Modern and Contemporary African and Middle Eastern Art
MODERN & CONTEMPORARY
AFRICAN AND MIDDLE EASTERN ART
WEDNESDAY 30TH OCTOBER 2024
MODERN & CONTEMPORARY AFRICAN AND MIDDLE EASTERN ART
TO BE SOLD BY AUCTION: 25 Blythe Road, London W14 0PD
AUCTION: Wednesday 30th October 2024, 12pm, precisely
PUBLIC EXHIBITION: Sunday 27th October, 12pm to 4pm Monday 28th October, 10am to 8pm Tuesday 29th October, 10am to 5pm
SALE NUMBER OA0148
ENQUIRIES:
Janet Rady, Head of Sale janet.rady@olympiaauctions.com
Hebe Reynolds, Administrator and Junior Cataloguer hebe.reynolds@olympiaauctions.com
+44 (0)20 7806 5541 pictures@olympiaauctions.com
ONLINE CATALOGUE AND LIVE INTERNET BIDDING AVAILABLE THROUGH: www.olympiaauctions.com www.the-saleroom.com www.invaluable.com www.drouotonline.com
This auction is conducted by Olympia Auctions in accordance with our Conditions of Business printed in the back of this catalogue.
Property of a Private Collector, London 1
HENDRICK LILANGA (TANZANIAN B.1974)
BABA NA WANAE WAMEPIGA PICAIP PA PAMOJA
signed in English H.lilanga lower right; signed and titled on the reverse oil on canvas
97 x 74cm; 38 1/4 x 29in unframed and unstretched
£500-800
Property of a Private Collector, London 2
HENDRICK LILANGA (TANZANIAN B.1974)
MAMA ANAMFUNDISHA MWANAE JINSI YA QUISHI
BIZURI NA MAJIRANI HUKO AENDAKO KUTAFU TA KAZI
signed in English H.lilanga lower left; signed and titled on the reverse oil on canvas
87 x 87cm; 34 1/4 x 34 1/4 in unframed and unstretched
£400-600
Lilanga was born in Tanzania’s largest city, Dar es Salaam, in 1974. From a young age his acclaimed artist grandfather, George Lilanga (see lots 3-7), taught Lilanga how to paint and draw in the popular Tanzanian art style of the Tingatinga school of art. Lilanga’s works are heavily derived from this inherited style, which features colourful depictions of stereotypical and idealised imagery of Tanzania including its wildlife, landscapes, and people. Lilanga is also influenced by the Makonde woodcarvers (from which the Tingatinga style draws influence), along with his extended residences in Japan and South Korea.
Property of a Private Collector, London
GEORGE LILANGA (TANZANIAN 1934-2005)
TUNAPASWA KUA MAKINI SANA KATIKA UJANA WETU signed lilanga lower left oil on board
61 x 61cm; 24 x 24in unframed
George Lilanga belonged to the Makonde people and lived most of his life in Dar es Salaam. Featured in a number of landmark exhibitions devoted to African art, including the international touring African Remix (2004), and African Art Now: Masterpieces from the Jean Pigozzi Collection (Museum of Fine Art, Houston 2005), Lilanga became the foremost Tanzinian artist from his generation and was hailed as the leading African artist by the influential art collector Jean Pigozzi.
Initially, he worked in the Makonde artistic tradition of carving wooden sculptures. However after having been exposed to the work of other artists at the cultural centre Nyumba ya Sanaa (House of Art), he transformed his typical sculptural forms into two-dimensional art works such as paintings, etchings or panels. Developing his own style out of the Shetani (devils) figures of the modern Makonde sculptures, his paintings are characterised by their colourful irony, reflecting everyday life in Tanzania.
The artist is the grandfather to Hendrick Lilanga (see lots 1 and 2)
£300-500
Property of a Private Collector, London
GEORGE LILANGA (TANZANIAN 1934-2005)
HATA MKINITENGA MIMI BADO RAFIKI YENO signed lilanga lower left oil on board
61 x 61cm; 24 x 24in unframed
see note to previous lot
£300-500
JAMANI!
Property of a Private Collector, London
5
GEORGE LILANGA (TANZANIAN 1934-2005)
GULF WAR SOLDIER STATUE signed lilanga on base
carved and painted wood
69 x 23 x 36cm; 27 1/4 x 9 x 14 1/4in (including base)
see note to lot 3
£300-500
Property of a Private Collector, London
6
GEORGE LILANGA (TANZANIAN 1934-2005)
FIGURES DANCING
two signed lilanga lower centre; one signed lilanga lower right; one signed lilanga lower left oil on goatskin
23 x 23cm; 9 x 9in (two unframed)
25 x 25cm; 9 3/4 x 9 3/4in (one framed)
37 x 37cm; 14 1/4 x 14 1/4in (one framed) (4)
see note to lot 3
£250-450
Property of a Private Collector, London 7
GEORGE LILANGA (TANZANIAN 1934-2005)
VILLAGE SCENES / FIGURATIVE COMPOSITIONS
two signed lilanga lower left; two signed lilanga lower right oil on goatskin
23 x 23cm; 9 x 9in
25 x 25cm; 9 3/4 x 9 3/4in (three framed)
37 x 37cm; 14 1/4 x 14 1/4in (one framed) (4)
see note to lot 3
£250-450
Property of a Private Collector, London
TOLA WEWE (NIGERIAN B.1959)
DRESSING FOR FANCY
signed and dated tola WEWE / 2008 lower right
acrylic on canvas
17 x 17cm; 6 3/4 x 6 3/4in
45 x 45cm; 17 3/4 x 17 3/4in (framed)
£100-200
Property of a Private Collector, London
TOLA WEWE (NIGERIAN B.1959)
INTIMATE TALE
each signed tola WEWE / 2008 lower right
acrylic on canvas
16 x 16cm; 6 1/4 x 6 1/4in
45 x 45cm; 17 3/4 x 17 3/4in (framed)
£100-200
Property from a Private Collection, London
ABI OLA (BRITISH / NIGERIAN B. 1996)
A PEACEFUL EVENING
signed, titled and dated Abiola 2018 verso mixed media on canvas
59 x 84cm; 23 1/4 x 33in unframed
Abi Ola, born in London, is a multidisciplinary artist whose creative odyssey draws from a rich tapestry of influences, including family photographs, tribal art, African and British textiles, William Morris designs, emojis, and her vivid imagination. Her interests encompass fabric collage, installation, oil and acrylic painting, screen printing, and photography.
Ola’s canvases feature faceless figures, a deliberate choice aimed at enabling viewers to connect with the idea of acquainting oneself with distant, never-met relatives. Her enigmatic subjects invite viewers to overlay their own identities or those whom they cherish.
The artist’s work transcends conventional notions of expression, offering a universally resonant lexicon that spans time and culture. She forges a visual language that defies temporal and spatial boundaries, igniting conversations on cross-cultural exchange.
Ola holds a BFA from Goldsmiths, University of London and an MFA from the Slade School of Fine Art at University College London. Recent exhibitions include solo shows High Street Happenings at Arbeit Studios Palmers Green, 2024, and I’ll Be Your Mirror at the Kupfer Gallery, 2023. Group shows include: New Contemporaries at the South London Gallery, Humber Street Gallery, and Ferens Art Gallery, 2022-23; Ferens Open at the Ferens Art Gallery, 2023; and The Good Eye Projects end of residency group exhibition at Christie’s, 2022.
signed, titled and dated in English Abiola, 2021 verso mixed media on canvas
140 x 130cm; 55 x 51 1/4in unframed
see note to previous lot
⊕ £1,200-1,500
Property from a Private Collection, London 12
BRUCE
ONOBRAKPEYA (NIGERIAN B.1932)
(i) EMIOVBO BEROMA; (ii) ERHU IVIE (RED BASE); (iii) IFIEDO I (B/W)
each signed, titled, inscribed and dated Lagos (i) 12/40 Sept 1983; (ii) 29/30 April 1981; (iii) 3/20 Feb 1989; Deep Etching lower margin
etchings on deckled paper, two printed in colours and one monochrome
(i) 67.5 x 23cm; 26 1/2 x 9in
86.5 x 37cm; 34 x 14 1/2in (mount)
(ii) & (iii) 49.5 x 68cm; 19 1/2 x 26 3/4in
62 x 81cm; 24 1/2 x 31 3/4in (mount)
all unframed (3)
£300-500
Property from a Private Collection, London 13
BRUCE ONOBRAKPEYA (NIGERIAN B.1932)
(i) ARO EMAMIWATA; (ii) EGODO EMAMIWATA; (iii) MAMIWATA VOYIBO I; (iv) MAMIWATA VOYIBO II each signed, titled and dated 1976 on the reverse numbered respectively (i) 27/30; (ii) AP 3/10; (iii) AP 6/7; (iv) AP 2/12 on the reverse metal foil on board each 17 x 12.5cm; 6 3/4 x 5in all unframed (4)
£400-600
Property from a Private Collection, UK
KAGISO PATRICK MAUTLOA (SOUTH AFRICAN B.1952)
UNTITLED
photocollage with oil, laid on canvas 140 x 190cm; 55 x 74 3/4in unframed
Kagiso Patrick Mautloa was born in Ventersdorp, Western Transvaal. While still at high school, Mautloa studied art at the Jubilee Art Centre in 1969 and at the Mofolo Park Arts Centre in Soweto until 1975. In 1970 he was awarded an OK Bazaars Bursary, which he spent at Rorke’s Drift (1978-1980). In 1980 he started working for the OK Bazaars as a junior graphic artist, while also teaching art part-time at the Mofolo Arts Centre and at FUBA (Federated Union of Black Artists Arts Centre). In 1981, Mautloa joined the SABC (The South African Broadcasting Corporation) as a graphic designer. Mautloa is a committee member of the Thupelo Art Project and has participated in its yearly workshops. His work has been exhibited at the UFH Annual Exhibitions and the UZ African Art Festival Exhibitions. He currently lives in Alexandra, South Africa, and produces commercial graphic design as well as his own art work.
His central theme is the study of life around him, particularly the street life of Johannesburg around his downtown studio. He works largely in painting, drawing, and printmaking, but often finds inspiration in the creation of new art from the refuse and discarded objects of the city of Johannesburg’s urban culture. Mautloa says about his works, that they are ‘observations of objects found on the vibrant streets in the city, not only for their visual qualities but as [a] repository of our quotidan practice.’
