colour was created for him at the San Fernando School of Fine Arts. Among his disciples were María Blanchard and Cecilio Pla, and he published "La gramática del colour", a work that was used as a textbook in the Fine Arts Schools of Madrid and Barcelona. In the capital Sala opened his own studio and took part in the decoration of the Palaces of Anglada and Mazarredo. He was appointed academician of merit at the Academy of Fine Arts in Rome, and was awarded the Cross of St Michael (Munich, 1885) and the Grand Cross of the Order of Isabella the Catholic (1899). Emilio Sala's work can be found in the Hispanic Society of New York, the Prado Museum, the Museum of Modern Art in Madrid, the Municipal Fine Arts Museums of Granada, Valencia, l'Empordà, Cáceres, Santander and Málaga, the Lázaro Galdiano, the Camón Aznar, the Theatre Museum in Almagro and the National Museum of Fine Arts in Santiago de Chile, among many others.

MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Malaga, 1933 - Antequera, Malaga, 2006)."Bullfighter. Homage to the Niño de la Palma", 1972.Detachable sculpture in polished brass. Copy 347/2000.Provenance: Private Collection of Luis García Berlanga.Slight scratches.Signed and numbered on the base.Measurements: 28 x 21 x 20 cm.Detachable sculpture in polished brass representing a male torso, emphasising the volume of the shoulders, in allusion to the title of the work, "Torero". Miguel Ortiz Berrocal showed a special predilection for articulated and detachable bronze sculptures. Inspired by the main creative forces of the first half of the 1900s, the artist sought his own artistic path. He drew his inspiration from science and created works based on mathematical, physical and scientific principles. He also developed the concept of "dismountability", understood as the process of searching for the inner forms of volumes, which implies that sculptures are composed of elements that have to be assembled and disassembled in order to penetrate their invisible space.Berrocal began his training at the Escuela de Artes y Oficios in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and since 1968 he has alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicettera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennale, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.

JUAN RIBERA BERENGUER, (Valencia, 1935 - Valencia, 2016)."Virgencita", 1965.Mixed media on canvas.Provenance: Private Collection of Luis García Berlanga.Signed, dated and titled on the back.Size: 35 x 26,5 cm; 36,5 x 28 cm (frame).Trained at the Escuela Superior de Bellas Artes de Valencia, Juan Ribera was a founding member of artistic groups such as Parpalló, Arte Actual and Movimiento Artístico del Mediterráneo. He has been part of the Valencian and Madrid artistic avant-garde, participating in the exhibitions of the Juan Mordó gallery. He had solo exhibitions at the Dirección General de Bellas Artes in Madrid (1969) and the Museo de la Ciudad de Valencia (1998), among other centres, and participated in important group exhibitions such as those held at the Museum of Modern Art in Paris (1963), "Pintores figurativos de la España actual" (1964), which toured the United States, and the IVAM in Valencia. Throughout his career he has received pensions from the Diputación and the Valencia City Council, the Casa Velázquez in Madrid and the March Foundation, and has been awarded the Valencia Prize at the Fine Arts Exhibition in Barcelona (1960), the Diputación de Valencia at the National Exhibition in Madrid (1968), the gold medal at the Salón de Marzo in Valencia (1977) and the Archival Prize for artistic merit (1995), among others. Ribera is represented in the San Pío V Museum in Valencia, the Museum of Contemporary Art in Vilafamés, the Municipal Museum and the Círculo de Bellas Artes in Madrid, the Springfield Museum (Massachusetts), the Cathedral, the Diputación, the Ateneo and the City Museum of Valencia, etc.

MIGUEL ORTIZ BERROCAL (Villanueva de Algaidas, Málaga, 1933 - Antequera, Málaga, 2006)."Mini David", c.1960.Nickel-plated bronze and bronze bath on the genitals. Serial No. 6521.Provenance: Private Collection of Luis García Berlanga.Signed on the right arm.Measurements: 13,7 x 5 cm.Round sculpture made up of numerous pieces in nickel-plated bronze, which are joined together creating a piece of figurative aesthetics, where the artist has grouped a set of angular shapes. The piece represents a male torso whose title refers to the biblical character David, who defeated the giant Goliath. In addition to being a shepherd, David could play the harp. So he went to serve King Saul, who at that time was fighting against the Philistines. There he confronted the giant Goliath, whom he killed with a stone thrown from his sling. The stone hit him in the forehead and Goliath fell to the ground. With the giant's sword, David cut off his head.Berrocal began his training at the School of Arts and Crafts in Madrid, where he was a pupil of Ángel Ferrant. He then went on to the San Fernando School of Fine Arts, where he was a pupil of Ramón Stolz. He complemented his training with work as a draughtsman in the studio of the architect Casto Fernández Shaw and as an assistant to several architects in Rome between 1952 and 1954. During his stay in Paris in 1955, he finally decided to devote himself to sculpture. His early works show the influence of Chillida, while at the same time denoting his preference for articulated and detachable forms in bronze. The difficulty involved in making each of his sculptures led him to decide to produce them in series. With this idea in mind, he produced two hundred copies of the sculpture "Maria de la O", for which he received the prize for sculpture at the Paris Biennale and which was later acquired by the MOMA in New York. In 1966 he settled permanently in Verona, and from 1968 he alternated his work between monumental and small-scale works. Together with several gallery owners, he founded the Società Multicétera, the first industry of small sculptures. He has exhibited in Italy, France, Germany, Spain and the United States, received the gold medal of the Bronze of Padua, the Grand Prize of Honour at the Brazil Biennial, and was named Knight of the Order of Arts and Letters by the French government. He has sculptures in public places in Korea, Bordeaux, Denmark and Switzerland, as well as in various places in Spain. He is represented in the Museums of Modern Art in New York and Paris, the Olympic Museum in Lausanne, the Kunsthalle in Hamburg, the Juan March Foundation in Madrid, the National Gallery in Rome and the Victoria & Albert Museum in London.

'HOUSE FOR AN ART LOVER' DINING SUITE BY BRUCE HAMILTON OF GLASGOW,produced to an exceptionally high standard and faithful to the original design of Charles Rennie Mackintosh, carved in oak, comprising rectangular table, 74cm high, 290cm wide, 114cm deep, and eight dining chairs including two carvers, all with tartan upholstered seats, the stencilling excecuted in collaboration with Elisabeth Viguie Culshaw of the Landsdowne House of Stencils, each 138cm high, bearing labels (9)Footnote: Bruce Hamilton was commissioned by Glasgow City Council to manufacture the furniture of the Dining Room in the House for an Art Lover in 1995; after studying the original plans and works, Hamilton produced a suite that was essentially original Mackintosh, albeit 67 years after his death; the House for an Art Lover suite is number one in this series and the suite offered here is number three, presenting a rare opportunity for modern day followers of Mackintosh to acquire a suite as faithful as it is possible to be to that of the master himself.Bruce Hamilton has issued a letter confirming the authenticity of this set, a scan of which is available upon request.Condition generally good.Both table and each chair is subject to light wear as per use and age.For the table, this is evident to the legs and the edge. For the chairs, this includes nicks towards the legs, as well as what appears as craquelure and nicks to the varnish to top of each upright, headrest and wings. Some marks to the upholstery.Substantial additional images.

MODERN ELECTRIC PRACTICE, MACLEAN (MAGNUS M.A. D.S.C., ed.),pub. The Gresham Pub. Co., London 1904, Art Nouveau gilt tooled boards (in 5 vols, comprising vols 1,2, and 4-6)

MODERN HOUSE CONSTRUCTION, SUTCLIFFE (G. LISTER, ed.),pub. Blackie & Son, London, Glasgow, Edinburgh, and Dublin 1898, Art Nouveau gilt tooled cloth boards (in 6 vols)Condition good to fair. Each binding shows wear as per use and age, including some fraying to the edges, and varying degrees of minor wear. The pages are yellowed, with some mi or marking in areas. Additional images now available.

Spyros Papaloukas (Greek, 1892-1957)Vue de Karyes, Mont Athos signé en grec (en bas à droite)huile sur carton47 x 41.5cm (18 1/2 x 16 5/16in).Peint en 1923.signed in Greek (lower right) oil on cardFootnotes:ProvenanceEstate of the artist.Private collection, Athens.LittératureSpyros Papaloukas, Sojourn in Mount Athos, Agra editions, Mount Athos 2003, no. 17, p. 85 (illustrated).'Up there, in Mt. Athos, I clearly saw that art in all its great manifestations through the ages has always been about form and colour.'Spyros Papaloukas1Papaloukas's exquisite output during his one-year sojourn in Mt. Athos (1923-1924), which established him as a leading exponent of plein-air painting, is a key chapter in the development of early 20th century Greek art, providing daring answers to some of the period's foremost issues concerning cultural identity.2Here, he treated his subject by fusing the rich Byzantine tradition with the doctrines of modern art. As if he were making a Byzantine mosaic, he emphasized the flatness of the surface and endeavoured to liberate colour from its obligation to describe reality, a perception which was also of pivotal importance to the art of the Nabis, Cezanne and the early 20th c. cubist experiments. Moreover, as the schematic undulations of the landscape ascend, the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth.Bathed in diffused light and dominated by soft tonalities without intense gradations, the monastic compounds almost lose their structural integrity. Dematerialized, they no longer represent a specific place but seem to reflect the infinite from whence ideal forms originate. As noted by the late Director of the Athens National Gallery M. Lambraki-Plaka, Papaloukas's expertly trained eye reveals the 'eternal becoming' of the world.3 1 As quoted by S. Doukas, Zygos magazine no. 31, May-June 1958, p. 8.2. See A. Kouria, 'Spyros Papaloukas's Athos' in Spyros Papaloukas, Sojourn in Mount Athos [in Greek], Agra editions - Mount Athos 2003, p. 22. 3 See M. Lambraki-Plaka, 'Papaloukas' Painting' in Spyros Papaloukas, Painting 1892-1957 [in Greek], Athens 1995, pp. 33-48.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

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

Alecos Fassianos (Greek, 1935-2022)Amis avec des foulards italiens signé en grec (en haut à droite)huile sur toile35.5 x 44.5cm (14 x 17 1/2in).Peint en 1986.signed in Greek (upper right) oil on canvasFootnotes:ExpositionsThessaloniki, Macedonian Museum of Contemporary Art, A. Fassianos, Paintings 1953-1993, September 1993, no. 95 (listed, p. 197, and illustrated in the exhibition catalogue, p. 131).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. 48-49).LittératureL. Mendoni, Alecos Fassianos, Antiquities of Kea, Vourkariani Keas edition, 1988, p. 65 (illustrated).Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, Educational Program, Rhodes 2009, p. 14 (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

Yiannis Tsarouchis (Greek, 1910-1989)La garde oubliée signé en grec et daté '1955' (en bas à gauche)huile sur toile40.5 x 56cm (15 15/16 x 22 1/16in).signed in Greek and dated (lower left) oil on canvasFootnotes:ProvenanceBrooks Jackson - Iolas Gallery, New York.Alexander Iolas collection. Acquired from the above by the present collection.LittératureArchitektoniki magazine, no. 56, March-April 1966, p. 106 (illustrated).The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 299 (mentioned).T. Spiteris, Three Centuries of Modern Greek Art 1660-1967, Athens 1979, vol. II, p. 211 (illustrated). Y. Tsarouchis, Os Strouthion Monazon epi Domatos, Kastaniotis editions, Athens 1987, p. 42 (mentioned).Yannis Tsarouchis (1910-1989) Painting, Yannis Tsarouchis Foundation, Athens 1990, p. 65 (mentioned), p. 59, fig. 54 (illustrated).Ioannis Tsarouchis by Alexios Savakis, Kastaniotis editions, Athens 1993, p. 148 (mentioned).Formerly in the collection of legendary Alexander Iolas1, this fine jewel painted at the height of the artist's creative powers, is a groundbreaking work2 that encompasses the defining elements of the so-called Tsarouchian universe, including the sailor—his signature subject and one of the most celebrated images of 20th century Greek art—the male nude, the coffeehouse, the stage-like design, the flower still-life, the mirror, and the dense cloud formation.The composition's3 title was given after comments made by a frame carpenter who was reminded of a military unit that served in the Middle East during WWII. As noted by the artist, 'due to the heat the men were nude, and yet in full gear. I must admit that the nudity of the two sailors ... didn't derive from memories of the Middle East, which I didn't have, but, from the writings of [Christos] Tsountas in his History of [Ancient] Greek Art. He referred to the ideal nudity of ancient Greek sculpture in general and specifically to that of the 'regiment' of the two Tyrannicides—Harmodius and Aristogeiton—which are stark naked, even though no citizen was in the nude during the Panathenaic Games. The combination of naked and clothed bodies is a Greek invention of the archaic period, which continued throughout the Classical and Hellenistic times to be maintained in certain pictorial forms during the Byzantine era ... and then passing from the Renaissance and Baroque up until the nineteenth century and beyond. It is rare for a pictorial convention to last throughout so many centuries.'4 Set against a dark background interrupted by pronounced vertical elements—a typical Hellenistic-Roman layout also evident in Byzantine church decoration, and shadow-puppet folklore—three sailors, one dressed and two naked, seem integrated into their surrounding space, imbuing this mise-en-scéne with a meditative feel and suggesting balance between clothing and nudity. Simplification, limited colour scheme, confident brushwork, and shallow compositional structure build up a solid edifice of pure forms invested with mystery and allure.The subtle dialogue of forms creates a lyrically interpretative composition, a tranquil world of spiritual purity and shared humanity. As noted by Nobel laureate O. Elytis 'Tsarouchis restored the human body in a land whose age-old civilisation has always been man-centred. Thanks to his paintings, the figures of Hermes, Narcissus, St. Georgios and St. Dimitrios started to live and breathe again and circulate among us.'5 1 Alexander Iolas (1907-1987) was a Greek collector and art dealer. Born in Alexandria, Egypt, he studied piano and dance in Berlin in the 1920s, fled to Paris after Hitler's rise to power, and became friends with prominent members of the avant-garde, including Giorgio de Chirico, Max Ernst and Pablo Picasso. He joined New York's Hugo Gallery as a director in 1944 and in 1955 he collaborated with former dancer Brooks Jackson to co-found Jackson-Iolas Gallery in New York. Soon after, he opened galleries under his own name in several cities around the world. 2 One of his first oils to introduce three-dimensional figures set against a shallow dark backdrop.3 The composition was repeated in two monumental, less painterly oils, The forgotten guard (left and right section), 1956, 210x145cm each section, and The forgotten guard, 1957, 210x145cm, both in private collections. 4 Y. Tsarouchis, 'Some Reflections on my Works' in The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 299.5 O. Elytis, preface to the Yannis Tsarouchis: Fifteen Works and One Original Print 1938-1963 album [in Greek], 1964.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