£2,000-3,000
Property of a Private Collector, London 15
STEPHEN GWOKTCHO (UGANDAN B.1962)
THE ELDERS
signed and dated GWOKTCHO S. / 7/09/02 lower right acrylic on bark cloth
50 x 72.5cm; 19 3/4 x 28 1/2in
62.5 x 85.5cm; 24 1/2 x 33 3/4in (framed)
Gwoktcho studied Fine Arts at Makerere University, Kampala and has been a senior lecturer at the School of Industrial and Fine Arts since 2018. As a teacher he sees his role as to ‘equip the next generation with professional skills making them relevant in a digital and multimedia visual and competitive world’. He draws most of his images from the African lifestyles including wildlife and figurative scenes. Gwoktcho’s work has featured in a number of AFRIKart exhibitions. His drawings, paintings and sculptures are to be found at the State House (Uganda) and held by a number of collectors worldwide.
Previously he exhibited in the USA, Europe, Asia and widely in Africa. He portrays Africa as a land of life, encompassing rich and diverse cultures, and it is his ability to harness these ancient African art forms with modern expressive aesthetic that defines his work from a generation of contemporary artists.
£200-400
Property of a Private Collector, London 16
JJUUKO HOODS (UGANDAN B.1980)
KAMPALAN STREET SCENE
signed Jjuuko Hoods lower left oil on canvas
114.5 x 56cm; 45 x 22in unframed
Jjuuko Hoods is a graduate with a first-class honours degree from Kampala University and is currently the Director of IVUKA arts Uganda, President of the Society of Uganda contemporary art (SOUCA), and Director and founder of GECKO art Gallery, in Uganda.
Hoods is an icon of the generation of contemporary artists who are African at heart, with a highly motivated goal of changing the face of Ugandan art and Africa at large.
Through this present series on canvas, the artist is acting as a witness, at a time when the Kampala Capital City Authority (KCCA) is trying to create a new look to a city densely populated, not only with people but also vehicles, especially the matatus (privately owned minibuses used as share taxis). These recent works attempt to document the urban-scape scenes of Kampala, knowing full well that these hybrid minibus/taxis, synonymous with Kampala, will soon be no more.
£200-300
Property from a Private Collection, London 17
KOFI AGORSOR (GHANAIAN B.1970) IN RHYTHM
signed AGORSOR lower right
acrylic on canvas
100.5 x 76cm; 39 1/2 x 30in
103.5 x 79cm; 40 3/4 x 31in (framed)
£500-700
“All paintings have three things in common. First, they are dedicated to the human being; second, I only use tones derived from a limited number of primary colours that sometimes break down into secondary colors. This is my specialty as a painter. Third, they are all paintings of an unusual style.”
Larry Otoo
Property of a Private Collector, London 18
LARRY OTOO (GHANAIAN B.1956)
NORTHERN BROTHERHOOD II
signed L.OTOO lower right; signed, titled, inscribed and dated “NORTHERN BROTHERHOOD II” / (Acrylics) / LARRY OTOO / GHANA / 2003 on the reverse acrylic on canvas
60.5 x 90.5cm; 23 3/4 x 35 3/4in
67.5 x 97cm; 26 1/2 x 38 1/4in (framed)
Holder of a Master’s Degree in African Art and Comparative Literature from the Kwame Nkrumah University of Science and Technology in Kumasi, Otoo has participated in multiple exhibitions and residencies around the world and today is considered one of Ghana’s most famous painters.
A master of using colour and an unusual perspective to capture the frenzy and dynamism of the crowds, noise, smells, luminosity and shadows of traditional situations such as markets and festivals, Otoo’s unique style is instantly recognisable.
Otoo’s works have been presented in Ghana, Spain, and institutions in the United States, Denmark, The Netherlands, Ivory Coast, Italy, Canada and Germany, and can be found in many public collections including Japan.
see online catalogue for further information
£300-500
Property of a Private Collector, London 19
ROBERT ARYEETEY (GHANAIAN B.1969)
OSU, ACCRA
signed ARYEETEY lower right acrylic on canvas
44.5 x 55.5cm; 17 1/2 x 21 3/4in
54 x 66cm; 21 1/4 x 26in (framed)
Robert Aryeetey attended the Kwame Nkrumah University of Science and Technology, Kumasi, where he gained his BA in Painting from the College of Art in 1990 and an MA in Art Education in 1993. Classically trained, his works focus on everyday life, including street scenes and fishermen.
His characteristic bold colour palette brings these scenes to life.
His work has been featured in solo exhibitions at the Artists Alliance Gallery, 1999 and as Artist of the Month at The Loom Gallery, Accra, 1993. His work was also shown at the Black Swan Gallery, Wimbledon, 2003; the Golden Tulip, Accra, 2003; and the Bettie Morton Gallery, Brixton, London, 2004.
£100-200
Property of a Private Collector, London 20
SAMUEL DALLE (CAMEROONIAN B.1980) FROM VILLAGE TO TOWN
signed and dated in English S.Dallé 2022 lower right acrylic on canvas
81 x 137.5cm; 32 x 54 1/4in unframed
£500-800
Property of a Private Collector, Madrid 21
JEAN DAVID NKOT (CAMEROONIAN B.1989)
WWW.DREAM AND MIRAGE.COM
signed, titled, inscribed and dated in English Jean David NKOT / 2019 on the reverse oil on canvas
160 x 140cm; 63 x 55 1/4in unframed
Provenance
AFIKARIS Gallery, Paris
Acquired from the above by the present owner
Portrait-painter Jean David Nkot is concerned with themes of migration and exile, particularly within the contemporary African context. Nkot attended the Institute of Fine Arts Foumban, where he obtained a degree in drawing and painting. His brightly coloured figures are painted over detailed cartographic patterns, mapping each subject’s geographical and emotional journeys.
The artist refers to these works as ‘molecule maps’ and cites emotive figurative painters Zhang Dali, Francis Bacon and Jenny Saville as inspirations.
The artist employs various media including painting, silkscreen, and India ink, to create profound portraits commemorating lives lost on perilous journeys, serving to make their stories visible. Nkot has exhibited internationally and in his native Cameroon at the National Museum.
‡ £3,000-5,000
Property of a Private Collector, Madrid 22
JEAN DAVID NKOT (CAMEROONIAN B.1989)
BEYOND THE LOOK @YAHOO.FR
signed, titled, inscribed and dated in English NKOT JEAN DAVID / 2018 on the reverse acrylic and Posca paint marker on canvas
129.5 x 120cm; 51 x 47in unframed
Provenance
Jack Bell Gallery, London
Acquired from the above by the present owner see note to previous lot ‡ £2,000-3,000
Property of a Private Collector, Madrid 23
JEAN DAVID NKOT (CAMEROONIAN B.1989)
#BEYOND THE EYES @.COM
signed, titled, inscribed and dated in English NKOT Jean David / 2018 on the reverse acrylic and Posca paint marker on canvas
129.5 x 129cm; 51 x 50 3/4in unframed
Provenance
Jack Bell Gallery, London
Acquired from the above by the present owner see note to lot 21
‡ £2,000-3,000
Property of a Private Collector, Madrid 24
ANJEL (BORIS ANJE TABUFOR) (CAMEROONIAN B.1993) FON
signed and dated in English anjel / 18 on the reverse
Posca paint and acrylic on canvas 140 x 110cm; 55 x 43 1/4in unframed
Provenance
AFIKARIS Gallery, Paris
Acquired from the above by the present owner
‡ £2,500-4,500
Property of a Private Collector, Madrid
25
ANJEL (BORIS ANJE TABUFOR) (CAMEROONIAN B.1993)
VEILS OF TRUTH I
signed and dated in English anjel / 18 on the reverse
Posca paint and acrylic on canvas
140 x 110cm; 55 x 43 1/4in unframed
Provenance
AFIKARIS Gallery, Paris
Acquired from the above by the present owner
‡ £2,500-4,500
Property of a Private Collector, Madrid
CRISTIANO MANGOVO (ANGOLAN B.1982)
LES ENFANTS AUX BALLONS signed and dated in English MANGOVO / 2019 lower right; signed, titled, inscribed and dated on the reverse acrylic on canvas 203 x 133cm; 80 x 52 1/4in unframed
‡ £5,000-8,000
Property from a Very Important Private Collection, UK 27
FAMAKAN MAGASSA (MALIAN B.1997)
CHANTONS LA TAKAMBA
signed F.N.Magassa 21 lower right acrylic and oil pastel on canvas 200 x 300cm; 78 3/4 x 118in unframed
Exhibited
Paris, Pantin, Hotel Sahara, Les Magasins Généraux, 2021
Famakan Magassa received his BFA in 2018 from Conservatoire Arts et Metiers Multimedia Balla Fasséke Kouyaté in Bamako, Mali. The artist exhibited for the first time in 2019 with several institutional shows, including presentations at L’Institut Français du Mali, Bamako; La Fondation La Maison de l’Artiste in Assinie, Côte d’Ivoire; and Les Magasins Généraux, BETC, Paris. In 2020, he was included in L’exposition collective Jeunes Talents at the residence of the Ambassador to the European Union, Bamako, Mali and was one of the 2020 Laureates of the Cité Internationale des Arts Residency in Paris, France.
Magassa was awarded the Norval Sovereign African Art Prize in 2023 and presented his first solo institutional exhibition, Famakan Magassa: Witness of My Time at the Norval Foundation in Cape Town. He has shown internationally in Paris, London, Miami, Ghana, and Vienna and his work has been featured by Artsy, Hyperallergic, Artnet, The Observer, L’Oeuil, Dyptyk and ArtsMagazine
In this present work, Magassa expressively celebrates the musical genre of Takamba, practiced by the Tuaregs and the Songhai peoples of Mali and Niger. The dancers perform graceful and rhythmic movements, both seated and standing, where the shoulders and arms sway with the flow of the music.
£6,000-8,000
Famakan Magassa Courtesy of the artist
Property from a Very Important Private Collection, UK 28
FAMAKAN MAGASSA (MALIAN B.1997)
MOTHER IN LOVE
signed and dated N.F.Magassa 21 lower right acrylic on canvas
76.5 x 68.5cm; 30 1/8 x 27in unframed
Provenance
Albertz Benda Gallery, New York
Acquired from the above by the present owner
Magassa’s works combine social and socio-economic commentaries through a blend of humour and irony, capturing sardonic depictions of corruption and injustices and the complexities and contradictions within society. With an idiosyncratic approach, his anthropomorphic paintings humorously delve into themes of gluttony and greed, exploring the unsettling reality of how the value of money often overshadows the value of human connections.
Magassa’s practice ultimately underscores the vital role of art as a means of critiquing and engaging with the world’s social and economic challenges, making it a poignant and relevant contribution to contemporary discourse. see note to previous lot
£2,000-3,000
Property from a Very Important Private Collection, UK 29
FAMAKAN MAGASSA (MALIAN B.1997)
SOIF D’ADDICTION
signed and dated N.F.Magassa 21 lower right
acrylic, oil pastel, paper towel on canvas 118 x 146.5cm; 46 1/2 x 57 3/4in unframed
Provenance
Albertz Benda Gallery, New York
Acquired from the above by the present owner
Exhibited
New York, Albertz Benda Gallery, Famakan Magassa: SOIFS, 2022
“Laugh, and make people laugh, because too serious is not very serious.”
Famakan Magassa
Soifs includes a body of works centering on anthropomorphic motifs that interrogate loneliness, addiction and friendship, inspired by the aesthetics and spiritual significance of traditional dancers from Magassa’s home country of Mali, Kôrêdugaw (or Kourédougas), connected to spiritual and shamanistic initiations. Soifs articulates the polymorphic nature of being thirsty – from the intimate to the more public and institutional.
see note to lot 27
£3,000-5,000
Property of a Private Collector, London
HENRY TAYALI (ZAMBIAN 1943-1987)
(i) HOME TOWN; (ii) THINKER; (iii) THINGS FIND MEN
each signed, titled, numbered and dated (i) 3/25 Home Town Henry Taylor 82; (ii) 3/20 Thinker Henry Taylor
75; (iii) 3/15 Things Find Men Thinker Henry Taylor 79 lower margin woodcuts in monochrome
(i) 27 x 19cm; 10 1/2 x 7 1/2in
48.5 x 39cm; 19 14 x 15 1/4in (framed)
(ii) 49 x 39cm; 19 1/4 x 15 1/4in
71 x 59cm; 28 x 23in (framed)
(iii) 30 x 42cm; 29 1/2 x 60 1/2in
50.5 x 62cm; 20 x 24 1/2in (framed)
(3)
£200-300
Property of a Private Collector, Madrid 31
OUSMANE NIANG (SENEGALESE B.1989)
LE MONDE CHERCHE UN FUTUR
signed and dated Ousmane Niang 2019 on the reverse acrylic on canvas 160 x 200cm; 63 x 78 3/4in unframed
Provenance
AFIKARIS Gallery, Paris
Acquired from the above by the present owner
A graduate of Dakar National School of Arts, Senegalese artist Ousmane Niang stands out for the pointillist technique adopted since the beginning of his career, as well as for the anthropomorphic figures populating his work.
Niang’s first paintings made a clear distinction between anthropomorphic figures and wild or domesticated animals. The dichotomy is intended to question domination and hierarchy. In his most recent work, however, the split is no longer so distinct. Instead, the artist amalgamates humanoid shapes with beastly forms, portraying an image of harmony and cohesion. The morphing further speaks to the inherent similarities between man and beast, and how we are more alike than we think.
Ousmane Niang’s work has been showcased during international art fairs such as 1-54 London and New York; Art X Lagos, Nigeria; Investec Cape Town, South Africa; and AKAA, France.
‡ £2,500-4,500
Property from a Private Collection, London 32
ERNESTO HOUNGBO (BENINESE B.1980?)
(i) BONHEUR; (ii) BAND OF BROTHERS
each signed and titled Bonheur / Ernesto / Houngbo on the reverse each oil on canvas
(i)120 x 50cm; 47 1/4 x 19 3/4in
130 x 60cm; 51 x 23 3/4in (framed)
(ii) 90.5 x 69.5cm; 35 1/2 x 27 1/2in
100 x 79.5cm; 39 1/4 x 31 1/4in (framed)
(2)
£200-400
NORTH AFRICA
Property from a Private Collection, London 33
ALI OMAR ERMES (LIBYAN 1945-2021)
POEM BY LABEED EBNO RABEEAA
watercolour with marker pen on paper signed and dated in Arabic Ali Omar Ermes upper right
12.5 x 36.5cm; 5 x 14 1/2in
31 x 54cm; 12 1/4 x 21 1/4in (framed)
⊕ £500-800
Property from a Private Collection, London
ALI BELLAGHA (TUNISIAN 1924-2006)
FOUR LADIES IN A DOMESTIC SETTING WITH INCENSE signed in English bellagha lower left gouache on paper
11 x 15 cm; 4 1/4 x 6in
29 x 32cm; 11 1/2 x 12 3/4in (framed)
Bellagha was a member of the Ecole de Tunis, a Post War art movement which dominated the Tunisian art scene from the mid-1950s. The art reflected a new era for Tunisia, celebrating Modernism and a post-colonial era reflecting new political ideals.
Bellagha trained as an artist in Tunisia and subsequently a craftsman in Paris. This foundation allowed him to explore art from a global perspective, leading to his exhibiting at the 29th Venice Biennale in 1958. During his lifetime, he also exhibited in several group shows across Europe, the UAE and Tunisia.
£400-600
Property of a Private Collector, London 35
SAAD HASSANI (MOROCCAN B.1948)
TWO FIGURES
signed and dated in English Hassani / 1984 lower right gouache and pastel on board
118 x 98cm; 46 1/2 x 38 1/2in
132 x 112cm; 52 x 44in (framed)
Born in Casablanca, Saâd Hassani is a Moroccan artist who frequented the Ecole Supérieure des Beaux-Arts de Casablanca, achieving his first solo exhibition at the age of eighteen years old. He has since exhibited to international audiences across the globe, from Paris to Beirut. Hassani was also commissioned large-scale public monuments for Lisbon’s World Exhibition Expo ‘98
Throughout his career, Hassani has developed an imagery that is wholly his own based upon the principle of erasure. Inspired by the Abstract Expressionists, strata of colours are added one by one, covering a motif, unmasking another. The successive brush strokes reveal a tangible subject that exists beyond the picture plane, as if suspended in a distant memory.
£3,000-5,000
Property of a Private Collector, Beirut
JILALI GHARBAOUI (MOROCCAN 1930-1971)
ABSTRACT COMPOSITION
signed and dated Gharbaoui 1963 upper right gouache on paper
17 x 30cm; 6 3/4 x 11 3/4in unframed
Born in the Sidi Kacem region of Morocco, Jilali Gharbaoui began studying art while in secondary school in Fes at the Academie des Arts. With the support of novelist Ahmed Sefrioui, the director of fine arts in Rabat, Gharbaoui was able to continue his training at the Ecole des Beaux-Art in Paris, later spending a year studying in Rome.
Gharbaoui is now recognised as a leading artist of the modernist movement in Morocco. Unlike his contemporaries such as Ahmed Cherkaoui, who grounded their modernist practice in symbols of Moroccan culture, Gharbaoui rooted his abstraction in the materiality of paint, centring his work on the gesture of painting itself.
£1,200-1,800
Property of Andrew Curran, New York
37
ZAHRAN SALAMA (EGYPTIAN B.1939)
FA’BAAD AL-SHAMS (THE SUNFLOWERS)
signed and dated in Arabic and English ZAHRAN 2002 upper right oil on canvas laid on board
61 x 81cm; 24 x 32in
64 x 84.5cm; 25 1/4 x 33 1/4in (framed)
Provenance
Amani Zahran (the artist’s daughter)
Acquired from the above by the present owner Zahran Salama was born in the village of Zawiya Jarwan in Menoufia Governorate and obtained a BA from the Department of Painting at the Faculty of Fine Arts in 1963.
In 1998, a devastating fire uprooted Salama from his Cairo studio of nearly twenty years and led him to establish his primary studio at his coastal home in the Ras Sudr estate. Salama drew inspiration from his beloved estate garden and the Egyptian countryside, resulting in numerous landscape and botanical depictions throughout the rest of his career.
£1,200-1,800
Property from a Private Collection, London
ALI BAYOUMI (EGYPTIAN 1955-2019)
WHITE HOUSES OVERLOOKING THE SHORE
signed and dated in Arabic Ali Bayoumi 94 lower right oil on canvas
70 x 100.5cm; 27 1/2 x 39 1/4in
82 x 112cm; 32 1/4 x 44in (framed)
Provenance
Dr Mohammed Said Farsi
Acquired from the above by the present owner in 2013
An accomplished and prolific artist, Ali Bayoumi entered Alexandria University’s Faculty of Architecture in 1973, graduating with honours in 1978. He went on to earn a Masters degree in 1985 and his PhD in 1993. He collaborated with Dr Mohammed Said Farsi (then mayor of Jeddah), who commissioned him to design twenty two large-scale sculptures for his renowned public art project in Jeddah.
He continued to practise as an architect and teach in the faculty of engineering at Alexandria University until his death.
Bayoumi’s paintings can be found in the King Abd El Aziz University and the Saudi National Bank in Jeddah, and many of his paintings are also in private collections in Egypt, Jordan, Kuwait, Germany and the United States.
£200-300
Property from a Private Collection, London 39
ALI BAYOUMI (EGYPTIAN 1955-2019)
SHIPS ON THE HORIZON
signed and dated in Arabic Ali Bayoumi / 2000 lower right oil on canvas
65 x 95.5cm; 25 1/2 x 37 1/2in
85 x 115cm; 33 1/2 x 45 1/4in (framed)
Provenance
Dr Mohammed Said Farsi
Acquired from the above by the present owner in 2013
see note to previous lot
£200-300
Property from a Private Collection, London
40
HEDEYAT CHIRAZ (TURKISH/EGYPTIAN B.1952)
ABSTRACT SEASCAPE WITH SHELLS
signed with initial in Arabic; signed in English HEDEYAT; inscribed and dated in Arabic 2002 lower right oil on canvas
80 x 61cm; 31 1/2 x 24in
87 x 67cm; 34 1/4 x 26 1/2in (framed)
Provenance
Dr Mohammed Said Farsi
Acquired from the above by the present owner in 2013
£400-600
Property of a Private Collector, London
41
FARGHALI ABDEL HAFIZ (EGYPTIAN B.1941)
LONDON 036
signed in Arabic and English farghali lower right
acrylic and pastels on paper
40 x 50.5cm; 15 3/4 x 19 3/4in
74 x 84cm; 29 x 33in (framed)
Provenance
Zamalek Gallery, Cairo
Acquired from the above by the present owner
£800-1,200
Property of the Kamal E Youssef Family Trust 42
KAMAL YOUSSEF (EGYPTIAN 1923-2019)
OFFERING
signed and dated KAMAL 00 lower right oil on canvas
60 x 74cm; 23 1/2 x 29in
74.5 x 88cm; 29 1/4 x 34 1/2in (framed)
Exhibited
Indiana University of Pennsylvania, The University Museum, Kamal Youssef: An Artist’s Journey, 2006
Pennsylvania, Lorretto, Southern Alleghenies Museum of Art, Wall to Wall Kamal, 2014
During his teenage years, Kamal Youssef underwent training by a number of prominent artists known for their engagement with Egyptian Surrealism. In 1939, he joined the Art and Liberty Group and in 1946 became a founding memeber of the Contemporary Art Group, playing a crucial role in the development of Egypt’s modern art movement.