Alecos Fassianos (Greek, 1935-2022)La photo oubliée signé 'A. Fassianos' (en haut à gauche); signé, titré et daté 'A. Fassianos/La photo oubliée 1975' (au revers)huile sur toile174 x 229.5cm (68 1/2 x 90 3/8in). signed (upper left); signed, titled and dated (on the reverse)oil on canvasFootnotes:ExpositionIolas Gallery, Paris.LittératureS. Lydakis, Dictionary of Greek Painters and Engravers - The Greek Painters, vol. 4, Melissa editions, Athens 1976, p. 455, no.5 (illustrated).Sima magazine, no. 21, January-February 1978, p. 32 (illustrated).Fassianos, Kedros editions, Athens 1980, pp. 105 (listed), p. 98 (shown in a photograph of the Iolas Gallery in Paris), p. 92-93 (illustrated).P. Cabanne, D.T. Analis, Fassianos, Éditions de la Differénce, Paris 2003, pp. 88-89 (illustrated).E. Hamalidi ed., Contemporary Greek Artists, Melissa Publishing House, Athens 2004, p. 65 (illustrated).An emblematic Fassianos from his so called 'painterly' period of the mid-1970s1, this striking canvas shows the artist at his mature best, painting with an extraordinary combination of control and freedom. Vibrant, brilliantly coloured and dynamically balanced, it amply demonstrates the qualities that established his international standing as a master of contemporary figuration.As noted by Jean-Marie Drot, former Director of the French Academy in Rome, Fassianos sets out to transform the most elemental aspects of everyday life, the most familiar figures into divinities, retracing, in reverse, the ancient tradition that allowed the great Olympian gods to assume the guise of mortals and mingle with them, talk to them and even seduce them without scaring them.'2 'We are the same with the ancients' says the artist 'because we bathe in the same waters, we see the same hills, the same light that has always been there. This is Greekness.'3.By rejecting the illusionistic representation of space, insisting on flat areas of undifferentiated colour and adhering to the flatness of the canvas, Fassianos is reckoned as worthily carrying on the artistic legacy of Theofilos's naivete and the stylistic principles of the legendary 1930s generation. 1 'After 1973-74, Fassianos's 'painterly' works, i.e., those in which colour is the dominant element, are either flat or with some depth, depending on the light source. When the light comes from behind the object, its outline is sharper and it looks flatter.' E. Agathonikou in Fassianos, 45 Years of Creation, S. G. Zachariades Collection, exhibition catalogue, Municipality of Rhodes Modern Greek Art Museum, 2009, p. 24. 2 See Alecos Fassianos, Athlos, Mythos, Eros [in Greek], Kastaniotis editions, Athens 2004, p. 82. 3 As quoted in B. Kalamaras, 'Bicycling Forever' [in Greek], Eleftherotypia daily, April 21, 2004.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

Theofilos Hadjimichael (Greek, 1871-1934)La bataille de Kalambaka inscrit en grec (en haut et en bas)pigments naturels sur zinc51 x 71.5cm (20 1/16 x 28 1/8in).inscribed in Greek (on the upper and lower part) natural pigments on zincFootnotes:*Veuillez noter qu'en raison de la réglementation grecque, ce lot ne peut pas être exporté de Grèce et sera disponible pour consultation et inspection à Athènes sur rendez-vous ou lors de l'exposition à Athènes, du 8 au 11 novembre 2022. Cette œuvre restera à Athènes pendant la vente aux enchères.*Please note that due to Greek regulation, this lot cannot be exported from Greece and will be available for viewing and inspection in Athens either by appointment or during the Athens Preview, 8-11 November 2022. This work will be located in Athens during the auction.ProvenanceT. Eleftheriadis collection, Petra, Mytilene, Greece. Acquired from the above collection by the present owner. ExpositionsMytilene, Tourist Pavilion, The Painter Theofilos on Mytilene, October 7-30, 1962, no. 17 (listed in the exhibition catalogue).Athens, Athens Art Gallery, Theofilos, May 12-31, 1975, no. 2 (listed in the exhibition catalogue). LittératureT. Spiteris, 'Works in the Collection of Takis Eleftheriadis - Petra, Mytilene', handwritten list, July 1955, no. 5 (listed).Anti magazine, vol. 2, no. 20, May 31, 1975 (discussed, p. 48 and illustrated, p. 49). Theofilos, Commercial Bank of Greece edition, Athens 1966, no. 298 (illustrated).E. Papazachariou, The Other Theofilos, Kaktos editions, Athens 1997, pp. 126-127 (discussed).Tony Spiteris Archive, Tellogleion Art Institute, Photographs of Works by Theofilos Hadjimichael, p. 7, no. GR TITSpit 101102_148.'When I saw the Takis Eleftheriadis1 collection of Theofilos paintings hanging in his ample home in Petra, Mytilene, I was left with the impression that every single one of them was first rate.'2 - Odysseus Elytis'Just look at these Meteora, painted on a sheet of zinc, with their warm pinks and light blues giving shape to the rocks, with the dark blues of the uniforms animating the Battle of Kalambaka—a highly sophisticated harmony in two colours with just a few touches of red at the tip of the rocks and the Turkish garb'.3 - Alexandros XydisCrowned by the otherworldly rocky outcrops and majestic byzantine monasteries of Meteora, and captured in a style reminiscent of the representational conventions used by Dimitrios/Panayotis Zografos and General Ioannis Makriyannis, the painting displays a battle scene between a Greek military unit formation on the left, led by a moustached officer on horseback, and a batch of Turkish troops on the right.Based on the artist's lengthy inscription that frames the composition, the picture shows the victorious Battle of Kalambaka in which the Greeks, led by chieftains Christodoulos Hadjipetros and Nikolaos Leotsakos, defeated a force of Turks and Arabs in 1854. The fact that the horse rider on the left, sporting a large moustache and raising his sword, may be identified with Colonel Constantinos Smolenskis, the legendary hero of the 1897 Greek-Turkish war, shows how Theofilos, with his instinctive knowledge and keen sense of historical past, could easily migrate from one era to another, capturing bygone glory and heroism as a form of eternity constantly reborn in the present. His subject is treated more as a backdrop, allowing him to express his fascination with the idea of gallantry and heroic achievement without having to succumb to historical accuracy.History is filtered through the artist's rich imagination and transformed into the enthusiasm sparked in him by the wealth of costumes, shinning flintlock muskets, fiery red fezzes and dazzling white fustanella kilts, the same highland garb the painter himself wore when he left Smyrna for Athens to voluntarily enlist in the 1897 campaign and which eventually became his signature attribute. Possibly, the Greek pallikare at the centre of the composition4 is a self-portrait since he holds the flag with his left hand.5 Gallantry is indicated through the repetition of pictorial and iconographic conventions, an approach to painting rooted in Byzantine and folk tradition and reminiscent of the Karaghiozi shadow-puppets or descriptions found in demotic songs. The wealth of detail is a vehicle of initiation into the artist's vision; a means of rendering more tangible to the spectators' imagination the world of bravery and legend they are invited to contemplate. Moreover, the linear arrangement, the symmetry and rhythm of the composition and the impression of an immutable reality, take us further back to Archaic Greek vase painting and the narrative arrangement of that precursor of folk poetry, the Homeric epics -where all parts are generally set side by side in a paratactical presentation. All phenomena are thrust forward to the narrative surface where they receive even illumination in a flat, continuous present.6 As noted by critic and writer Ronald Crichton, 'Theofilos presents an unconscious synthesis of the Greek spirit—a lesson to historians who wilfully separate the various periods of Greek history.'7 1 'A citizen of Mytilene, Mr. Eleftheriadis, father of the Parisian art critic and publisher Teriade, took a liking for Theofilos's work and company and introduced him to his son and to a small circle of writers and art lovers in the town. Theofilos was encouraged to come to Eleftheriadis's house in the olive groves on the slopes above the town, to paint and to talk.' R. Crichton, 'Theofilos' Orpheus, vol. 2, London 1949, p. 156.2 O. Elytis, The Painter Theofilos [in Greek], Asterias editions, Athens 1973, p. 56.3.A. Xydis, 'Fine Arts Chronicle', Anti magazine, vol. 2, no. 20, May 31, 1975, p. 48.4 The scene's main protagonist is depicted at the centre of the composition, where the viewer's eye is usually drawn, as is the case with Byzantine painting, which lacking a vanishing point, allows the eye to freely wander and naturally focus on the middle of the painting. See P.A. Michelis, Aesthetic Approach to Byzantine Art [in Greek], Panayotis end Efi Michelis Foundation, Athens 1990, p. 203.5 See E. Papazachariou, The Other Theofilos [in Greek], Athens 1997, p. 127.6 See H. Kambouridis - G. Levounis, Modern Greek Art - The 20th Century, Athens 1999, p. 43.7 Crichton, p. 151.For further information on this lot please visit Bonhams.com

Yiannis Spyropoulos (Greek, 1912-1990)Mycenean citadel B signé en grec (en bas à droite)huile sur toile contrecollé sur panneau162 x 97cm (63 3/4 x 38 3/16in).Peint en 1959.signed in Greek (lower right) oil on canvas laid on boardFootnotes:ProvenanceAcquired directly from the artist.Cl. West collection, USA.Bonhams London, The Greek Sale, 25 November 2014, lot 54. Acquired from the above sale by the present owner.LiteratureC. Christou, Yannis Spyropoulos, Athens 1962, pp. 144, 148 (discussed), p. 117 (illustrated).Athenian newspaper clip, 1962 (illustrated).The Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 417 (referred).Y. Papaioannou, The Work of the Painter Yannis Spyropoulos, doctoral dissertation, Athens 1994, no. 480, p. 156 (referred), p. 283 (listed).Yannis Spyropoulos, Ta Nea editions, Athens 2006, p. 65 (referred).Y. Papaioannou, Yannis Spyropoulos - Monograph, Yannis and Zoe Spyropoulos Foundation, Athens 2010, no. 480, 370 (listed), p. 220 (illustrated).A powerful mixture of simplicity and sophistication and a wise conciliation between gestural brushwork and sturdy compositional structure, this captivating work offers a commanding display of technical discipline and intuitive expression. Planes, surfaces and textures are meticulously analysed by dark structural outlines, while intense counterbalancing forces and energetic shapes are articulated into a serene and robust geometrical structure set in motion by circular gestural marks that endow the composition with an improvised yet coherent inner rhythm.1 'The Greek scenery with its architecture of masonry fences, arches, courtyards and dry stone walls, observed from afar as outlined geometrical shapes, constituted the onset of visual stimulation before becoming a painterly proposal.'2This beautiful canvas also reflects Spyropoulos' deep interest in Byzantine art. Professor C. Christou notes: 'The golden-yellow colour that comes to dominate the work of Spyropoulos by 1960 and which in essence reflects nothing more than the presence of sunlight, or rather Greek light, is something he finds around and within himself, in the past from which he hails and the present where he belongs. It reveals the influence of the Byzantine icon painting he grew up with and his familiarity with the Greek light under which he lives, while at the same time his work expresses the intricate nature of modern artistic creation.'3Yiannis Spyropoulos was the first Greek painter who, while residing permanently in Greece, managed to attain an illustrious international career, highlighted by his participation in the 1960 Venice Biennale, where he was awarded the UNESCO prize. His works, which represent the most advanced and mature aspect of Greek abstraction, have been included in prestigious private collections around the globe and exhibited at important European and American museums of modern art.41 See E. Ferentinou, 'Jannis Spyropoulos' [in Greek], Zygos magazine, no.32, July 1958, p. 18.2 L. Tsikouta, 'Processes, Influences, Assimilations, Personal Idiom, Birth of an Artwork: The Case of Jannis Spyropoulos' in Jannis Spyropoulos, The Classicist of Abstraction, exhibition catalogue, National Gallery – A. Soutzos Museum, Athens 1995, p. 141.3 C. Christou, Jannis Spyropoulos [in Greek], Athens 1962, p. 158.4 See H. Kambouridis - G. Levounis, Modern Greek Art, The 20th Century, Athens 1999, pp. 156-158.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