Youssef’s work has been shown in numerous solo and group exhibitions, including the Sharjah Art Foundation, 2016; Southern Alleghenies Museum of Art, 2014; Mediterranean Biennale, Alexandria, 1955; and Venice Biennale, 1950.
£3,000-5,000
Kamal Youssef in his studio Courtesy of the Kamal Youssef Family Trust
Property from a Private Collection, London
ZAKARIA SOLIMAN (EGYPTIAN B.1970)
THE KNIGHT
signed and dated in Arabic Zakari Soliman / 2009 lower right; signed, titled, and inscribed on the reverse mixed media on panel
82 x 61cm; 32 1/4 x 24in (unframed)
Provenance
Dr Mohammed Said Farsi
Acquired from the above by the present owner in 2013
£200-400
Property of a Private Collector, London 44
OMAR ABDEL ZAHER (EGYPTIAN B.1966)
DATE GATHERING
signed in Arabic Omar Abdel Zaher; date in English 2008 lower right oil on board
39 x 60cm; 15 1/4 x 23 1/2in
57.5 x 79.5cm; 22 3/4 x 31in (framed)
Born in Cairo to parents of upper-Egyptian heritage, Omar Abdel Zaher completed his postgraduate in 1994, and his master’s degree in graphic and print design from the Faculty of Fine Arts, Helwan University, in 2000.
Abdel Zaher’s semi-naïve and expressionist paintings explore the traditions of Egypt’s Nubian rural communities. In the present work, the artist captures the infectious joie de vivre of these inhabitants, depicting their daily lives and routines. Abdel Zaher’s palette generally comprises subdued earthen tones, punctuated with bold and powerful tones such as scarlet, aquamarine and radiant yellow gold. He employs an emphatic type of block colour segmentation, giving the scenes he paints a vivid prominence.
£3,000-5,000
Property of a Private Collector, London 45
OMAR ABDEL ZAHER (EGYPTIAN B.1966)
COMING TO THE VILLAGE
signed in Arabic Omar Abdel Zaher; date in English 2008 lower right oil on board
43.5 x 41.5cm; 17 x 16 1/4in
62 x 60cm; 24 1/2 x 23 1/4in (framed)
see note to previous lot
£2,000-3,000
Property of a Distinguished Private Collector, London
TAHIA HALIM (EGYPTIAN 1919-2003)
FIGURES IN A STREETSCAPE
signed in English T. Halim lower right oil on canvas
75.7 x 50.2cm; 29 3/4 x 19 3/4in
90 x 64cm; 35 1/2 x 25in (framed)
Born in the city of Dongola, Sudan, Tahia Halim showed a keen interest in art from an early age while her father worked as the Chamberlain of King Fouad (1868-1936) in Cairo. After finishing her secondary education in the privacy of the royal palace, she enrolled at Cairo’s Academy of Fine Arts. She later joined the ateliers of the Lebanese painter Youssef al-Traboulsi and the Greek artist Alecco Jerome.
In 1940, Tahia Halim met avant-garde artist Hamed Abdalla (1917-1985) whom she married five years later and joined in Paris where they both began studying at the Academie Julian.
An acclaimed artist with works in several international collections, including the DAF collection Beirut, Halim is also known to be the first woman awarded the Guggenheim International Prize in 1958. Her works were exhibited in the Egyptian Pavilion at Biennale Arte in 1956, 1960, and 1970 and the current 60th Biennale Arte 2024, Venice, curated by Adriano Pedrosa.
£24,000-28,000
Tahia Halim Courtesy of the Artist’s Estate
Property of a Distinguished Private Collector, London 47
TAHIA HALIM (EGYPTIAN 1919-2003) FELLAHEEN
signed in English T. Halim lower right gouache on papyrus
20 x 29cm; 7 3/4 x 11 1/2in
37.5 x 45.7cm; 14 3/4 x 18in (framed) see note to previous lot
£4,500-6,500
“Proudly attached to her homeland, I went so far as to experiment with ancient materials and methods, emulating ancient Egyptians by working with papyrus and creating pigments by mixing oxides with gum Arabic or bone marrow.”
We are proud to be offering a selection of lots from the Zulficar Family Collection.
The head of the family, Youssef Zulficar Pasha (1886-1965) was the son of Ali Pasha Zulficar, former governor of Cairo, and came from an aristocratic family of Caucasian origin who had arrived in Egypt with the Viceroy Muhammad Ali Pasha at the turn of the nineteenth century.
Zulficar Pasha was the first Egyptian Ambassador to Iran (1939-42) and subsequently became a judge and vice president of the Alexandria Mixed Courts. One of the most well-regarded noble families in Egypt – through both marriage and blood relationships – the Zulficars forged a pre-eminent place in the history of Egyptian art and culture. Notably, his great-grandson recalls that Zulficar Pasha was a prolific collector of Islamic art including Persian ceramics and carpets which he had acquired during his time in Iran.
Zulficar Pasha’s interest in art solidified with his marriage to Zeinab Said, daughter of former Prime Minister Muhammad Sa’id Pasha, and sister of Egypt’s most celebrated artist and Alexandrian judge Mahmoud Saïd (1897-1964).
Zulficar Pasha had three children: Safinaz, Said and Sherif. Safinaz (b.1921) was married to King Farouk I, changing her name at his behest to Queen Farida. After her divorce from the King in 1948, Queen Farida became an acclaimed artist in her own right.
Zulficar Pasha’s elder son, Said Zulficar (b.1924) was the President of the Cotton Bourse in Alexandria and subsequently worked in finance. Like his father, he was also an art collector, choosing to focus on major modernist Egyptian artists such as Mahmoud Saïd, Hamed Nada, Seif and Adham Wanly. Said and his family donated the family villa (which included works by Mahmoud Saïd) to the Egyptian government in the late 1980s before the former moved to Montreal where he died in 2016.
The long tradition of art collecting in the Zulficar family continues to this day, the present collection descending from Said Zulficar’s himself. In this sale, we are delighted to include works by Mahmoud Saïd, Seif Wanly, Samir Rafai, Salah Taher, Effat Nagui, Labib Tadros and Mohammed Naghi. see lots 47-49, 52-58, 60-63
Said Zulficar (Nevine Seif Allah Youssry), grandmother of the current owner, painted in 1957
Safinaz Zulficar (1921-1988), niece of the Artist and daughter of Zeinab and Youssef Zulficar Pasha, pictured here on her wedding day to King Farouk; she would become Queen Farida of Egypt
Youssef Zulficar Pasha (1866-1965), brother-in-law of the Artist
Mahmoud Said, Portrait de Mme
Property from the Zulficar Family Collection, Alexandria 48
EFFAT NAGUI (EGYPTIAN 1905-1994)
(i) LUXOR (ii) THE WOODS OF THEBES
crayon on paper, two parts one signed and titled in Arabic Effat Nagui / Luxor lower right, the other signed in Arabic Effat Nagui lower right; titled and dated in Arabic /64 lower left
25 x 17.5cm; 9 3/4 x 6 3/4in, and 12.2 x 18.5cm; 4 3/4 x 7 1/2in unframed (2)
Born into an aristocratic family and the sister of the pioneer Mohammed Naghi, Effat Nagui travelled from a very young age throughout Egypt where she became familiar and passionate about Pharaonic art.
From 1947 to 1950, Nagui lived in Rome where she studied at Accademia di Belle Arti and discovered frescoes and mural paintings. Upon her return to Egypt, she dedicated her life and career to her art, aiming to create a national style that showcased the daily lives of peasants, whether at work or celebrating folkloric festivals. Her early works revealed inspiration from various European styles and aesthetics such as Fauvism.
‡ £500-800
MOHAMMAD NAGHI (EGYPTIAN 1888-1956)
RURAL SCENES
coloured pencil on paper all signed with initial N lower right various sizes approx. 12 x 18cm; 4 3/4 x 7in unframed (10)
Mohamad Naghi was born in Alexandria and completed his secondary education at the elite Swiss School in Egypt before studying law at the University of Lyon in France from 1906-1910. He studied at the Scuola Libera del Nudo at the Academy of Florence until 1914, where he was the institution’s first Egyptian student.
After his death, the Ministry of Culture, with the help and urging of his sister Effat, converted his villa in Giza into a museum which opened on July 13, 1968.
Thawrat El Husseini is an Egyptian model and has sat for many leading artists.
‡ £1,000-2,000
Property from the Zulficar Family Collection, Alexandria
50
KAMEL MOUSTAFA (EGYPTIAN 1917-1982)
VILLAGE SCENE
signed in English K.Mostafa lower right oil on panel
27 x 48cm; 10 3/4 x 18 3/4in
40 x 60cm; 15 3/4 x 23 3/4in (framed)
Executed circa 1970s
This work has been authenticated by the artist’s son Dr Youssef Kamel ‡ £2,000-3,000
Property of a Private Collector, UK 51
KAMEL MOUSTAFA (EGYPTIAN 1917-1982)
YUGOSLAVIAN COASTLINE
signed K.Moustafa lower left oil on board
20 x 30cm; 8 x 12in
30 x 40cm; 11 3/4 x 15 3/4in (framed)
Provenance
Charterhouse Auctions, Sherborne, 21 April 2017, lot 223
Acquired at the above auction by the present owner
£400-600
Property from a Lebanese Collection
GEORGES HANNA SABBAGH (EGYPTIAN 1887-1951)
PAYSAGE
signed and dated in English G.H.SABBAGH.49 lower right oil on canvas
22.5 x 32cm; 8 3/4 x 12 1/2in
35.5 x 44.4cm; 14 x 17 1/2in (framed)
Provenance
Sale, Ader Nordman, Paris, 18 May 2016, lot 150
Acquired at the above auction by the present owner
£1,000-1,500
Property from the Zulficar Family Collection, Alexandria 53
LABIB TADROS (EGYPTIAN 1894-1943)
FELLAH’S HOUSE
signed in English L Tadros lower left oil on canvas
70 x 56cm; 27 1/2 x 22in
86 x 71cm; 33 3/4 x 28in (framed)
Executed circa 1940s
“I advise young painters to take their time before applying colour to the canvas. A painter has no obligation to put in every detail just because it comes from nature. For example, if there is a tree in view, one shouldn’t waste time painting every single branch. It is much more rewarding to deal with the whole as an integral unit.”
Labib Tadros
The first-generation Egyptian painter Labib Tadros was born into a wealthy Coptic family from Sohag and is known in particular for his depictions of rural landscapes and portraits of peasants.
Tadros was trained at the Italian Institute in Cairo, while simultaneously working as a civil servant at the Ministry of Interior following his graduation from high school.
Tadros exhibited works at the Exposition Internationale des Arts et des Techniques in Paris, and at the 1938 Venice Biennale; the first time Egypt had been represented at the international exhibition.
‡ £2,000-3,000
Property from the Zulficar Family Collection, Alexandria 54
SEIF WANLY (EGYPTIAN 1906-1979)
SELF PORTRAIT ON THE ARTIST’S PALETTE
signed in English Seif lower right oil on panel
12 x 16.5cm; 4 3/4 x 6 3/4in unframed
Provenance
Ehsan Mokhtar (the artist’s wife)
Acquired from the above by the present owner
Born in Alexandria, Seif Wanly was raised in a French-speaking Turkish aristocratic family and was privately tutored in his family house. Wanly attended Italian painter Ottorino Becchi’s new studio in Alexandria, Egypt and was introduced to avant-garde movements like Futurism and Cubism. These two styles formed the basis from which Wanly developed his personal artistic vision defined by angular lines, bright shades and colourful geometric shapes. Becchi left Egypt and Wanly decided to set up his own studio with his brother in Alexandria. The studio was set up during the 1940s with the filmmaker Mohammed Bayoumi, who also collaborated. Their studio is frequently credited with bringing attention to the art of the region.
‡ ⊕ £2,000-3,000
Property from the Zulficar Family Collection, Alexandria
SEIF WANLY (EGYPTIAN 1906-1979)
(i) MOTHER AND BABY, (ii) MOTHER AND CHILD
(i) inscribed in Arabic by Ehsan (the artist’s wife) with dedication to Thawrat on the reverse ink on paper
15 x 14cm; 6 x 5 1/2in (framed)
(ii) signed in English and Arabic Seif upper centre; inscribed in Arabic by Ehsan (the artist’s wife) with dedication to Thawrat lower centre oil on paper
12 x 12cm; 4 3/4 x 4 3/4in
20 x 20cm; 7 3/4 x 7 3/4in (framed) (2)
Provenance
Acquired from Thawrat by the present owner see note to previous lot ‡ ⊕ £1,000-1,500
Property from the Zulficar Family Collection, Alexandria
56
SEIF WANLY (EGYPTIAN 1906-1979)
NUBIAN WOMAN SEATED
signed in English Seif lower right pastel on paper
39 x 28cm; 15 1/4 x 11in
56 x 45cm; 22 x 17 3/4in (framed)
The Wanly brothers travelled extensively after the Second World War, particularly during the 1950s to France, Italy and Spain, where they sketched and painted scenes of ballet, opera, theatre performances and landscapes. In 1957, Seif Wanly travelled to Nubia to create a collection of paintings and drawings that depicted life in Upper Egypt. This project was initiated by the government to document the culture and conditions of the area before the relocation necessary for the construction of the Aswan High Dam. During this project Seif Wanly worked with other well-known artists of their generation, including Hussein Bikar and Tahia Halim.
Property from the Zulficar Family Collection, Alexandria 57
SAMIR RAFI (EGYPTIAN 1926-2004)
FIGURES WITH DOG signed with initials and dated in English 30-11-92.II.A.S.R lower right mixed media on paper 35 x 22cm; 13 3/4 x 8 3/4in 44 x 30.5cm; 17 1/4 x 12in (framed)
Egyptian artist Samir Rafi was praised by the late art critic Aimé Azar for having an aesthetic style and technique uniquely his own, one which he fully conceived after experimenting with the themes of Egyptian Surrealism in the late 1940s.
As a member of the Contemporary Art Group, an artist collective founded in 1946, Rafi would adapt his interest in Egyptian vernacular culture to his bright, expressive art style.
‡ ⊕ £2,500-4,500
Property from the Zulficar Family Collection, Alexandria
58
SAMIR RAFI (EGYPTIAN 1926-2004)
WOMAN AND DOG
signed and dated in English S. Rafi 73 lower right oil on board
22 x 35cm; 8 1/2 x 13 4/4in
30.5 x 44cm; 12 x 17 1/4in (framed)
see note to previous lot
‡ ⊕ £1,500-2,500
Property from the Zulficar Family Collection, Alexandria 59
RAFI (EGYPTIAN 1926-2004)
DOG WITH FISH
dated 16-11.91II lower centre
mixed media on paper
45 x 50cm; 17 3/4 x 19 2/3in
77.5 x 93cm; 30 1/2 x 36 3/4in (framed)
see note to lot 57
‡ ⊕ £3,000-5,000
SAMIR
Property from a Distinguished Family Collection
SAMIR RAFI (EGYPTIAN 1926-2004)
UNTITLED
signed and dated S.RAFI.58. lower left oil on red paper
50.1 x 64.9cm; 19 3/4 x 25 1/2in
53 x 67.9cm; 20 3/4 x 26 3/4in (framed)
Provenance
UBUNTU Art Gallery, Cairo
Acquired from the above by the present owner in 2018 see note to lot 57
⊕ £3,000-5,000
Property from the Zulficar Family Collection, Alexandria 61
MAHMOUD SAID (EGYPTIAN 1897-1964)
FIGURE STUDIES pencil on paper
17 x 12cm; 6 3/4 x 4 3/4in unframed (3)
The authenticity of this lot has been confirmed by Dr Hussam Rashwan and Valerie Didier Hess; it will be included in the Mahmoud Saïd catalogue raisonné.
‡ £2,000-3,000
Mahmoud Said (far left) and Youseff Pasha Zulficar in Alexandria’s Mixed Courts, courtesy of the Zulficar Family
Property from the Zulficar Family Collection, Alexandria 62
MAHMOUD SAID (EGYPTIAN 1897-1964)
VILLAGE SCENE
pencil on paper
10 x 14cm; 4 x 5 1/2in
22 x 32.5cm; 8 3/4 x 12 3/4in (mount)
The authenticity of this lot has been confirmed by Dr Hussam Rashwan and Valerie Didier Hess; it will be included in the Mahmoud Saïd catalogue raisonné.
‡ £1,500-3,500
Property from the Zulficar Family Collection, Alexandria 63
MAHMOUD SAID (EGYPTIAN 1897-1964)
SELF PORTRAIT
pencil on paper
14 x 8cm; 5 1/2 x 3 1/4in
23 x 16cm; 9 x 6 1/4in (mount)
The authenticity of this lot has been confirmed by Dr Hussam Rashwan and Valerie Didier Hess; it will be included in the Mahmoud Saïd catalogue raisonné.
‡ £3,000-4,000
Property from the Zulficar Family Collection, Alexandria 64
SALAH
TAHER (EGYPTIAN 1911-2006) TWO WOMEN
signed in Arabic Salah Taher upper right oil on canvas
40 x 50.5cm; 15 3/4 x 19 3/4in
66.5 x 76cm; 26 x 30in (framed)
Born in Cairo, Salah Taher was an Egyptian painter and educator whose bold and dynamic approach to abstraction defined and influenced modern Egyptian art.
He studied at the Academy of Fine Art, Cairo, completing his degree in 1934 and served as a lecturer there until 1954. Taher held many leadership positions throughout the Cairo arts community, including heading the Museum of Modern Arts in 1954, the Khedival Opera House in 1962, and the Society of Advocates of Fine Arts in the 1980s.
Taher received numerous accolades for his work and contributions to the Cairo art community including the State Incentive Award, the Alexandria Biennale Award, and the Guggenheim Awards in 1959 and 1961. His work has been featured in more than eighty art exhibitions in Egypt, Venice, New York City, San Francisco, Geneva, Beirut, Kuwait and Jeddah.
‡ £2,000-3,000
Property of a Private Collector, Lebanon
SALAH TAHER (EGYPTIAN 1911-2006)
UNTITLED
signed and dated in Arabic and English Salah Taher / S. Taher 77 lower left oil on paper on board
25.5 x 34.5cm; 10 x 13 1/2 in 55 x 60.5cm; 2 1/2 by 23 3/4in (framed)
Taher’s abstraction largely features depictions of imagined figures and happenings, which he translated into dynamic shapes and colours. Often music and literature served as inspiration and were interpreted into patterns of swirling shapes in gestural applications. Taher used a flat brush or a palette knife to move the diluted paint on his canvas, thereby achieving his signature swiping touch, as displayed in the present lot.
see note to previous lot
‡ £2,000-4,000
Property of a Private Collector, Belgium
FATHI AFIFI (EGYPTIAN B.1950)
FACTORY MACHINE OPERATORS
signed in Arabic and English and dated in English F.AFIFI 2016 lower right oil on canvas
195 x 146cm; 76 3/4 x 57 1/2in
198 x 149cm; 78 x 58 3/4in (framed)
Provenance
Acquired from the artist
Depictions of daily life in Cairo and the realities of the factory floor have dominated Fathi Afifi’s work for over four decades. Born in the Sayeda Zeinab quarter of Cairo, his canvases mirror the energy that propelled him through an era of industrial transformation and the heyday of the Egyptian plastic arts movement. On the one hand, he endeavours to portray life and labour, as well as the pursuit of freedom and autonomy that united his generation, whilst on the other, his paintings reflect how Egyptians’ daily routine has become mechanical and impersonal.
A member of a number of local art associations, he has exhibited extensively, including in Egypt, Kuwait, Austria, Mexico and Cuba. His work can be found in the collections of the Museum of Egyptian Modern Art; Barjeel Art Foundation, Sharjah; Qatar Museum; and Amman Museum, Jordan, among others.
£2,000-4,000
Property of a Private Collector, New York
REFAAT AHMED SALEH (EGYPTIAN 1931-2012)
UNTITLED
signed and dated in Arabic Refaat Ahmed 74 lower right pastel on board
50.5 x 34.8cm; 19 3/4 x 13 3/4in
61.5 x 46cm; 24 1/4 x 18 1/4in (framed)
Refaat Ahmed Saleh studied art independently in the Faculty of Fine Arts in 1959 before becoming a member of the Fine Artists Syndicate. He worked in the railway sector then Egyptian TV until he decided himself full time to art.
Throughout his artistic career, he won several prizes including the Luxor Studio Prize; a prize from the Agricultural and Industrial Productions Fair, 1956; and a prize from the Revolution Accomplishments Exhibition, 1962.