Georgios Bouzianis (Greek, 1885-1959)Femme nue au chapeau rouge signé 'Busiany' (en bas à gauche); signé et daté 'Jo Busiany 1954'(au revers)huile sur toile115 x 76.5cm (45 1/4 x 30 1/8in).signed (lower left); signed and dated (on the reverse)oil on canvasFootnotes:ProvenanceThe artist's estate.ExpositionBrussels, Centre Culturel Mutualiste, Europalia 82, Giorgos Bouzianis, retrospective exhibition, September 1982. LittératureD. Deliyannis, Yorgos Bouzianis 1885-1959, Adam editions, Athens 1996, no. 191, p. 290 (catalogued), 140 (illustrated).'Bouzianis expressed a sensual joy in colour and form and a profound love for humanity which at first reminds one of the great Renoir. Whilst one can see the influence of the German expressionists, especially of Kokoschka and Jawlensky, Bouzianis was gentler and more compassionate. Most of his paintings are of single form, usually a partly clothed woman.In his draughtsmanship and handling of form he reveals his German inheritance. His colours, however, are entirely non-Teutonic. They sing their lovely gay hues, and it is a Mediterranean, Grecian song, full of sun and golden light. There is also a less easily defined pathos in the colour, for all its glowing beauty. In this mingling of joy and sadness, of sensuality, of movement and form, Bouzianis is a richly rewarding and complex artistic personality.' Charles S. Spencer, Studio magazine, London, 1960.1The nude woman in red hat, with her voluminous limbs and corporeal presence, fills the surface of the painting with a statuesque calm, generating tension between bodily volume and pictorial space in the vein of Picasso's 'classic phase', where the artist's predilection for plastic volumes in the treatment of the human figure was revived by his exposure to Greco-Roman sculpture. As keenly noted by Y. Tsarouchis, 'there is something classical in the works of Bouzianis, because for a Greek the classical is a natural state of mind.'2 Elaborating on this remark, Y. Psychopedis notes: 'Though he had assimilated the radical extremities of expressionism, Bouzianis transformed their pronounced gothic metaphysics to a discourse regarding the living human subject. His figures are tied to reality; they are not alienated as formless matter neither lose their identity becoming abstract, archetypal forms or nightmarish masks... His work emanates a nostalgia for the classical, a nostalgia for a lost and constantly sought balance.'3 A modern-day incarnation of eternal Venus or archetypal Eve, this starkly represented kore emerging from a shimmering ground of greens and purples becomes both a reflection of the sitter's inner life and the artist's intense response to the subject. Treated in a frank and direct manner and rendered explicitly in all its glory, the female nude—one of Bouzianis's favourite subjects after 1926—reflects the artist's firm belief that art should be a vehicle for emotional states rather than a process of beautification. Leaving clear traces of a vigorous painting process, the picture pulsates with strong feeling and crackling energy, yet is continuously subordinated to aesthetic demands and disciplined by artistic intelligence. This inexhaustible vitality and incessant pulsating rhythm animate every part of the canvas, making it look like a vibrating star bathed in its own light.4 1C.S. Spencer, 'George Bousianis', Studio magazine, London, vol. 159, no. 806, June 1960, p. 206.2 Y. Tsarouchis, preface to Bouzianis-Watercolours [in Greek], Agra-The Friends of Bouzianis edition, Athens 1982, p. 12. 3 Y. Psychopedis, 'The Militant Introversion, Expressive Lyricism and Critical Spirit in the Work of Bouzianis' [in Greek] in Nostos, Kedros editions, Athens 2009, pp. 228-229. 4 See G. Mourelos, 'Bouzianis's Technique' [in Greek], Kathimerini daily, Epta Imeres, October 27, 1996, p. 28.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

Yiannis Moralis (Greek, 1916-2009)Épithalamique signé et inscrit en grec et daté '1968' (en bas à droite); signé et daté 'MORALIS/ATHENES/1958' (au revers) acrylique sur toile150.5 x 150.5cm (59 1/4 x 59 1/4in).signed and inscribed in Greek and dated (lower right); signed and dated (on the reverse)acrylic on canvasFootnotes:ProvenancePrivate collection, Athens.ExpositionsAthens, Zoumboulakis Gallery, Moralis, March 1972, no. 9 (illustrated in the exhibition catalogue).Athens, National Gallery - Alexandros Soutzos Museum, Yannis Moralis, April 18 - June 5, 1988, no. 62 (listed in the exhibition catalogue, p. 66).LittératureI. Petropoulos, Elytis, Moralis, Tsarouchis, Pleias editions, Athens 1974, p. 94 (listed), p. 134 (illustrated). Sima magazine, no. 22, March 1979, p. 43 (illustrated).Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 169, p. 166 (illustrated).C. Christou, Moralis, Adam editions, Athens 1993, no. 100 (illustrated).A milestone Moralis that stood out in the 1972 one man show for the dazzling whiteness of its sculptural forms set against a Mondrianesque grid of vivid colour, this monumental Epithalamio seems to recapitulate the artist's figurative achievement while boldly embarking on a new phase of pure abstraction. The pulsing balance between ochres, blues, reds and greys, shifting in temperature from warm to cool, conveys a tensile image of aethereal, almost musical beauty that captured the hearts and minds of the viewers.The abstractive motifs that distantly echo fragments of an ancient Greek temple, the shallow compositional depth, reminiscent of sculptural relief, and the rectangular format that alludes to the Doric metope, revive an archetypal universe from which the human form emerges. The symbolic figure of the young woman, the loving embrace, the angel1 on the upper left, the clear skies indicated by luminous patches of blue, and the serene rhythm dictated by the classical sense for human scale, compose an evocative representation informed by the timeless values of ancient Greek art. Paradoxically, the more 'modern' Moralis became the more classical, the more 'ancient' he tended to be.'2 Echoing age-old memories of antiquity's nuptial songs dedicated to the bride and sung on the way to her marital chamber, Moralis's famed epithalamia series represent both a continuation of and a departure from his epitymvia compositions. Defined by an intricate fabric of highly abstractive shapes, the pictorial space celebrates the erotic union of man and woman with their bodies often merging into a single form. Prefacing the 1972 show, Nobel laureate Odysseus Elytis noted that by using a limited vocabulary of form, Moralis has succeeded—in a manner unprecedented in Greek art—to transform the language of the natural world into a purely optical phenomenon. 'Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision. ... The earth of Aegina and the bodies of young girls emerge with the dampness of the sea, like magnified fragments of ancient Greek vases or miniature frescoes from a bygone place of worship. ... A longing for the monumental has always driven the painter's hand to organise and balance his forms on an intellectual edifice, bestowing on even his most sensual conceptions a feeling of mystery and a Biblical sense of the sacred.'3 1 The angel is a recurrent theme in Moralis' art, frequently signified by just one wing. See Y. Moralis, Angels, Music, Poetry [in Greek], exhibition catalogue, Benaki Museum, Athens 2001.2 M. Lambraki-Plaka, 'Yannis Moralis, a 20th Century Classic' in A Tribute to Yannis Moralis, exhibition catalogue, National Gallery - A. Soutzos Museum, Athens 2011, p. 12.3 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Galerie, Athens 1972.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

Chryssa (Vardea) (Greek, 1933-2013)New York Cityscape signé et daté 'Chryssa 1974' (sur étiquette du plexiglas en bas à droite)néons, plexiglas92 x 70 x 25cm (36 1/4 x 27 9/16 x 9 13/16in).signed and dated (on plexiglass label lower right)neon sculpture, plexiglassFootnotes:ExpositionAthens, Stavros Mihalarias Art, Chryssa '60-'90, May-July 1990, no. 51 (illustrated in the exhibition catalogue).Chryssa's work from the early 1970s ranks among her most extraordinary, producing majestic forms and oscillating patterns that capture the brilliance and throbbing energy of the modern metropolis.Mounted in a dark Plexiglas box, the curving neon tubes and the electrical connections and other visible interior parts enhance each other's impact, acting together to reveal the artistic process. Moreover, the timed lapses of light add a new dimension to the game of illusionism, compelling the viewer to experience the work as both presence and absence. The end result is a work of intelligibility and coherence that conveys a classical sense of structure and proportion. As noted by art critic S. Hunter, Chryssa's work 'reveals the surprising contemporary outlines of a new classicism, in which we recognise familiar attributes of clarity, order and intellectual control.'1 1 S. Hunter, Chryssa, Abrams editions, New York, 1974, p. 19.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

Vintage and Modern Costume Jewellery, including Art Deco style eternity bands (stones missing), stick / hat pins, brooches, bracelets, necklaces, ladies wristwatches, etc.

Modern Gent's Wristwatches, together with an Olivier Pascal Art Deco style pen, in original box.

A modern mirror, the bevelled plate set in an Art Nouveau inspired, moulded gilt frame  27" x 37"; and an overmantle mirror  32" x 48" on a plinth  

* Sadler (Richard, 1927-2020). John Blakemore at Home, circa 1990s, vintage gelatin silver print, 48 x 37 cm, together with a C-print from the same sitting, image 35 x 29 cm, plus a similar C-print from the same sitting, image 27 x 39 cm, with copyright signature of the photographer to verso, the first two in modern mat mounts, plus duplicates of all 3 photographs in identical sizes and 4 other gelatin silver print photographs by Sadler of Blakemore in the nude, 3 with his wife, a total of 10 photographs, together with:Sudo (Hidesawa, 1973-). A group of 20 mounted inkjet exhibition prints for an exhibition of travels in Japan and Korea, c. 1997-2002, mostly black and white images, images 26 x 20 cm and similar, aperture mounts with place and date in pencil to versos, together with 2 other mounted photographs by Sudo, a colour photograph of a laughing figure and an abstract design, plus a colour photograph of the photographer by Richard Sadler, 38 x 24 cm, plus a small quantity of ephemera including 2 slim card photo albums with a total of 60 window-mounted colour photographs of Sudo's exhibition and pictures of the neighbourhood of his last exhibition, both with signed presentation inscriptions from the photographer to Richard Sadler to inside front covers, dated 1 October 2003, images 10 x 15 cm, plusa large collection of approximately 1500 35mm colour slides including an album of 250 slides of Roger Fenton photographs of the Crimea, slides of work of Bert Hardy, other assorted images of historic photographs, plus images of people, trains, nudes, landscapes, Japan etc., contained in 3 ring binders and a small collection of plastic slide boxesQTY: (a folder & a carton)NOTE:Hidesawa Sudo is a fine art and documentary photographer from Osaka, Japan. He initially worked as a professional sports photographer in Tokyo and is a member of the World Photographic Society of Great Britain.

Ferdos Maleki Giclee Signed & Numbered Limited Edition Print, No. 204/950. Mounted framed and glazed, in a modern wooden frame. Image measures 6.5" x 6.5", overall size 18" x 18". Ferdos Maleki is an abstract artist whose work is inspired by her spiritual quest, creating dreamy, atmospheric and transcendental art.

Original Oil Painting by Robert Haworth, aka 'The Butterfly Man' modern art, colourful design.