He held seventeen solo exhibitions in Egypt, as well as exhibiting globally in Syria, Yugoslavia, Paris, Dakar and Iraq. Ahmed Saleh’s works can be found in many Egyptian state museums including the Egyptian Modern Art Museum and the Fine Art Faculty Museum in Alexandria.
£300-500
Property of a Private Collector, Cairo
HAZEM EL MESTIKAWY (EGYPTIAN 1965-2024)
LA NR.4
cardboard, recycled newspaper and glue
49 x 49 x 10cm; 19 1/4 x 19 1/4 x 4in
Executed in 2014
Provenance
By descent from the artist to the present owner
Sold with a certificate of authenticity from the artist
“I love the forms of the Arabic letters, but I am also fascinated by the negative space around them, which actually allows us to see the forms. In this work, I have used the letters and their negative spaces to create a language of architecture.”
Hazem el Mestikawy
Hazem El Mestikawy was born in Cairo in 1965 and studied sculpture at Minya University before embarking on a career as an artist that featured exhibitions at Art Talks Gallery in Cairo, Galerie Atrium et Arte in Vienna and Project Space Art Jameel in Alserkal Avenue, Dubai. He also served as director and chief curator of the Museum of Egyptian Modern Art (MEMA) in Cairo.
Winner of the grand prize at the 13th Asian Art Biennale in Bangladesh in 2008 for his work Patent Pattern, El Mestikawy’s art is held in the collections of MEMA in Cairo, the North Carolina Museum of Art and the Art Jameel Collection.
In Viewpoint (see lot 69) and the present lot, El Mestikawy works with the Arabic alphabet. In his omnipresent obsession of simplification, elimination, reduction and abstraction, one can immediately relate this process, and its outcome, to the ancient history of the early Egyptian dynasties where the sophisticated hieroglyphic alphabets were simplified to the more user-friendly hieratic style of writing through the elimination of detail and formal abstraction.
£4,000-6,000
Hazem el Mestikawy
Property of a Private Collector, Cairo 69
HAZEM EL MESTIKAWY (EGYPTIAN 1965-2024)
VIEWPOINT
signed and dated in English and Arabic H. El Mestikawy / 2013; with the artist’s stamp on the reverse wood, cardboard and mixed media
44 x 89 x 5cm; 17 1/4 x 35 x 2in
Provenance
By descent from the artist to the present owner
Sold with a certificate of authenticity from the artist
Inspired by the Islamic tradition of calligraphy, the present works are a continuation of El Mestikawy’s exploration of the importance and meaning of letters. With two or three Arabic letters, the artist playfully deals with identity and gender. Ana (I) / howa (He) / heya (She) / Hor (Free masculine) / Hora (Free feminine) represent the contemporary and minimal calligraphy he created over the years, rooted in history, to provide continuity from past to present and a debate on where to go from here.
see note to previous lot
£3,000-5,000
Property of a Private Collector, New York 70
MOHAMED FAHMY (GANZEER) (EGYPTIAN B.1982) UNTITLED FROM NOT YOURS, THE SCREENPRINTS SERIES silkscreen print on paper 91 x 61cm; 35 3/4 x 24in 95.5 x 70cm; 37.5 x 27 1/2in (framed)
Executed in 2014
Ganzeer is a New York based graphic designer working under the pseudonym Ganzeer, or ‘bicycle chain’ in English, to express his belief that artists can propel ideas and drive change.
He first exhibited in 2007, and has held a variety of art residencies in the Netherlands, Poland, Germany, and Jordan in the following years. In 2011, he began to create political street art in Cairo during the Arab Spring. Through his bold and provocative murals made during that period, Ganzeer called out oppression and violence against the Egyptian people. His art continues to bear witness to the social and political upheaval of our time. Ganzeer has exhibited widely and his work has been shown in various institutions, including The Brooklyn Museum, New York; The Palace of the Arts, Cairo, Egypt; the Greek State Museum, Thessaloniki, Greece; the Victoria & Albert Museum, London.
The present work comes from a series of anti-sexual harassment screenprints featuring model Maya Desnuda. A large-scale version of the image was later reproduced for the exhibition AGITPROP! at the Brooklyn Museum in December 2015.
£400-600
Property of a Private Collector, New York 71
MOHAMED FAHMY (GANZEER) (EGYPTIAN B.1982) MAKE AMERICA GREAT AGAIN
signed in Arabic Ganzeer lower left; signed and dated in English Ganzeer / 2019 lower left mixed media on paper
63.5 x 48cm; 25 x 19in unframed
Provenance
Acquired from the artist’s studio by the present owner see note to previous lot £500-800
MIDDLE EAST
Property of a Lady, London 72
SAADI AL KAABI (IRAQI B.1937)
THREE FIGURES
signed in arabic and dated in English Saadi Al Kaabi / 1994 lower left oil on canvas
59.5 x 50cm; 23 1/2 x 19 3/4in
68 x 58cm; 26 3/4 x 23in (framed)
Iraqi-born Saadi Al Kaabi’s paintings draw from the rich and diverse reservoir of Iraqi art and heritage.
Al Kaabi is a notable member of Iraq’s second generation of modernist artists, inspired by Cubist and Expressinist artists. A graduate of Baghdad’s Institute of Fine Arts in 1960, the artist’s signature style emerged in the 1970s after two decades of involvement in the avant-garde modern art scene.
Al Kaabi applies thick layers of paint in his works, using ginger earth tones to compose highly textured paintings. His practice forms part of a broader post-independence artistic approach in the Arab world concerned with fashioning a new national identity that involved looking to the past in search of cultural authenticity.
Al Kaabi has participated in numerous international exhibitions, including the 1976 Venice Biennale
£5,000-8,000
Property from a Private Collection, London
MAHDI AL ASADI (IRAQI, 20TH CENTURY) TOWNSCAPE IN SOUTHERN IRAQ
signed in Arabic and English Mahdi Al Asadi / M.ASADI and dated 1998 lower left oil on canvas
69.5 x 49.5cm;
27 3/4 x 19 1/2in
72.5 x 52.3cm;
28 1/2 x 20 1/2in (framed)
Provenance
Acquired from the artist by the present owner
£500-800
Property of a Lady, London 74
AMER AL OBAIDI (IRAQI B.1943)
BENCH
signed and dated in Arabic Amer Al Obaidi / 2008 lower right gouache and wash over pen on laid paper
48 x 48cm; 19 x 19in
77 x 77cm; 30 1/4 x 30 1/4in (framed)
Al Obaidi studied art in Baghdad at the Fine Art Academy and graduated in 1968. He then worked for several years in Saudi Arabia before returning to Baghdad and assuming the position of Director of the then National Museum of Modern Art from 1975 until 1995. The artist has exhibited in solo shows across the globe and has large murals in public institutions in Iraq and in the Arab world. Today he lives and works in Iowa, USA.
£1,000-1,500
Property of a Private Collector, The Netherlands 75
ARDASH KAKAFIAN (IRAQI 1941-1999)
SENSE OF BELONGING
acrylic on canvas, in two parts
184 x 306cm; 72 3/8 x 120 1/2in (framed)
Painted circa 1990
Provenance
Studio of the artist
Acquired from the above by the present owner
Born in Mosul, Kakafian was the youngest member to be accepted into the Baghdad Modern Art Group and went on to exhibit extensively in both Baghdad and Paris, having studied at the Ecole des Beaux-Arts in Paris. His work spanned many genres including Expressionism, Chinese inkwork, miniature paintings and political propaganda for which he spent time in prison.
Much of his work is influenced by his personal experiences as well as Al Wasiti miniatures and Impressionism. He is described by the artist Ahmed Morsi as an ‘explorer of a self-diaspora’ and ‘an eloquent mesh of personal architecture and poetry’.
‡ ⊕ £3,000-5,000
“There is something peculiarly feminine … in [Azzouz’s) choice of colour and composition, explicable perhaps in the context of an Iraqi woman’s passions. Things akin to burning coals suddenly glow and let off sparks through a brazier full of ashes.”
Jabra Ibrahim Jabra
Property from a Private Collection, UK
NADIRA AZZOUZ (IRAQI 1927-2020)
LADY WITH MAID
signed in Arabic Nadira lower left oil on paper
47.5 x 33cm; 18 3/4 x 13in
81 x 66cm; 32 x 30in (framed)
Executed in 1987
Provenance
Acquired from the artist by the present owner
Sold with a Certificate of Authenticity from the Family
Nadira Azzouz started painting from the age of six, later studying art at the School of Domestic Fine Arts in Baghdad and the Central School of Art in London. Akin to most Iraqi artists of her generation who similarly studied overseas, her work is informed by the canon of twentiethcentury international art while simultaneously displaying its own distinctive, Iraqi identity as found in Sumerian and Assyrian sculptures, medieval Arab manuscript illumination and the folk motifs of handicrafts and rugs.
Her works can be found in the collection of the Barjeel Art Foundation, Sharjah, as well as prominent private international collections.
⊕ £500-800
Nadira Azzouz, Courtesy of the Nadira Azzouz Family
“I run away from reality and live in these cities… This is my Baghdad.”
Widad Al-Orfali
Property of a Lady, London
WIDAD AL-ORFALI (IRAQI B.1929)
IMAGINARY VIEW OF BAGHDAD
signed in English and Arabic and dated Widad Al Orfali / 1990 lower right oil on canvas
108 x 88.5cm; 42 3/4 x 34 3/4in
113 x 93cm; 44 1/2 x 36 3/4in (framed)
Provenance
Acquired from the artist by the present owner in 1992
Born in 1929, Widad Al-Orfali studied at the Beirut College for Women for three years, before attending the Institute of Art in Baghdad studying under artists Faiq Hassan, Faraj Abbo, Ismail al-Shaikhly and other prominent figures. She graduated from the institute in 1960 and subsequently held her first solo exhibition in West Germany in 1964.
In 1983, Al-Orfali and her cousin established the first private art gallery in Iraq named the Orfali Gallery that later expanded into a cultural centre, increasing their offerings beyond art exhibitions. The new space hosted musical performances, language classes and poetry readings, and became synonymous as a hub of creativity drawing audiences from far and wide.
Al-Orfali’s paintings are known for focusing on fantasy cityscapes, which she calls ‘dream cities’. The works amalgamate architectural forms and traditional floral motifs inspired by regions the artists had visited, namely Andalusia and Baghdad.
The present lot is an exquisite work presenting an imaginary view of Baghdad as it might have been soon after its creation in CE 762/AH 144 by the second Abbasid Caliph, al-Mansur, to be his new capital. The lower part of the painting shows reflections of the buildings in the waters of the Tigris, while the blues, golds and greens are traditional Islamic and Baghdadi colours.
Working from his studio in Paris, Syrian-born Hammoud Chantout studied at the University of Fine Arts in Damascus until 1980, before pursuing his artistic training in the Ecole des Beaux-Arts in Paris, earning top honors in the Admissions Competition in 1984.
A prominent figure in the contemporary Syrian art scene, Chantout’s works have graced solo and group exhibitions worldwide, earning him a revered place in private collections and prestigious institutions such as the Ministry of Culture and the National Museum in Syria.
The artist’s style is defined by heavily textured mixed media canvases that seamlessly blend abstract approaches with figurative subject matter, creating compositions that are both delicate and mysterious. He employs a variety of media, including acrylics, oils, collage elements, and textured materials, to achieve his signature layered and otherworldly aesthetic. This versatile use of media adds depth and a tactile quality to his works, inviting viewers to engage with the intricate details of each piece.
£1,000-2,000
Nizar Kabbani, Syrian diplomat and poet
SABHAN ADAM (SYRIAN B.1972)
PORTRAIT D’HOMME
signed with initial and dated 2006 upper left; signed and dated in English SABHAN ADAM / 6 6 2006 verso mixed media on canvas 175 x 139cm; 69 x 54 3/4in unframed
Provenance
Acquired directly from the artist Collection of Hadba Nizar Kabbani Thence by descent to the present owner
Syrian-born Sabhan Adam is a self-taught artist who creates works in relative isolation from the art world. A prolific painter, Adam has exhibited at institutions such as the Uffizi Gallery, the Institut du Monde Arabe in Paris and the Venice Biennale. His work has been acquired by the British Museum, Jalanbo Collection, Barjeel Art Foundation, and is in many private collections.
The present lot is a remarkable work that challenges notions of beauty and the heinous, one of a series of works that explore motifs of misshapen creatures often clothed in glamorous attire against plain backgrounds. While distorted and monstrous, the figures hold a complex set of emotions based on Adam’s own psychology.
He states: ‘The figures I paint have so many things in common with me… I draw myself with everything that exists inside: the sadness, the misery, the shocking things I have faced, the isolation, and the feeling of not belonging to this world.’
£1,500-2,500
Property of a Lady, London
MOHANNAD ORABI (SYRIAN B. 1977)
FIGURE IN RED
signed in Arabic Mohannad; signed and dated in English ORABI 2007 lower centre; signed, titled, inscribed and dated Mohannad ORABI 2007 / 110 x 120cm / mixed media on canvas on the reverse mixed media on canvas
119 x 109cm; 47 x 43in
122.5 x 113cm; 48 1/4 x 44 1/2in (framed)
Orabi was born in Damascus and currently lives and works between Canada and Dubai. He graduated from the Faculty of Fine Arts in Damascus in 2000 and won first prize in The Syrian National Young Artists Exhibition in 2006.
Dominated by vivacious childlike figures in various scenarios, Orabi’s paintings reflect his interest in the spontaneity of process and the liberation of form that emerges when art is created intuitively without fixed directives. Many of these mixed-media canvases were painted as self-portraits, revealing the artist’s fascination with the evolution of consciousness in childhood and the wonder and whimsy of the formative years that first shape our comprehension of the world.
Solo and group exhibitions, most recently: Wadi Finan Art Gallery, 2018; Ayyam Gallery Al Quoz, Dubai; Ayyam Gallery Beirut, 2014; Den Gallery, Kuwait 2016; and Fondazione Giorgio Cini, Venice in 2015.
In 2014, Orabi was listed among Foreign Policy’s 100 Leading Global Thinkers.
£2,500-4,000
Property from a Private Collection, London 81
MOHANNAD ORABI (SYRIAN B.1977)
FAMILY PORTRAIT
signed in English and Arabic Mohannad ORABI and dated 2010 lower right; signed, inscribed and dated on the reverse mixed media on canvas
160 x 180cm; 67 x 71in unframed
Provenance
Ayyam Gallery, Beirut
Acquired from the above by the present owner in 2011 see note to previous lot
‡ £1,000-1,500
Property from a Private Collection, London
82
NAZEM AL JAAFARI (SYRIA 1918-2015)
LA VIEILLE VILLE DE DAMAS
signed and dated in Arabic Nazem Al Jaafari 1984 lower left oil on canvas
64 x 48cm; 25 1/4 x 18 3/4in
66.5 x 50.5cm; 26 x 19 3/4in (framed)
Provenance
Agial Gallery, Beirut
Acquired from the above by the present owner in 2012
“I did not leave a small or large alleyway without drawing it [in] its minute details… I drew its churches and mosques, its domes, its markets, its houses, its rooms and its gates. I document and establish an archive that preserves it in the memory of generations.”
Born in Damascus, Nazem Al Jaafari graduated from the Department of Painting, Faculty of Fine Arts, Cairo in 1947, as part of a group of students that were sent to study in Egypt under the French Mandate. After he returned to Syria, he worked as an art teacher in local high schools and eventually at the Faculty for Fine Arts in Damascus.
Al Jaafari was one of the pioneer impressionists of Syrian painting, the style remaining the most popular movement in Syria both before and after the Second World War. His works embody the passing of time, a snapshot of Syrian life. His sophisticated understanding of the transient nature of light and shadow, paired with a loose handling of paint, creates an extraordinary assimilation of Western technique and traditional Middle Eastern subject matter.
‡ £600-800
Nazem al Jaafari
Property of a Private Collector, London 83
FATEH MOUDARRES (SYRIAN 1922-1999)
SYRIAN LANDSCAPE (MAALOULA)
signed in English and Arabic moudarres lower right oil on board
16 x 20cm; 6 1/4 x 8in
37 x 41cm; 14 1/2 x 16in (framed)
Provenance
Acquired from the artist
Hadba Nizar Kabbani
Acquired from the above by the present owner
Fateh Moudarres is considered a pivotal artist of Syria’s modern and surrealist movements. Born in Aleppo, Moudarres studied at the Accademia di Belle Arti in Rome and the Ecole des Beaux-Arts in Paris until 1972. He began to incorporate abstraction into his painting while he was in Europe, blending the traditions of Syrian art with Western techniques. Upon returning to Syria, where he was a lecturer and Dean of the Faculty of Fine Arts, Damascus University until 1993, he became a highly influential professor for generations of artists.
Reflecting the changing social and political environments of the time, Moudarres’ work took certain issues – such as the Syrian agricultural crisis or the civil war in Lebanon – and sought to depict the sorrow and the problems of the people. He painted sober figures with his characteristic solid square-shaped heads reminiscent of styles from Assyrian statuary, Palmyrene figures and Christian iconography. In much of his work, warm earthy colours are prevalent with thick textural brushstrokes and the occasional incorporation of sand into the paint.
Moudarres’ work has been included in international exhibitions, such as the Venice Biennale, São Paulo Biennale, New York International Art Fair, Contemporary Arab Art Exhibition in Paris, and the Seoul and Cairo Biennials
£600-900
Property of a Lady, London 84
MOHAMMED AL-AMERI (JORDANIAN B.1959) TOWNSCAPE
signed in Arabic Mohammed Al-Ameri; dated in English 2001 lower left
acrylic on board
50 x 50cm; 19 1/2 x 19 1/2in
64.5 x 64.5cm; 25 1/4 x 25 14in
Provenance
Orfali Gallery, Amman
Acquired from the above by the present owner
Mohammed al-Ameri directed the Jordanian Plastic Arts Association from 2000 till 2002 before heading the Theatre and Arts Directorate at the Ministry of Culture. Al-Ameri has exhibited across various international events from Munich to Kuwait, and participated in biennales in Cairo, Sharjah, Tehran and Dhaka.
The present lot is an evocative example of al-Ameri’s abstracted landscapes that walk the line between urban cities and nature. Al-Ameri manipulates the interrelation between colour and form to create an aesthetic experience that engages sight and emotions. Through this interplay of delicate tonal variation, along with linear and geometric shapes, his landscapes radiate a sense of reflection; poised between the familiar and the unknown.
£600-900
HASAN HOURANI (PALESTINIAN 1974-2003) FACE
signed and dated Hassan 2002 lower right watercolour and oil pastel on paper
24.6 x 31.8cm; 9 1/2 x 121/2in
42.7 x 35.3cm; 16 3/4 x 13 3/4in (framed)
Hourani was a born in Hebron, Palestine and attended the College of Fine Art in Baghdad from 1993-97. In 2001 he arrived in New York and presented his exhibition One Day, One Night at the United Nations. He then studied at the Art Students League of New York and lived in the city for several years.
Hasan Hourani was shortlisted for the Visiting Arts/Delfina Annual Fellowship in 2001 on the nomination of Ziad Khalaf, Director of the A. M. Qattan Foundation in Ramallah, Palestine. His work has been exhibited internationally at the Williamsburg Art and Historical Gallery, New York, and across Palestine, Iraq, Egypt, Jordan, South Korea, New York and Houston.
£1,500-3,500
Property of a Private Collector, New York
HASAN HOURANI (PALESTINIAN 1974-2003)
LANDSCAPE
signed and dated in Arabic Hasan 2002 lower right
acrylic on paper
60.5 x 91.5cm; 23 3/4 x 36in
71 x 101.6cm; 28 x 40in (framed)
see note to previous lot
£2,000-4,000
NASR ABDEL
AZIZ ELEYAN
(PALESTINIAN B.1941) CONTEMPLATION
signed and dated in Arabic Nasr Abdel Aziz Eleyan / 1994 lower right acrylic on canvas 109 x 70cm; 42 3/4 x 27 1/2in unframed
Born in Hebron, Palestinian, Nasr Abel Aziz Eleyan first grew up in Jericho and Ain Al Sultan refugee camps following the occupation of Zakaria by Israel in 1948. Learning early from his father, a carpenter, Eleyan found solace in the paintbrush from a young age, and after participating in a small exhibition for the UNRWA (United Nation Relief and Working Agency for Palestinian Refugees) continued to study art and architecture on a scholarship between Moscow and Cairo.
With a primary focus on figuration, Eleyan’s individual style is concerned with cultural traditions that have been at the heart of his practice and formative learning since childhood. His paintings depict the traditional Palestinian way of life, often drawings his subjects from rural life. He purifies his forms with delineations of geometric lines, creating both harmony and balance throughout his compositions.
Eleyan’s paintings have debuted in several international exhibitions. He has also worked in Jordan Television, as an interior designer, and headed Dubai’s TV’s design department for the last twenty years.
£5,000-8,000
“My
oldest memory of childhood was drawing with a pencil. Drawing and manual arts were my childhood toys.”