A 19th-century, folk art maritime pine trunk, painted with a clipper under sail flanked by the VR monogram and bearing the owners name 'A.Finch', dated 1860. Fitted a pair of iron folding bale handles. 86 cm wide x 52 cm deep x 42 cm highPrivate estateThe top has some cracks but is held together by the hinges and side moulding. The paint is generally in good order with the odd knock and bump Note: I first of all thought it was a relatively modern paint job but the surface has age, I don’t think the date of 1860 that is painted on the box is contemporary with the paint job but the surface certainly looks like its been around since the early 20th century, however, this could be 50/60/70 years rather than 100 years plus, suffice to say it is not freshly painted. JRL 24/10/22

Richard Lindner, "Miss American Indian"abstrahiertes Portrait einer barbusigen Amerikanerin mit indianischer Federkrone, Pop Art Farblithographie aus der Serie "after noon", um 1970, rechts unten im Druck signiert "R. Lindner", Einrisse, hinter Glas und Passepartout gerahmt, Passepartoutausschnitt ca. 67 x 53,5 cm. Künstlerinfo: US-amerikanischer Maler und Graphiker deutscher Herkunft (1901 Hamburg bis 1978 New York), 1905 Umzug der Familie nach Nürnberg, ab 1922 Studium an der Kunstgewerbeschule in Nürnberg, 1925 kurzzeitiger Aufenthalt in Frankfurt am Main, in Nürnberg Meisterschüler von Max Körner, 1927 in Berlin ansässig, bis 1933 als Illustrator tätig, kurz nach der Machtergreifung der Nationalsozialisten Emigration nach Paris, 1941 Übersiedlung nach New York und hier kommerzieller Erfolg als Werbegraphiker, 1948 erlangte er die amerikanische Staatsbürgerschaft, ab 1956 Lehrbeauftragter am Pratt Institute, 1959 Bekanntschaft mit Andy Warhol, 1962 Ausstellung im Museum of Modern Art, 1965 Gastprofessur an der Hochschule für bildende Künste in Hamburg, 1968 und 1977 Teilnahme an der documenta in Kassel, ab 1972 Mitglied in der American Academy of Arts and Letters, Quelle: Vollmer, AKL und Wikipedia.

Kadhim Hayder (Iraq, 1932-1985)A Love Deeper than All Love (Wa hawa aemaq min kuli hawa) , from the Epic of the Martyr Series oil on canvas, framedsigned 'K.HADAR' and dated '1963' (lower left), executed in 1963100 x 70cm (39 3/8 x 27 9/16in).Footnotes:'A LOVE DEEPER THAN ALL LOVE'A RARE AND MAGNIFICENT PAINTING FROM KADHIM HAYDER'S MARTYRS EPIC, FROM THE COLLECTION OF PROFESSOR ABDUL AZIZ HAMEED, FORMER PRESIDENT OF THE IRAQI STATE BOARD OF ANTIQUITIES 'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiProvenance:Property from the collection of Dr Abdul Aziz Hameed, Canada, former Professor at the Institute of Fine Arts, Baghdad (1960's), and former President of the Iraqi State Board of Antiquities and Heritage (2004-2010),Acquired directly by the above from the artist in 1965Exhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965 (the present work is composition No.6 from the cycle)The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Review of the Epic of the Martyr, Al Thawra Al Arabiyya, Anwar Al-Ghasani, May 7th 1965, illustratedKul Al-Funoon, May 26th 1965, illustratedAl-Balad, April 28th 1965, illustratedOne of the artists most touching and tender compositions, 'A Love Deeper than All Love' is a seminal painting by Iraq's most enigmatic modern artist, Kadhim Hayder. Part of Hayder's major body of work focusing on the Battle of Karbala and death of Imam Hussein known as the 'Marty's Epic', the present painting was exhibited at the artists landmark shows in the National Museum of Modern Art in Baghdad and Beirut in 1965 as well as being one of the most heavily featured works from the cycle, appearing in no less than three major press reviews at the time Being offered in the market for the first time, the work comes from the prestigious private collection of one of Hayder's oldest friends; Professor Abdul Aziz Hameed. The two became acquainted during their studies at SOAS in the 1950's, subsequently becoming colleagues at the Baghdad Faculty of fine Arts in the 1960's, Hameed then went on to become President of the Iraqi State Board of Antiquities and Heritage, the painting has been in his collection for over half a century. Extremely rare and possibly unique within the Martyr's Cycle, Hayder's composition in 'A Love Deeper than All Love', focuses on a romantic and deeply personal subject matter rather than the bloody battle of Karbala itself or the martyrdom of its protagonist, Imam Hussein. In the present work, Hussein is depicted as an anthropomorphised horse together with this Persian wife Shahbanu as the two are rendered standing affectionately side by side, in perhaps what is Hayder's most intimate take on the fabled story. Legend states that Shahbanu was present during the battle of Karbala, but includes a miraculous aspect to the story. It states that prior to his death, Husayn gave Shahrbanu his horse and bid her to escape back to her homeland in Persia. She was closely pursued by Yazid's soldiers and as she approached the mountains surrounding Rey, she tried to call out to God in desperation. However, in her exhaustion she misspoke and rather than saying 'Yallahu!' (Oh God!), she said 'Ya kuh!' (Oh mountain!). The mountain then miraculously opened and she rode into it, leaving behind only a piece of her veil which had gotten caught as the chasm closed behind her. This became an object of veneration, with the area becoming a shrine as well as a popular pilgrimage siteSaleem Al Bahloly: The Epic of the Martyr: 'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of Californi... 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

Jewad Selim (Iraq, 1919-1961)The Wedding Chest oil on canvas, framedexecuted circa 195352 x 42cm (20 1/2 x 16 9/16in).Footnotes:The Wedding ChestA rare and magnificent 1953 oil on canvas by Jewad Selim, and the last mature painting by the artist to be offered at auction from the collection of Nizar and Ellen JawdatProvenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present ownersBonham's are most privileged to present a rare and sought-after work from the father of Iraqi Modernism, Jewad Selim.Jewad Selim painted The Wedding Chest in 1953 during his most creatively fertile period as a painter. Compositionally, The Wedding Chest is perhaps the archetypal Jewad Selim; painted at the zenith of his career, the work flawlessly expresses the aesthetic and conceptual agenda of the 'Baghdad Group of Modern Art' which Jewad himself co-founded. The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of 20th century Iraq.The present painting is an exemplary composition typical of Selim's canon of works immortalizing scenes of daily life in Baghdad. The work depicts a woman carrying aloft a wedding or 'dowry' chest. In accordance with the age-old custom for women to bring with them into marriage not only money, but also linen, personal clothes and jewellery, the dowry chest would contain familial gifts passed to a newly formed household for the new bride; the dowry, often set a course for a marriage, and in many cases affected its success. Traditionally in Iraq, the goods constituting the dowry were packed into a chest, often made of wood and typically decorated as richly as means would allow. Interestingly, read in light of Jewad Selim's acute sense of social awareness, and works such as Women Waiting (1943) which lament the diminished social status of women, 'The Wedding Chest' can be seen as a critical commentary on the negative impact the dowry has traditionally had on female livelihood. Seen by many cultural critics, and from some Islamic sources too, as a burdensome practice which places a price on a woman's marriageability, Jewad sees the wedding chest as the physical manifestation of a potentially oppressive practice, and perhaps the confident carrying aloft which his figure demonstrates is her conquest or victory against burden of this often-controversial tradition. The subject matter of this work was clearly important to Selim, who painted a second composition with the same theme which he included in his well-known touring exhibition in United States. Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Selim weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on the florid landscape of downtown Baghdad, Selim's composition is populated with the humorous and extravagant characters encountered in everyday life. Light hearted and boisterous, the ' Woman Carrying a Wedding Chest ' is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on life in streets of Baghdad.There are seldom few instances of Jewad Selim oil paintings from the Baghdad Modern Art Group period (1951-61) ever appearing at auction, and of the limited output Jewad produced in these years, the vast majority of works are in permanent or institutional collections, underscoring the extreme rarity of the work being presented.'...A new trend in painting will solve the identity crisis in our contemporary awakening, by following the footsteps of the thirteenth century Iraqi masters. The new generation of artists finds the beginning of a guiding light in the early legacy of their forefathers' – Jewad SelimJewad Selim (1919-61)It is impossible to understand the modern art movement in Iraq without taking into account the works of this pioneer sculptor and painter, who was undoubtedly the most influential artist in Iraq's modern art movement. To him, art was a tool to reassert national self-esteem and help build a distinctive Iraqi identity. He tried to formulate an intellectual definition for contemporary Iraqi art. In charting his country's contemporary social and political realities, he was committed to combining the indigenous historical and folkloric art forms, with contemporary Western trends.Born in Ankara, Turkey in 1919 to Iraqi parents who moved to Baghdad in 1921, Jewad Selim came from a strongly artistic family: his father was an accomplished amateur painter, whose work was influenced by the European old masters, and his brother Nizar and sister Neziha were also accomplished painters, becoming well-known in their own right.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The effects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department.In 1946, he was sent to the Slade School of Art, London. At the Slade, Jewad met his future wife and fellow art student, Lorna. Jewad returned to Baghdad in 1949 to become Head of the Department of Sculpture at the Institute of Fine Arts, where he taught his students to draw on the heritage of their country to create a distinctive Iraqi style and artistic identity, which would become the ethos of an influential art movement just a few years later. In 1950 Lorna joined Jewad in Baghdad, where they were married.In 1951, Jewad Selim formed The Baghdad Modern Art Group.. Modern Iraqi art began with the first exhibition of the Baghdad group where they announced the birth of a new school of art that would 'serve local and international culture'.After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tehrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week later on 23rd January 1961 at the age of just forty-one, leaving a wife and two young daughters.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

Jewad Selim (Iraq, 1919-1961)Pitcher ceramic sculpturesigned 'J.S' and dated '1949' (on the base), executed in 194920 x 11cm (7 7/8 x 4 5/16in).Footnotes:A highly significant 1949 ceramic work by Jewad Selim exhibited at the Institute of Fine Arts, BaghdadProvenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the aboveExhibited:Fourth exhibition of the Baghdad Modern Art group, April 13 - 19, 1956, Institute of Fine Art, Baghdad'My heaviest burden is to decide how to divide my energy between painting and sculpture. I think that someday I must give up one of them because my creative ability is split between the two. I am thinking of giving up painting for good.''- Jewad SelimThe present work is a highly important ceramic composition by Jewad Selim which shows the confluence of various styles and influences on his work in the late 1940's when the artist had completed his artistic education in Europe and was returning to his native Baghdad. While at Slade (1946-49) Jewad witnessed the huge emergence of studio pottery in Britain which left a profound impression on his practices. Studio potters such as Bernard Leach aimed to raise the profile and reputation of pottery to a level where it would be regarded as equal to painting and sculpture.For Jewad there was something singular about the opportunities that working with clay provided for his creative process. Appreciating the plastic and technical possibilities of three-dimensional forms, he approached ceramic production in a more playful and whimsical manner. The work contains deliberate references not only to the playful 20th century pottery compositions of artists like Picasso, but to a Millenia old ceramic tradition in the Middle East where the production of drinking vessels (rhyton) and pottery idols would often incorporate exaggerated phallic and fertility symbols as well as zoomorphic and anthropomorphic elements, highlighting the seamless integration of function and creativity which characterised ancient craft production.For further information on this lot please visit Bonhams.com

Dia Azzawi (Iraq, born 1939)Arabian Tents oil on canvas, framedsigned 'Dia Azzawi' and dated '64' in Arabic (lower left), further signed, dated and titled 'Arabic Tents' on the verso, executed in 196483 x 65cm (32 11/16 x 25 9/16in).Footnotes:Arabian TentsA significant early work by Dia Azzawi from 1964Provenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from the artist by the above'After 1963 it became clear for many artists that one-man shows were more important than group exhibitions with others, which had been the norm in the fifties. What was it like to work during that period? It wasn't really that easy because of the chaos and the politics and the uncertainty for most artists and writers. Some of them left Baghad to work in Beirut, others left to different parts of the world. For me, when I had my own first one-man show, in 1965 at Al-Wasiti Gallery, it was there that I met Kadhim Haider, Ismail Fattah and other artists, it was obvious that I was an artist who tried to be involved in the identity question which had been raised by the Baghdad Group of Modern Art'- Dia AzzawiThe present work is a significant early composition by Dia Azzawi and participated in his maiden solo exhibition at Baghdad's Al-Wasiti Gallery in 1965. Replete with rich symbolism, it is from one of the artists earliest bodies of work exploring the role and significance of folkloric and cultural iconography in modern painting.As Saleem Al-Baholy notes, 'stylistically, Azzawi's work of the early 1960s remained more figurative with stronger ties to mythology and history, which was the thread that maintained his connection to the Baghdad Group of Modern Art as their anticipated inheritor who could further their goals. Equally, Azzawi's use of colour reflected the inspiration of his teacher Faeq Hassan. He was thus able to negotiate two distinct strands of development in modern Iraqi art: the philosophical abstractions of Iraqi Signs and symbols by the Baghdad Group of Modern Art and Faeq Hassan's mastery of technique'In the present work the artist plays with cultural iconography, abstracting and shifting perspectives on the depiction of typical Bedouin tents, transforming them from mere figural representations into a set of semi-abstracted, interconnected shapes and forms. Azzawi's abiding love and respect for the tonal characteristics of the natural world and for ancient Iraqi imagery shines through in this important early work, which echoes the formal approach and inimitable style of the 'New Vision' school of painting he would come to found in 1969. Azzawi typically incorporates structures and visual symbolism harking back millennia in his paintings, which is evident here in the pseudo-figurative form depicted in the composition, which recalls ancient Mesopotamian bass-reliefs and their mythological imagery.Azzawi started his artistic career in 1964, after graduating from the Institute of Fine Arts in Baghdad and completing a degree in archaeology from Baghdad University in 1962. His studies of ancient civilizations and Iraqi heritage had a profound impact on his art, and a key objective in the early formation of his artistic style was to link the visual culture of the past to the present.In 1969, Azzawi formed the New Vision Group (al-Ru'yya al-Jadidah), uniting fellow artists ideologically and culturally as opposed to stylistically. The group's manifesto, Towards a New Vision, highlighted an association between art and revolution, and sought to transcend the notion of a 'local style'—coined by the Baghdad Modern Art Group—by broadening the parameters of local culture to include the entire Arab world.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

Dia Azzawi (Iraq, born 1939)We Are Not Seen, But, Corpses (The Massacre of Sabra and Shatila) etching and lithograph on paper in nine partseach work is signed, dated '1983', titled and numbered, number 10 from an edition of 60, executed in 1983100 x 70 cm eachFootnotes:A rare full set of Dia Azzawi's 'We Are not Seen, But Corpses' in its original presentation caseExhibited:National Council for Art and Culture, Kuwait, 1983Galerie des Arts, Tunis, 1990The British Museum, London, 1991The University of Nevada, USA, 1991Galerie Claude Lemand, Paris, 1995Bibliotheque Nationale, Paris, 1995Qatar Museum Authority, Doha, 2016Institut Du Monde Arabe, 2018 'After the Palestinian fighters left Lebanon, the Phalangists had their opportunity to take revenge on old people, women and children. I have a lot of Palestinian friends, some artists and writers, and I knew those camps. Within two days, up to 3,500 people were killed. So, this work had a moral side: to defend unarmed people with no voice.'- Dia AzzawiDia Al-Azzawi was deeply moved in September 1982 by the massacre of civilian Palestinians in the camps of Sabra and Shatila. The Iraqi artist had first started drawing in his studio in London the polyptych entitled The Sabra and Shatila Massacres, mixed media on paper laid down on canvas, 300 x 750 cm, in the collections of the London Tate Modern since 2012. As often was the case, he took his inspiration from photographs of the massacre published by the media and international newspapers.A few months later, in January 1983, he was inspired by Four hours in Chatila, a report that was written on the spot by the French writer Jean Genet, who has just reached Beirut with Leïla Shahid and who had visited the Palestinian camps the day after the massacres and it would be the source of inspiration for the images of nine original prints (eight etchings and one lithograph, 100 x 75 cm.) that he would publish in a portfolio with a title page and a page taken from Jean Genet's text, in a trilingual edition: We are not seen but Corpses. The Sabra and Shatila Massacres - Lâ nara illa juthathan - Nous ne voyons que des cadavres, London, 1983.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

Faeq Hassan (Iraq, 1914-1992)Desert Heat oil on canvas, framedsigned 'Faik H' (lower left), inscribed 'Faik Hassan, Kufa Gallery, 197, Dr Makiya P.C', executed circa 1950s64 x 48cm (25 3/16 x 18 7/8in).Footnotes:Desert HeatA rare and exquisite 1950's composition by Faeq Hassan from the collection of Mohammed MakiyaProvenance:Property from the collection of the renowned Iraqi architect Mohammed Saleh Makiya (1914-2015)Thence by descent to the present owner'His Cubism in the fifties was a mixture of Arab forms largely derived from the 13th century Baghdadi illuminator Yahya al Wasiti, and current European forms. But his peasants, his Bedouins, his fishermen owe much to the waters of Tigris and Euphrates. His harvesters, his curd-sellers, however cubistically stylized, laboured under a clear Mesopotamian sun'- Jabra Ibrahim Jabra'Upon his return to Iraq in 1938, Faeq Hassan played a pioneering and pivotal role in art education in Iraq, firstly at the Fine Art Institute, and subsequently at the Academy of Fine Art which became affiliated with Baghdad University and where Hassan was awarded the title Professor of Art; one of only two artists to hold this title, the other artist was his former student and colleague Ismail al-Sheikhly (Iraq 1924-2002). Outside teaching, Hassan is credited with forming several groups over the years, the first of which was in the late 1940s under the name Société Primitive (S.P. group), which was also known as Ar-Ruwaad (The Pioneers) and they held their first group exhibition in 1950. Hassan led the artists on picnics and travels to different areas in Baghdad and beyond to draw local scenes and landscapes.One of the main themes that Hassan focused on during this period was local peasants and Bedouins in different settings, such as the mudhif (guest house), the coffee house, as well as various roles including the water carriers, the bakers, the farmers and so on. Hassan shows his masterful technique in composition, colours, and material as a master-teacher of painting in Iraq. This painting particularly reflects a dynamic competitive interaction Hassan enjoyed with two other artist-educators; Jewad Selim (Turkey 1919 – Iraq 1961) and Hafidh al-Droubi (Iraq 1941 – 1991) and their respective art groups; Baghdad Modern Art (1951) and the Impressionists (1953). The geometric forms of the woman against the background is [..] a prime example of his 1950s quasi-cubist architectonic abstraction as he explains 'the figures appear to me as part of the location/space, as if time made them something special' . Hassan then controls his composition with colours which are his 'means to read the subject undoubtedly...' . While Hassan was later known for experimentation with different art styles, he concentrated on one theme, the Iraqi locale. This experimentation and shifting in styles continued and dominated Hassan's oeuvre in a manner that leaves only one constant defining feature, namely technique. Al Said explained 'Faeq Hassan is [technical]. Perhaps he is also a pioneer of a technique-based vision. However, Hassan's teaching commitments had distracted him perhaps from formalising such a vision and demonstrating it comprehensively'Al Said based his classification of Hassan based on the fact that he considered Hassan to be a 'teacher first and foremost, then he is an artist with his own style and periods' . Hassan is a master of colour, not bounded by a style or a technique, as Nazar Salim noted 'He is a skilful master who knows the secrets of colours and forms – so skilful that he approximates to the master of the Renaissance'Faeq Hassan is often referred to as the father of Iraqi modern art. During his artistic career he took on many roles within the burgeoning Iraqi art scene, including educator and founder. In the crucial decades of the 1940s and 50s, Hassan was devoted to the creation of an art form that would express the growing feelings of national pride amongst Iraqi citizens. He was also interested in developing his own technical skill and that of his students. In later decades, Hassan would remain a leading artist in Iraq and his artistic legacy continues to be a powerful influence.Hassan's artistic aptitude was awarded in 1933 when he became the second recipient of a government-funded scholarship to study art in Europe. He travelled to France and enrolled at the Ècole Nationale Supérieure des Beaux-Arts. In Paris, Hassan had a fairly traditional education in the arts. He participated in art history and studio classes while completing art projects based on copying master works. Hassan was also introduced to important figures of European modernism. He was especially impressed with artists like Matisse and Delacroix, paying specific attention to their use of colour. Like many art students, Hassan spent his years in Paris synthesising aspects of his education and life experiences into a workable artistic practice.Hassan returned to Baghdad after receiving his degree in 1938. Soon after, he accepted a position at the Institute of Fine Art in Baghdad as the director of the Department of Painting and Sculpture. During his tenure at the institute, which continued until 1962, Hassan introduced courses based on Western painting techniques, as well as classes for the study of Islamic and Arab folk arts, like pottery and metalwork. He also went to great lengths to develop the efficacy of the department by training future teachers and procuring basic art supplies and gypsum models. In conjunction with his job as an administrator, Hassan was an involved teacher.Coupled with his work as an educator, Hassan participated in numerous art groups that brought artists together in collective interaction and exhibition, including the Society of the Friends of Art. In 1950, Hassan founded the group Ar-Ruwwad, or the Pioneers, that began under the name Société Primitive. The group started as a loose association of artists that went on trips to the outskirts of Baghdad to explore life outside of the cosmopolitan city centre. The Pioneers did not publish a group manifesto, but there was a shared desire amongst the participants to shed the confines of the artist studio and paint directly from the surrounding environment. The group exhibited in a private home until the National Museum of Modern Art in Baghdad was established in 1962.Villagers, workers, horsemen, and landscapes dominate his oeuvre and are depicted with an emotive delicateness, no matter the style. Due to his incredible talent as a painter and his dedication to education, Hassan is remembered today as 'the master' or 'the teacher.' Certainly, he played a major role in the development of Iraqi modern art and his importance cannot be overstated.Dr Ahmed Naji is an independent researcher and cultural advisor on art in Iraq and the Arab world. He is the author of Under the Palm Trees: Modern Iraqi Art with Mohamed Makiya and Jewad Selim, Rizzoli New York, 2019. (Instagram: Ahmednaji_Al Said)For further information on this lot please visit Bonhams.com

Shakir Hassan Al Said (Iraq, 1925-2004)One Thousand and One Nights (Alf Laylah wa-Laylah) ink on paper in nine parts variously signed and dated, executed in 195529 x 22cm eachFootnotes:Provenance:Property from the Artist's Estate'Give me in marriage to this King: either I shall die and be a ransom for the daughters of Muslims, or live and be the cause of their deliverance.'- ScherezadeFolk Art: Al Said's Earliest Inspiration and SourcesBy Dr Ahmed NajiUnlike most artists in the Arab world, Al Said is distinguished for writing about his art and making art about his writing – a practice he maintained throughout his life. Some of his first articles date back to the early 1950s which coincided with his co-founding of the Baghdad Modern Art Group and we see a particular focus on the theme of folk art as one of the main sources of turath – tradition. While these articles have survived to the present day, several of the drawings he discussed therein were not published or seen for various reasons, including the group of drawings presented here.These ink drawings, which are a remarkable addition to Al Said's renowned body of work, date back to 1955 and 1956, although the undated drawings of Shimmir and Ali and Abbas are possibly from 1953 and 1954, if we are to refer to Al Said's article titled 'The Predicament of Shimmir in the House of Vengeance' published in Al-Adab journal, 1954. Therefore, the drawings can be discussed briefly in two groups.Re-inspired Scenes from the tales of One Thousand and One NightsAmongst the widely distributed publications in Iraq and the Arab world are the tales of One Thousand and One Nights, which is a collection of stories compiled by various writers from the 9th century to the 20th century, also known in English as The Arabian Nights, with a popular version published in 1909 by Charles Scribner's Sons, New York. The Arabic version that Al Said had, which was referenced in several of his articles, was published in Egypt and based on an earlier version from 1932, also printed in Cairo in the state-owned printing house established by Mohammed Ali Pasha in the 1800s. The version Al Said had contained illustrations depicting different scenes from the tales including nudes, albeit in simplistic drawings. It is noteworthy that the same version Al Said had was outlawed in Egypt in 1985 for breaching literary decency regulations, however, a digital scan of the same version is available today online under a Creative Commons license. Al Said re-imagined the illustrations in his own style to explore folk art, specifically the conduit it provides to Al Said to express his own personal feelings through a well-known work of art widely accepted by the general public. These One Thousand and One Nights drawings by Al Said are amongst the best known to date in their quality of line and composition, without any preparatory sketches, pencil marks or additional colouring material. When compared with the 19th-century original illustrations, Al Said's drawings offer a more visceral and sharp interpretation of the nuances and thrill of the tales. No. 1/2: Shehrazad and King Sharyar opening sceneNo. 3: The tale of night 784 of Al-Hassan Al-Basri and his reunion with his seven sisters after long travels and adventures.No. 4: The tale of night 37 of the tailor who was tied to the mill after falling in love and losing his fortune. No. 5: The tale of night 266 of Al-As'aad and Queen Murjana. Al-As'aad survived by reaching land after being thrown in the sea by an evil merchant.No 6: Scene not illustrated from the story of the King with the Wiseman RoyanNo 7: The tale of Jodur and night 612 of Al-Maghribi. No. 8: Text of the tales stylised by Al Said to emphasise the shape of the Arabic letter as motifs present in folk art and design, such as crescents and triangles featured in tapestry and crafts.No. 9: General scene of women possibly inspired from the story of the Island of Waq-WaqDr Ahmed Naji is an independent researcher and cultural advisor on art in Iraq and the Arab world. He is the author of Under the Palm Trees: Modern Iraqi Art with Mohamed Makiya and Jewad Selim, Rizzoli New York, 2019. (Instagram: ahmednaji_alsaid)For further information on this lot please visit Bonhams.com

Shakir Hassan Al Said (Iraq, 1925-2004)The Martyrdom of Imam Hussein ink on paper in two partssigned and dated, executed in 195529 x 22cm eachFootnotes:Provenance:Property from the Artist's Estate These drawings are inspired by the folk art of the annual Ashura mourning processions held in Iraq and elsewhere, which commemorate the martyrdom of al-Husayn bin Ali and other members of the Prophet's family in 680 AD on the plains of Karbala, Iraq. The Ashura processions are based on oral traditions of narration and poetry accompanied by a full costume sombre pageant to recount the three-day events of the besieging of al-Husayn's camp and his martyrdom along with 63 of his companions and family members against a large Umayyad army. In his aforementioned 1954 article, Al Said noted the impact of the Ashura tradition on his visual memory and the mixture of emotions of fear and sadness from seeing the character of Shimmir, the villain, in the processions. Al Said then noted that Shimmir, in turn, showed fear and sadness in the Qajari posters that circulated in Iraq during the 1950s; these posters brought to visual form the myths and oral traditions of Shimmir's fate and torture. In the bottom right corner of the Qajar poster, Shimmir is seen seated inside a large cauldron on fire with his mouth open wide, screaming, and a piercing agonising frontal gaze as his scull is cracked open by repeated strikes from a bearded figure standing behind Shimmir holding a baton, with his raised right hand about to land another blow on Shimmir's head. Al Said's line drawing, with his well-established Mesopotamian-Islamic motifs, renders the figures with a modern interpretation of pain and fear in the context of vengeance. In contrast to Shimmir's drawing, the portrait of Ali with his son Abbas is more formal and symbolic to reflect perhaps a counterpart to Shimmir's predicament. The myths of Shimmir's torture mention that Ali and his sons and daughters sit and watch the torture of Shimmir and the other killers of al-Husayn. Abbas (al-Husayn's half-brother) is identified from the distinctive two feathers in his helmet, while Ali (al-Husayn's father) is identified by his two-pronged sword, known as Thulfiqar.- Dr Ahmed NajiDr Ahmed Naji is an independent researcher and cultural advisor on art in Iraq and the Arab world. He is the author of Under the Palm Trees: Modern Iraqi Art with Mohamed Makiya and Jewad Selim, Rizzoli New York, 2019. (Instagram: ahmednaji_alsaid)For further information on this lot please visit Bonhams.com

Mohsen Vaziri Moghaddam (Iran, 1924-2018)Untitled oil and sand on canvassigned 'VASIRI 23.2.1962', executed in 1962100 x 70cm (39 3/8 x 27 9/16in).Footnotes:'You can see the world in a grain of sand, and heaven in a wild flower'- RumiProvenance:Property from a private collection, UAEA pioneer of Iranian Modern art, Mohsen Vaziri was born in Tehran in 1924. In 1943, he attended the Faculty of Fine Arts in Tehran. He had his first solo art exhibition at the Iran-America Society in 1952. Vaziri left to Europe in 1955 to study at the Academy of Fine Arts in Milan where he learned about the western modern and contemporary art movements. In 1956, he had his first exhibition in Italy at the Portonovo Art Gallery in Rome and later that year in Germany at the Die Brucke Gallery in Düsseldorf and the Stenzel Gallery in Munich. In 1957, Mohsen Vaziri's artistic career took a turning as he moved away from figurative painting into non-objective or abstract art. He attended Italian artist Toti Scialoja's classes at the Academy. It was during those six months that Vaziri began exercising the depth of his imagination and experimenting with the use of materials, space, form and composition.This monumental work from the sand painting series was executed in 1962. Vaziri focused on working with sand for four years using different types of sands and applying them on canvas mixed with colour or in their natural state. While seeking for his individual style, in the spring of 1959 he found his source of inspiration on the shores of Lake Albano. The traces of his hands in the sand caught his attention and his childhood memories by the sea came flooding back. He went back to Rome and began experimenting playfully with sand and transferring the patterns onto primed canvases, which lead him to create his most powerful and ground-breaking works. He successfully evolved a richly emotive expressive style through colour, space and form. This series of works grabbed the attention of many including some of the most prominent Italian art critics at the time and in 1964 MoMA acquired one of his sand paintings for their permanent collection. He then went on to win several awards and his sand paintings have appeared in several Biennales across the world.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

Mahmoud Said (Egypt, 1897-1964)Paysage a Louxor oil on canvas, framedexecuted circa 191970 x 132cm (27 9/16 x 51 15/16in).Footnotes:Provenance:Youssef Pasha Zulficar, Alexandria, by 1936; Cherif Zulficar, Cairo (by decent from the latter); Aly Zulficar, Alexandria (the latter's nephew)Thence by descent Note:The present work is included in the Artists Catalogue Raisonne; Valerie Didier Hess and Hussam Rashwan, Mahmoud Said: Catalogue Raisonne Volume 1, Paintings, Skira Editore, 2016, illustrated on page 239'Paysage a Louxor'A monumental early landscape of Luxor by Mahmoud Said directly from the collection of the artists family and the largest canvas by the artist ever to appear at auction'What I am looking for is radiance rather than light. What I want is internal light, not surface light.... Surface light pleases for a minute or an hour while internal light captivates slowly, but once it appears, it imprisons us, it possesses us'- Mahmoud Said, Letter to Beppi-Martin, 1927'In 1919, I took my first attempt at painting, one that I cherish until this very day, for it was the reason I held on to art, firmly believing that I could not live for anything else'- Mahmoud SaidBonhams are privileged to present a rare and exquisite depiction of the Nile at Luxor by the father of twentieth century Egyptian Art, Mahmoud Said. Depicting a placid, radiant stretch of the Nile and the iconic site of traditional felucca drifting on the water, the present painting is one of the most skilful and imposing examples of Said's obsession with, and mastery of, light and luminosity, as well as the largest oil on canvas by the artist ever to be presented at auction.The work comes with perhaps the most distinguished provenance of its kind, being offered directly by the artists family having originally been in the collection of the artists sister Zeinab Said, and through her marriage to Youssef Pasha Zulficar being passed into the collection of the Zulficar's, one of 20th century Egypt's most prominent royal and aristocratic familiesSaid's landscapes, much like his portraits, sought to reflect an empathetic and stylized representation of rural Egypt and its rich historical landscape, and the choice of Luxor as a subject matter perhaps best reflects Said's adoration for the purity and authenticity of 'true Egypt'.Luxor is an ancient city and one of the longest continuously inhabited settlements in the world. Luxor has frequently been characterized as the 'world's greatest open-air museum' as the city contains the ruins of the Egyptian temple complexes at Karnak and Luxor. Immediately opposite, across the River Nile, lie the monuments, temples and tombs of the west bank of the Theban Necropolis, which includes the Valley of the Kings and Valley of the Queens.Artists and poets have long been drawn to the allure of this fabled terrain, as Southern (Upper) Egypt has come represent the pure, unfettered origins of the countries national identity, with fellow artist Hussein Bikar writing that 'Egypt is not Cairo, not even the northern towns and villages, no... it lies in the depths of the South where the relics of the Pharaohs are to be found. Here, even the faces are genuine, they are Egyptian through and through.'An iconic location depicted by an artist who was ardent on chronicling the landscape of his native land, Luxor's shimmering, reflective waters mirror the superlative artistic prowess of a painter utterly devoted to his subject matter. The Zulfiqar FamilyThe present work comes from the collection of the illustrious Zulficar family whose patriarch, Youssef Zulficar Pasha was married to Mahmoud Said's sister. Youssef Zulficar was a prominent judge, vice president of Alexandria's mixed court of appeal, and belonged to a family of Caucasian origin whose ancestors came to Egypt with viceroy Muhammad Ali Pasha at the beginning of the 19th century.Zulficar married Zeinab Said, Mahmoud Said's sister and the daughter of former Prime Minister Muhammad Sa'id Pasha. This union would eventually lead to the intermarriage of the Zulficar family with the ruling Muhammad Ali Dynasty when Youssef and Zeinab's daughter Safinaz was wedded to King Farouk, assuming the title Queen Farida. Queen Farida was an iconic figure in 20th century Egypt, as one of the first female royals in the modern history of the country to engage and appear in the public realm she became a symbol for a modern, cosmopolitan Egypt and the evolving role of women in public life. Mahmoud Said himself painted a series of finely executed and well-known portraits of his sister Zeinab, and niece Queen Farida, one of which was sold in these rooms November 2017. In addition to this, several of his most important works were passed on to members of the Zulfiqar family and many remain in their private collection. The appearance at auction of a monumental early landscape of this size and quality which has been with the artists family for over a century is a rare occurrence indeed.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

Adam Henein (Egypt, 1929-2020)Om Kalthoum bronzesigned 'A HENEIN' and numbered 'A.P. I.IX', executed in 2003154 x 50cm (60 5/8 x 19 11/16in).Footnotes:Provenance:Property from a private collection, CairoPublished:Mona Khazindar (ed.), Adam Henein, Turin, 2005 (another from the edition illustrated, pp.182-183)Exhibited:Adam Henein: Lasting Impressions, Sharjah Art Foundation, 2019 (another from the edition)Peripheral Vision, Barjeel Art Foundation, Sharjah, 2010 (another from the edition)'No one can describe the extent of my pride when I went to Paris, stood in the middle of Europe, and raised my voice in the name of Egypt.' – Umm Kulthum Mona Khazindar (ed.), Adam Henein, Turin, 2005 (another from the edition illustrated, pp.182-183)The present work is an important and monumental tribute by one of the greatest Egyptian sculptors of the century, Adam Henein, to the greatest female singer in Arab music history, Um Kulthum. Born in at the turn of the century, Kulthum was known as the Star of the East (kawkab el-sharq). She is recognized as one of the Arab world's most famous and distinguished performers. Abstract forms, pure volumes and dynamic movement characterise Henein's mature works. 'Um Kulthum' is elegantly striking by its expressive and asymmetrical rendition and the dynamism and movement of its planes. This artwork embodies a sense of simple monumentality and timelessness that is characterised by an allusive simplification of form that is both modern and archaic. The sculpture is elegant, coherent and a characteristic style of its own that is undeniably inspired by both ancient Egyptian Pharaonic art and European Modernism while reflecting the sophistication of the artist.Adam Henein was born in Cairo in 1929 into a family of metalworkers. In 1953, he graduated from School of Fine Arts, Cairo, he went on to receive a two-year grant to study at the Luxor Atelier. The atelier was established a decade earlier by the notable Egyptian artist and scholar Mohamed Nagi to promote Egyptian art education in school circular. In 1954 and 1956 Henein received the Luxor price for his artistic achievements. Two years later, he received a diploma in advanced practices from the Munich Academy in Germany.In 1971, Adam Henein was invited to participate in an Egyptian contemporary art exhibition in Paris at the Musée Galliera. He spent the next two and half decades, from 1971 to 1996 in Paris pushing his practice through sculpture and painting and continued focusing on ancient Egyptian themes and traditional materials. The early 1970s marked an important evolution in Henein's artistic practice, whilst in Paris he was given the opportunity to be exposed to the work of great western modern sculptors and artists whose freedom of interpretation he found to be deeply inspiring.In the late 1990s Henein returned to his homeland. He contributed greatly to his Egypt's cultural landscape, particularly in Aswan where he established the city's annual International Sculpture Symposium. Upon his return to Egypt he was also appointed by the Minister of Culture to head the design team involved in the restoration of the Great Sphinx in Giza. Henein was awarded Egypt's State Medal, the State Merit Award, as well as the Mubarak Award in the arts. His works have been exhibited at the Institu du Monde Arabe in Paris, the Metropolitan Museum of Art in New York, The MATHAF in Doha, The ASB Gallery in Munich as well as in London and Rome.Throughout his vast career Henein produced a significant number of large and small-scale sculptures handling a variety of different mediums such as bronze, granite, plaster, limestone and terracotta. In 2014, the Adam Henein Museum opened its door in Cairo's Al-Harraniya district, which is a priceless gift from the artist himself to his native country. The museum is dedicated to the largest collection of Henein's sculptures as well as featuring some of his paintings.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Hamed Owais (Egypt, 1919-2011)The Harvest (Al-Hasadh) oil on hardboard, framedsigned 'Owais' and dated '2009' (lower left), executed in 200940 x 54cm (15 3/4 x 21 1/4in).Footnotes:'We believed that revolutionary ideology should be reflected in art. We, the Group of Modern Art, rejected 'surrealism,' because it was essentially rebellion, or an art which did not aim at the consciousness of the people at large.'- Hamed OwaisProvenance:Property from a private collection, EgyptNotes:The present work has been authenticated by the family of the artistThe present work is a rare and important appearance of an oil on canvas by Hamed Owais, one of the pioneers of Egyptian Modernism, and perhaps the sole exponent of social realism in twentieth century Egyptian Art.Mohammed Hamed Owais was born in 1919 into a peasant family in the small village of Kafr Mansour in the governorate of Beni Soueif. There, he received his primary and secondary education before working as a metalworker. He soon realized he was not fit for this profession and moved to Cairo, where he joined the School of Fine Arts. After he graduated in 1944, he pursued his studies at the Institute of Art Education in Cairo, where he was trained by the pedagogue and critic Youssef el-Afifi. He received his diploma in 1946 and in the following year, he founded the Group of Modern Art, together with other artists of his generation, such as Gamal el-Sigini, Gazbia Sirry, Zeinab Abdel Hamid, Salah Yousri and Youssef Sida.From 1948 to 1955, Owais worked as a drawing teacher in the Farouk Ist Secondary School in Alexandria. He traveled to Italy in 1952 and visited the Venice Biennale where the works of Italian Social Realist artists were being exhibited. In 1958, he was appointed a professor at the Faculty of Fine Arts in Alexandria just after it was founded by the sculptor Ahmad Osman (1907 - 1970). In 1967, Owais received a scholarship to continue his studies at the Royal Academy of Fine Arts of San Fernando in Madrid where he received his diploma in 1969. From 1977 to 1979, he served as the head of the Faculty of Fine Arts in Alexandria. He died in Cairo in 2011, at the age of ninety-two.Hamed Owais is one of the leading Social Realist painters in Egypt. His work embodies the struggle of the people of the Egyptian working class: peasants, fishermen, laborers, factory workers, craftsmen, barbers, builders and market sellers. He was one of the first Egyptian artists to address the question of unemployment and the everyday life of Egyptian laborers in the 1940's and 1950's. His work was strongly influenced by the ideas of the Group of Modern Art, whose members rejected Surrealism, as they believed that art should touch the masses and clearly reflect social ideologies.Owais, like other artists of his generation, such as Gamal el-Sigini, was a partisan of the ideals of the 1952 revolution, which he expressed in his works. He admired the European modernists such as Picasso and Matisse and found affinity with Mexican Social Realists, such as the muralists Diego Rivera (1886 - 1957) and David Alfaro Siqueiros (1896 - 1974).Owais developed a clear and direct style portraying the life of the average Egyptian worker. His peasants or fishermen are massive and muscular, which reflects the strength of his social convictions. Their large bodies often seem to be enclosed in the reduced space of the canvas that appears as a metaphor of the social boundaries of the Egyptian society. When he moved to Alexandria, Owais was influenced by the abundance of light and vibrant colors of the Mediterranean port, as well as by the work of Alexandrian painter Mahmoud Saïd (1897 - 1964). Although Hamed Owais is commonly associated with the socialist ideology of the Gamal Abdel Nasser era, his original style and work overall reflect his humanist character.The present work is a painting from a series of three works, of which only two survive. Of the first two work in the series, executed in the 1970's, one is in private hands and the other has been missing from the Alexandria Governate Building since the Egyptian revolution of 2011.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

M'hamed Issiakhem (Algeria, 1928-1985)Women oil on canvas, framedsigned 'Issiakhem' and dated '73' in Arabic (lower left), executed in 197397 x 78cm (38 3/16 x 30 11/16in).Footnotes:M'hamed Issiakhem is considered one of the founding fathers of Algeria's Modern Art Movement. Issiakhem spent most of his childhood in his native town of Relizane. In 1943, after handling a grenade found at an American camp, Issiakhem sustained severe injuries leading to the amputation of his left arm. The explosion also resulted in the death of his two sisters and nephew. Issiakhem started his artistic training at the École des Beaux-Arts, Algiers, from 1948 to 1951, where he studied fine art and miniature painting under the instruction of Eugène Bersier, Paul Nicolaï and Mohamed Racim. He then travelled to Paris, where he studied at the École Nationale Supérieure des Beaux-Arts from 1951 to 1955.After graduating, he left France for Italy, West and East Germany, Spain, Yugoslavia, Belgium, USSR, and other locations, where he resided and worked until the Algerian independence in 1962. In January 1962, he was resident at the Villa Velazquez in Madrid. Returning to Algeria that year, Issiakhem worked as a caricaturist for the daily Algerian publication Alger Républicain. He co-founded the Union Nationale des Arts Plastiques in 1963, and from 1964 to 1966 he was the director of the École des Beaux-Arts in Oran. In 1971, he was professor of graphic art at the École Polytechnique d'Architecture et d'Urbanisme, Algeria.From 1965 to 1982, he designed the imagery for Algerian bank notes and stamps. Issiakhem travelled to Vietnam in 1972 and the following year received a gold medal at the International Fair, Algiers, for the work he created for the Ministry of Labour and Social Affairs. In 1977, the artist completed a public commission for a fresco in Algiers Airport. In 1980, he received the first Lion D'Or of Rome from UNESCO for African Art. He died in 1985 after suffering from cancer.Issiakhem exhibited his work internationally including solo exhibitions at Galerie Donilstraz, Leipzig, 1959; Musée des Arts Modernes, Algiers, 1974; Galerie Aurassi, Algiers, 1982; and Musée Sidi-Boussaïd, Tunis, 1985. His participation in group exhibitions and festivals include Galerie Carnot, Algiers, 1949; Galerie André Maurice, Paris, 1951; International Festival for Youth and Students, Warsaw, 1955; Musée des Arts Décoratifs, Paris, 1964; and Festival Panafricain de la Culture (where he received the Grand Prix du Jury), 1969. Since his death, retrospectives of Issiakhem's work have been held in Algeria, France and Russia including Syndicat's Gallery, Moscow, 1989; Salle Miro, UNESCO, Paris, 2003; and Musée des Arts Modernes et Contemporains, Algiers, 2009.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Ibrahim El-Salahi (Sudan, born 1930)The Rise mixed media on paper, framedsigned 'Salahi' lower right, executed circa 1970s39 x 29cm (15 3/8 x 11 7/16in).Footnotes:Provenance:Property from the estate of the Artist Hussein Shariffe'I'm very much obsessed with my work. I am a painter..I go to bed dreaming of figures, forms and colours and wake up to translate my visions and dreams into works of art'-Ibrahim El-SalahiEl-Salahi is perhaps Sudan's most celebrated living artist. His five-decade career was brought to international attention in 2013, when a major retrospective of his work was held at Tate Modern in London. The exhibition touched on key themes that run throughout the artist's oeuvre: the legacy of colonialism, the creative influence of faith, and his own hybrid identity. Having studied at the Slade School of Fine Art in London, El-Salahi returned to Sudan in 1957 where he devoted his attention to the ancient artistic traditions of the region and the study of calligraphy. His works from the 1960s are therefore a fusion of African, Arab, Islamic and Western influences.One motif that appears repeatedly in El-Salahi's work is the human. He is shown in different forms, ranging from dynamic, full body figures to surreal fantasy faces. In his art transcends geographical as well as cultural barriers. In his art human existence is linked to a world of dreams and mediations. This ink and whitewash is not dated but is very similar in subject matter and style to the line drawings that he executed in the early 1960s. A very similar piece is illustrated in Salah Hassan's catalogue, Ibrahim El-Salahi: A Visionary Modernist, (New York, 2012), fig.14, p.57.El-Salahi's work can be found in the collections of the Museum of Modern Art, New York, Metropolitan Museum, New York, The Art Institute of Chicago, Chicago, The British Museum, London, Tate Modern, London, The Smithsonian Institute, Washington DC, The Guggenheim Museum, Abu Dhabi, The National Gallery, Berlin, and many others.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

Hussein Shariffe (Sudan, 1934-2005)Untitled mixed media on canvasexecuted mid 1990s75 x 66cm (29 1/2 x 26in).Footnotes:Provenance:Property from the Artist's EstateBonhams is delighted to present this exquisite painting by one of the pioneers of Sudanese modernism Hussein Shariffe. Shariffe was born in 1934 in Omdurman, Sudan. He was educated at Victoria College in Alexandria, Egypt and then went to the U.K where he studied Modern History in Cambridge, before joining the Slade School of Fine Art and studying under Lucien Freud. During his time at the Slade Shariffe won the John Moores Prize for Young Artists and in 1958 the artist held his first solo exhibition at Victor Musgrave's Gallery One in London.Shariffe was not only a painter; he was also an acclaimed poet and filmmaker whose extensive body of work crossed both African and European borders. Shariffe was an affiliate of the Sudanese modern art movement, the Khartoum School founded in 1960 by the artist's Ahmed Shibrain, Ibrahim El Salahi and Kamala Ishag. The movement sought to develop a new visual vocabulary to reflect the distinctive identity of the newly independent nation. Shariffe's body of work was heavily influenced by his Sudanese roots. Shariffe went into filmmaking as he was greatly interested in cinematography, and he believed that film allowed one to transcend social classes and reach wider audiences. In 1972, his dear friend and world-acclaimed artist Ibrahim El Salahi requested that Shariffe's become the Head of Film for the Sudanese Department of Culture.For further information on this lot please visit Bonhams.com

Shafic Abboud (Lebanon, 1926-2004)Nuits A oil on canvas, framedsigned 'Abboud' (lower right), further signed 'Abboud', dated '88' and titled 'Nuits A', Galerie Faris label on the verso, executed in 1988119 x 133cm (46 7/8 x 52 3/8in).Footnotes:Provenance:Property from a distinguished private collection, Beirut Illustrated:C.Lemand, Shafic Abboud, Paris, 2006, illustrated on page 192Exhibited:Beirut, Loft 46. Piece for a Museum featuring Paul Guiragossian and Shafic Abboud, April 2010Paris, Galerie Faris, Rétrospective Shafic Abboud 1949-1989, 1990.'Like Renoir, Vuillard and Bonnard, Shafic Abboud is above all, an eye. He sees colour and immediately fragments it into light. His canvas is a bullfighter's outfit. It can be discombobulated and magnificently renewed according to its own logic, made up of flashes and vibrations, shivers and juddering. The result is there before us, as powerful as evidence: that window opened onto the ungraspable turmoil wherein forms refuse distinguishing characteristics in favour of the forces that inhabit them, elastic and fluid forces, nonetheless hard, like those underpinning the crucial universe.' - Salah Stetie'In the genesis of each painting, there is a visual trigger coming from an event which we have experienced. Why chose one or another moment of daily life? This is still a real mystery to me and there is no explanation for the reasons of my adherence. All in all, painting is like telling a story, yet my language is the paint and everything is enacted and decided on the canvas and within its making. The work is finished once the initial impact is restored and life is recovered, through trial and error. To sum up, the more I go forward, the less I know about painting' - Shafic AbboudIntricate, finely worked, and deeply personal, 'Nuit A' is a large and exemplary abstract masterpiece by Shafic Abboud. A vibrantly articulated composition, the the present work is a supreme rendition of the colorful abstraction which established Abboud as one of the most lauded Lebanese artists of the modern era.A meticulous and fastidious colourist, Abboud was renowned for his methodical approach to draftsmanship, exploring and examining prospective pigments and palettes before each composition. The movement from considered, systematic preparation to free-flowing, primal and spontaneous result could not be more emphatically captured than in the present work, where a vibrant swarm of impulsive strokes chase and intersect across the canvas in an array of earthen and leafy tones.Shafic Abboud studied at the Lebanese Academy of Fine Arts (ALBA) under César Gemayel (1898–1958) before he went to Paris in 1947. There he studied at the École nationale supérieure des Beaux-Arts and frequented the studios of Jean Metzinger (1883–1956), Fernand Léger (1881–1955), and André Lhote (1885–1962).He returned to Lebanon in 1949 and held his first solo show of figurative paintings in Beirut in 1950. The following year he resettled in Paris. During the first half of the 1950s Abboud developed an admiration for the art of Pierre Bonnard (1867–1947), Roger Bissière (1886–1964), and Nicolas de Staël (1914–1955). With the support of the art critic Roger van Gindertael (1899–1982), Abboud had his first Parisian exhibition of abstract works in 1955.He was invited to the Salon des Réalités Nouvelles in Paris and was the only Arab artist included in the first Paris Biennale in 1959. As a painter Abboud is renowned for the subtle incorporation of his Lebanese roots, namely his childhood memories and the landscape of Mount Lebanon, into his masterfully balanced compositions, as well as for his balanced use of colour. He travelled often and consistently returned to his homeland, where he played a major role in Beirut's cultural and artistic life.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

Massoud Arabshahi (Iran, 1935-2019)Untitled oil and gold leaf on canvassigned and dated on the verso, executed in 2007163 x 153cm (64 3/16 x 60 1/4in).Footnotes:Provenance:Property from a private collection, UAEMassoud Arabshahi was one of the key protagonists of the Iranian neo-traditionalist movement, and notably one of the only artists of his ilk to pursue their agenda through pure painting and not calligraphy. Fascinated by the textual, architectural and mathematical elements of traditional Persian imagery, Arabshahi's work is punctuated by motifs which carry strong metaphorical significance. All this is done with an unequivocally modern and wholly abstract aesthetic.The severe, charcoal hue that Arabshahi employs in the present work recalls ancient Persian rock reliefs of the kind found at Persepolis, Behistun and Pasargade combined with interlaced metallic mesh forms often seen on tomb enclosures in Shi'ite shrines. The mixture of geometrical and angular shapes all contains esoteric significance for Arabshahi. An artist enraptured by the recurrence of symbols, his works are riddled with semiotic iconography: arc shapes denote the perfection of celestial geometry and abstract glyphs recall ancient Persian cuneiform, they are indiscernibly a testament to the extinction of the culture that once gave them meaning.For millennia human art has demonstrated the ability to reflect, narrate, and signify meaning through signs and symbols. Arabshahi's compositions ultimately remind us that regardless of the age we live in, or our varying modes of expression and communication, we all have the innate propensity to invest in symbols and images, elements of our collective consciousness uncapturable in words.For further information on this lot please visit Bonhams.com

Marcos Grigorian (Iran, 1925-2007)Garni straw, resin, mud and mixed media compound on boardsigned 'Grigorian', dated '2001', inscribed 'Garni Armenia' on the verso, executed in 200161 x 61cm (24 x 24in).Footnotes:Provenance:Property from a private collection, Los Angeles'This square grid, a sacred measurement in art, is associated with stability. It is an iconographic symbol of the earth. Grigorian has personalised the form by physically and psychologically identifying the square with four walls of a room in his living space, he even called his first exhibition of Earthworks 'My First Home''- Donna SteinGarni is part of Grigorian's acclaimed Earthworks Series. Earthworks were inspired by the use of materials and forms that went beyond the conventional means of art-making. Compared to the Western Land Artists, who similarly created compositions through the handling of earth itself, Grigorian predated this movement by a decade.Born to Armenian parents in 1925, Grigorian was brought up in Russia for a short time before emigrating to Iran with his family at the age of five. After studying at Kamal-el-Molk Art School in Tehran, he moved to Rome to complete his studies at the Academia di Bella Arti in the 1950s. His move to Rome allowed him to study the works of classical and modern masters and was a turning point in his career. His subsequent moves to Iran and then to the United States in the later years of his career were to be equally influential to his artistic development. His early abstract style was supplanted by expressionist figurative compositions on his return to Iran in 1954. In 1962 he moved to New York where he began his most famous Earthworks Series.These works are mostly on a square format, which became something of a signature for Grigorian. The square form was a representation of sacred geometry and harmonious proportions. The organic materials such as hay, straw, sand, soil and clay which he used to create his almost three-dimensional compositions were to be equally defining.In experimenting with soil and mud, he believed he was rebuilding life and exploring the complex relationship between mankind and earth. The present work is reminiscent of the commonly held theory that the Earth and the other planets developed over millions of years out of particles and gas. The traces of a convergent movement towards the centre of the canvas evoke the image of the universe forming out of primordial dust - and the monochrome earthy surface impress upon the viewer the feeling of a distant aerial view from space. The textured surface and the play between light and shadow endow the painting with an even more dramatic effect, adding to its three-dimensionality.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

Sabry Mansour (Egypt, born 1943)Arous El-Nil (Bride of the Nile) oil on board, framedsigned, titled and dated on the verso in Arabic, executed in 1968120 x 150cm (47 1/4 x 59 1/16in).Footnotes:Provenance:Property from a private collection, Cairo'Mansour's world fuses elements from Egyptian myth and rural landscape, within an imaginary nocturnal environment, characterized by his near absolute monotone palette which is predominantly composed in consistent tones of blues.'Sabry Mansour was born in Menoufia, in Egypt's Nile Delta region in 1943. He earned his BA at the Faculty of Fine Arts, Helwan University in 1964 as a painter. He was a professor of drawing at the Faculty of Fine Arts in San Fernando, Madrid in 1978 and a member of the board for Egypt's Syndicate of Fine Artists from 1983 to 1987. He became head of the painting department at his alma mater in 1989 and served as its dean of fine arts from 1989 to 1992. Mansour has held solo exhibitions since the 1970s beginning in Alexandria then Cairo, before gaining international exposure featuring in group exhibitions in; Spain, Italy, Syria, U.K., France and Kuwait. Sabry has also been a frequent fixture at the Cairo Salon and the Annual Exhibition of Fine Arts in Egypt from 1969 to 1988. Mansour won the acquisitions prize at the Alexandria Biennale of 1971 and the first prize at the Kuwait Biennale of 1985 as well as various domestic accolades including the award for painting at the 1982 edition of the Annual Exhibition of Fine Arts. His work resides in private collections in countries all around the world, as well as in various national collections including; Museum of the Modern Egyptian Art, Museum of Faculty of Fine Arts, Opera House Museum and Alexandria Museum of Fine Arts. His works were also acquired by and on display at the Museum of Fine Arts, Qatar. His artistic inspiration is rooted in the arts of ancient Egypt, the transfigurations in Coptic culture, and the organic figures and architectural patterns in Islamic design. Mansour's world fuses elements from Egyptian myth, and rural landscape within an imaginary nocturnal environment, characterized by his near absolute monotone palette which is predominantly composed in consistent tones of blues.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

Eliot Hodgkin (British, 1905-1987)Portrait of Joyce Graham signed 'E. Hodgkin' (upper right), dated '1935.' (lower left); further signed and dated 'E. Hodgkin 34' (on board verso)oil on panel50.5 x 40.5cm (19 7/8 x 15 15/16in).with a further oil of a still life, on the reverse, by the same handFootnotes:ProvenanceSale; Christie's, London, 27 February 2008, lot 26 With Wall Gallery, London, where acquired by the present owner, 19th July 2008Private Collection, U.K.Please note that this lot is offered together with a copy of the receipt from Wall Gallery, a collection of postcards from the Artist and catalogues relating to Eliot Hodgkin, amassed by the family of Joyce Graham, Eliot Hodgkin's cousin.We are grateful to Mark Hodgkin for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Mark Hodgkin, c/o Bonhams, Modern British Art Department, Montpelier Street, Knightsbridge, London, SW7 1HH, or email britart@bonhams.com.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

Ithell Colquhoun (British, 1906-1988)Anthurium signed and dated 'Colquhoun/36' (lower right)oil on canvas81.5 x 51.5cm (32 1/16 x 20 1/4in).Footnotes:ProvenanceAcquired by the present owner circa the 1980sPrivate Collection, U.K.ExhibitedLondon, The Fine Art Society, Exotic Plant Decorations, 4-11 November 1936, no. 16Penzance, The Orion Gallery, Ithell Colquhoun: Flower and Plant Paintings, 4-22 September 1973, no. 5, illustratedLiteratureR. Shillitoe, Ithell Colquhoun: Magician Born of Nature, Lulu Press, 2010The present lot, which has not been seen in public since 1973, is painted in what Colquhoun would later refer to as her 'magic realism' or 'super realism' style. The work comes at a transitional moment in her career when she was moving from the traditional style she had been taught at the Slade School of Art, towards Surrealism and the use of automatic painting techniques such as decalcomania and fumage. For a short period, culminating in 1936, Colquhoun painted plants and flowers in exaggerated size and detail, the blooms and foliage placed very close to the viewer, the palette limited and the backgrounds indeterminate. These qualities give Anthurium an other-worldliness that is typical of her finest paintings in this style. Exhibited at one of Colquhoun's first solo shows, held at The Fine Art Society in November 1936, Anthurium demonstrates the strong impact of Dalí on the Artist's works. After attending The First International Exhibition of Surrealism, held at the New Burlington Galleries in July 1936, Colquhoun's interest in Dalí, and the movement as a whole, was cemented. In her foreword to the catalogue of the 1976 exhibition Surrealism: Paintings, Drawings, Collages, 1936-1976, held at Newlyn Orion Galleries, Colquhoun describes how 'the influence of Dalí's technique took root naturally in this ground, and can also be seen (prophetically, almost) in my studies of exotic plants (Fine Art Society, 1936)' (I. Colquhoun, Surrealism: Paintings, Drawings, Collages, 1936-1976, Newlyn Orion Galleries, Penzance, 1976). Anthurium is one such work, which in the words of Michael Remy, is able to 'hint at fantastic worlds inaccessible to the rational man' (Modern British Women, The Fine Art Society, London, 2017, p. 4). A preparatory drawing and the cartoon for the present lot are in the Tate Archive.We are grateful to Dr Richard Shillitoe for his assistance in cataloguing this lot.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

Peter Lanyon (British, 1918-1964)Untitled Red Figure Study bears two studio stamps (verso and on backboard)gouache on paper58.5 x 47cm (23 1/16 x 18 1/2in).Executed circa 1950Footnotes:ProvenanceThe Artist, and thence by descent toPrivate Collection, U.K.Their sale; Bonhams, London, 9 March 2011, lot 68, where acquired by the present ownerPrivate Collection, U.K.The present work is inscribed 'Red Nude' (verso) and 'Red Figure Study' on the backboard in the hand of Sheila Lanyon, and is recorded in the Peter Lanyon Archive as Untitled Red Figure Study. The work shares its palette and figurative nature with three 'Redbody Country' gouaches all executed circa 1952 (examples of which are in the collections of the British Museum and the Scottish National Gallery of Modern Art).We are grateful to the Artist's Estate and Toby Treves for their assistance in cataloguing this lot.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

Tristram Hillier R.A. (British, 1905-1983)Una Ermita signed with initials and dated 'TH 74' (lower right); titled and further dated ''UNA ERMITA'. 1974' (on canvas overlap)oil on canvas25.5 x 30.5cm (10 1/16 x 12in).Footnotes:ProvenanceThe Artist, from whom acquired by Commander G.W. Sudlow, and thence by descentNick Rocke Private Collection, U.K.The Estate of Tristram Hillier is preparing a forthcoming catalogue raisonné of the Artist's paintings and would like to hear from owners of any works by Hillier. Please write to The Estate of Tristram Hillier, c/o Modern British and Irish Art, Bonhams, 101 New Bond St, Mayfair, London W1S 1SR or email britart@bonhams.com.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

Books hard and soft cover, 10 including Secrets of Ancient and Modern Magic publisher Wehman Br0s with Paul Daniels blind stamp, Wizard's Manual publisher Wehman Bros with Paul Daniels blind stamp, Book of Tricks and Magic publisher Ottenheimer Baltimore US with Paul Daniels blind stamp, New and Easy Magic by N Hunter 1925 First Edition publisher A Pearson Ltd London damaged spine, Magic Circle Magic 1963 Editor Will Dexter Art Editor Ali Bongo Modern Coin Magic by Bobo with Paul Daniels bookplate, Bed of Nails by Gordon Thomas 1955 with Paul Daniels blind stamp and bookplate , The Book of Modern Conjuring but Prof Kunnard, Everybody's Book of Magic 1956 First Edition, Some damge to a few, one book with some damp,

Books hard cover Modern Magic 1878 with Paul Daniels bookplate and More Magic 1893 with Paul Daniels bookplate and stamp of Tom Harris library ex Will Goldston via Fred Wiles to Paul Daniels signed by Paul Daniels publishers Routledge and by Professor Hoffman The Art of Modern Conjuring publisher Ward Lock and Co Modern Magic cover loose and some damage

Books hard cover, 20 Items Including 15 books with Paul Daniels book plate and/or blind stamp, Including Modern Magic A Practical Treatise on the Art of Conjuring 1891 Eighth Edition by Professor Hoffmann, Tricks that Mystify by Will Goldstone, Ghosts I Have Seen by Violet Tweeddale 2nd Edition 1920, Quality Magic by Okito 1921, Later Magic by Professor Hoffman 1931, The Unknown by Camille Flammarion 1900, Some with damage

INGEBORG BRATMAN, A MODERNIST GOLD COLLAR NECKLACE LONDON 1968 The necklace composed of a looped and undulating polished wire with applied polished and textured discs, to a hook clasp, in a black case Size/dimensions: approximately 44cm long, depth to the front 6.5cm long Gross weight: 50.3 gramsOffered for sale with an original receipt from Ingeborg Bratman dated 3.2.71Ingeborg Bratman was born in Austria and arrived in England in 1938, her Jewish family having had to flee the Nazi occupation which was spreading throughout Europe. In 1965 Bratman began studying under Gerda Flokinger CBE, an innovative and pioneering jewellery designer and maker at the Hornsey College of Art. This tutorage, in combination with her continued study at the Sir John Cass College, London, held Bratman in great stead for the path she was about to embark on, designing striking jewellery and using experimental materials, the most interesting being the notoriously difficult Tantalum. Examples of Bratman's work can be seen at the V&A museum and at the Science museum in London. Wingfield, Mary Ann, Modern British Jewellery Designers 1960-1980, A Collector's Guide, 2021, ACC Art Books, page 26 Condition Report: Some light wear commensurate with occasional useCondition Report Disclaimer

ANN O'DONNELL, A 9 CARAT GOLD AND MALACHITE ABSTRACT NECKLACE LONDON 1977The rectangular malachite panel pendant within a tree like frame, with cabochon sapphire and emerald accents, to a polished 9 carat gold collar with full hallmark and A'OD maker's markSize/dimensions: panel 11.5cm wide, collar approximately 40cm long without panel Gross weight: 218.7 grams Ann O'Donnell (1933-2019) was a Leeds based modernist jeweller influenced by ancient Roman Glass and archaeology, gemmology and geology, incorporating it into post war design jewellery. She began her artistic education at the Leeds College of Art (1950-1954), and then studied as a postgraduate at the Royal College of Art. After an uninspiring stint at the Charles Horner firm on a production line as a work placement she went back to Leeds college of Art where the she continued her studies alongside teaching from 1960 to 1986, and in 1966 a diamond set necklace was chosen for the De Beers Diamonds International Awards. In 1977, alongside her business partner Mae-Fun Chen, they opened Anno Domini, a gallery space used to display and promote modern jewellery and their craftspeople to the public.Condition Report: The panel pendant is not marked, but a section tests as gold. there is some light surface wear commensurate with occasional use, there is some glue to the front panel from construction, it joins the detail to the malachite panelCondition Report Disclaimer