Nasar Abdel Aziz Eleyan
Property of a Private Collector, New York
KHALED HOURANI (PALESTINIAN B.1965)
ABSTRACT COMPOSITION
signed HOURANI lower left acrylic on canvas
32.5 x 49cm; 12 3/4 x 19 1/3in
61.5 x 74cm; 24 1/4 x 24in unframed
Provenance
Acquired from the artist’s studio by the present owner Palestinian artist Khaled Hourani is the co-founder of the International Academy of Art Palestine in Ramallah and the initiator of the 2011 Picasso in Palestine project that brought an original Picasso painting to the West Bank for the first time in history: the Buste de Femme, 1943, from the Van Abbemuseum in Eindhoven, The Netherlands, and debuted documentation of the project at DOCUMENTA (13) in 2012.
Hourani has curated and organised several exhibitions such as the Young Artist of the Year Award in 2000 and 2002 for the A.M. Qattan Foundation. He was the curator of the Palestinian Pavilion for São Paolo Biennale, Brazil and the 21st Alexandria Biennale, Egypt.
He writes critically in the field of art and is an active member and founder of a number of cultural and art institutions. Recently he was awarded the Leonore Annenberg Prize for Art and Social Change.
£800-1,200
Property of a Private Collector, New York
89
EMILY JACIR (PALESTINIAN B.1970)
WHERE WE COME FROM (GHASSAN)
(i) framed laser print and (ii) two chromogenic prints, mounted on cintra
(i) 24 x 30.5cm; 9 1/2 x 12in
(ii) each 50.8 x 38cm; 20 x 15in all numbered 1/3 (3)
Executed 2001-2003
Provenance
Debs & Co Gallery, New York
Acquired from the above by the present owner
Exhibited
Whitney Biennial
The present lot is part of a series comprising thirty pairings of photographs and texts that record Emily Jacir’s efforts to realise the personal requests of Palestinians living around the world. Many of the participants in the project were prohibited either from returning to their homeland or from leaving their homes and moving freely throughout their country, the region, and beyond.
Jacir posed the same question to these individuals: ‘If I could do anything for you, anywhere in Palestine, what would it be?’ Each photograph and text appears in both Arabic and English and documents a single person’s response to the question.
Using her American passport to move across borders demarcating the Gaza Strip, the West Bank, and Israel, Jacir fulfilled desires ranging from the practical (bringing clothes and gifts to family members) to the whimsical (watering a tree in a village).
£600-900
Property of a Private Collector, New York 90
MONA HATOUM (PALESTINIAN B.1952)
GARFISH (BEQUIA)
signed Mona Hatoum verso numbered 6/15
chromogenic colour print
32.5 x 49cm; 12 3/4 x 19 1/3in
61.5 x 74cm; 24 1/4 x 24in (framed)
Executed in 1996
Provenance
Alexander and Bonin Gallery, New York
Acquired from the above by the present owner
Exhibited
Another edition of this print was exhibited at London, Old Vic Tunnels, Mindful Group exhibition, 2011 New York, CCS Bard Museum, Matters of Fact, 2012
Mona Hatoum was born into a Palestinian family in Beirut and has lived in London since 1975, when the outbreak of the civil war in Lebanon prevented her from returning home whilst she was on a short visit to Britain. Hatoum has participated in numerous significant exhibitions, including: the Turner Prize, London 1995; The Venice Biennale 1995 and 2005; Documenta XI and XIV, Kassel 2002 and 2017; and the Sydney Biennial in 2006 in addition to several international solo exhibitions.
⊕ £1,000-2,000
Mona Hatoum Courtesy of the artist
Property of a Private Collector, New York
MONA HATOUM (PALESTINIAN B.1952)
T42
dated to 1993-98; ed 41/100
fine stoneware multiple in two parts
5.7 x 24.1 x 14cm; 2 3/16 x 9 1/2 x 5 1/2in published by Alexander and Bonin, New York (2)
Provenance
WhiteBox Gallery, New York
Acquired from the above by the present owner
The present work is an example of Hatoum’s super-condensed surrealism at its best, presenting a portrayal of the Venn-diagram of life that couples often lead, both overlapping and separate at once.
see note to previous lot
⊕ £500-800
“He rarely speaks about his work in public. He does not write texts, collect photographs, make videos, or stage performances. He insists that his objects, large, labor-intensive things crafted by hand or in factories, speak for themselves.”
Kaelen-Wilson Goldie
Property of a Private Collector, New York
MARWAN RECHMAOUI (LEBANESE B.1964) BUILDING
cement, iron and wood
60 x 18 x 18.8cm; 152 1/2 x 45 3/4 x 47 3/4in
Born in Lebanon, Marwan Rechmaoui studied sculpture and painting in Boston and New York.
Rechmaoui’s work reveals, through unapologetically formalist methods, the violence of nationalism, collective identity, and social class structures in his hometown Beirut. A multi-media artist, Rechmaoui employs materials such as rubber, concrete, tar and wood as informed archival records that reflect the sweeping and visceral history of Beirut as a multi-layered city; its native, exiled, and refugee inhabitants can identify their respective pasts, investigate a shared present, and speculate on their future.
Rechmaoui is the recipient of the 2019 Bonnefantenmuseum Award for Contemporary Art, and his works reside in international collections such as MoMA, New York; Tate Modern, London; Centre Pompidou, Paris; Guggenheim Abu Dhabi, and Sharjah Art Foundation.
£1,000-2,000
Property of a Private Collector, Cyprus
LENA KELEKIAN (LEBANESE B.1959)
DANCING YELLOW POPPIES
signed in English Lena Kelekian lower right
acrylic on canvas laid on board
30 x 47.5cm; 11 3/4 x 1 3/4in
41 x 59cm; 16 1/4 x 23 1/4in (framed)
Executed in 2020
Provenance
Studio of the artist
Acquired from the above by the present owner
A multidisciplinary visual artist in different styles, Lena Kelekian is accomplished in contemporary abstractraction, landscape and figurative works. Originally trained as a geologist, her works are found in the permanent display of museums around the world.
She has been commissioned by several notable individuals, including Queen Sophia of Spain and Prince Nahyan Moubarak Al Nahyan of UAE, in addition to numerous private art collectors. Kelekian is the UNDP Goodwill Ambassador for Art & Development.
£600-800
Lena Kelekian
Courtesy of the artist
Property of a Private Collector, Beirut
MICHEL EL MIR (LEBANESE 1930-1973)
COMPOSITIONS IN RED, GREEN AND BLUE - A PAIR
each signed, numbered and dated in English 30 VI 68 / MELMIR 1/2; 2/2 lower right watercolour on paper
(i) 37 x 26cm; 14 1/2 x 10 1/4in
48 x 37.5cm; 18 3/4 x 14 1/2in (framed)
(ii) 26 x 37cm; 10 1/4 x 14 1/2in
37 x 48cm; 14 1/2 x 18 3/4in (framed) (2)
Michel El Mir received his education from the Collège Sacre Coeur-Frères Gemmayzé in Lebanon studying under the tutelage of esteemed artist Cesar Gemayel.
In his Damascene period, Gemayel’s teaching was overcome by a more restless exploration and construction of the canvas. His paintings from this time are characterised by rapid, mark making strokes applied directly on the canvas. In contrast to his fellow Lebanese artists, who hesitated between the abstract and the figurative, El Mir constructed his works solely by instinct. Focusing on the immediacy of his technique, these vividly coloured paintings cover the totality of the canvas, barely revealing his intended subject matter and motifs.
El Mir’s works have been exhibited internationally across Damascus, Lebanon, and France. Posthumous exhibitions such as The Different Periods of Lebanon held in 2015 continue to showcase his contributions to Lebanon’s modern art scene.
£700-900
(BORIS ANJE TABUFOR), ANJEL 24, 25
ABDEL AZIZ ELEYAN, NASR 87
ABDEL HAFIZ, FARGHALI 41
ABDEL ZAHER, OMAR 44, 45
ADAM, SABHAN 79
AFIFI, FATHI 66
AGORSOR, KOFI 17
AHMED SALEH, REFAAT 67
AL ASADI, MAHDI 73
AL JAAFARI, NAZEM 82
AL KAABI, SAADI 72
AL OBAIDI, AMER 74
AL ORFALI, WIDAD 77
AL-AMERI, MOHAMMED 84
ARYEETEY, ROBERT 19
AZZOUZ, NADIRA 76
BAYOUMI, ALI 38, 39
BELLAGHA, ALI 34
CHANTOUT, HAMMOUD 78
CHIRAZ, HEDEYAT 40
DALLE, SAMUEL 20
EL MESTIKAWY, HAZEM 68, 69
EL MIR, MICHEL 94
FAHMY (GANZEER), MOHAMED 70, 71
GHARBAOUI, JILALI 36
GWOKTCHO, STEPHEN 15
HALIM, TAHIA 46, 47
HANNA SABBAGH, GEORGES 52
HASSANI, SAAD 35
HATOUM, MONA 90, 91
HOODS, JJUUKO 16
HOUNGBO, ERNESTO 32
HOURANI, HASAN 85, 86
HOURANI, KHALED 88
JACIR, EMILY 89
KAKAFIAN, ARDASH 75
KELEKIAN, LENA 93
LILANGA, GEORGE 3, 4, 5, 6, 7
LILANGA, HENDRICK 1, 2
MAGASSA, FAMAKAN 27, 28, 29
MANGOVO, CRISTIANO 26
MAUTLOA, KAGISO PATRICK 14
MOUDARRES, FATEH 83
MOUSTAFA, KAMEL 50, 51
NAGHI, MOHAMMAD 49
NAGUI, EFFAT 48
NIANG, OUSMANE 31
NKOT, JEAN DAVID 21, 22, 23
OLA, ABI 10, 11
OMAR ERMES, ALI 33
ONOBRAKPEYA, BRUCE 12, 13
ORABI, MOHANNAD 80, 81
OTOO, LARRY 18
RAFI, SAMIR 57, 58, 59, 60
RECHMAOUI, MARWAN 92
SAID, MAHMOUD 61, 62, 63
SALAMA, ZAHRAN 37
SOLIMAN, ZAKARIA 43
TADROS, LABIB 53
TAHER, SALAH 64, 65
TAYALI, HENRY 30
WANLY, SEIF 54, 55, 56
WEWE, TOLA 8, 9
YOUSSEF, KAMAL 42
IMPORTANT INFORMATION FOR BUYERS
SECTION A
1. INTRODUCTION
The following notes are intended to assist Bidders and Buyers, particularly those who are inexperienced or new to our saleroom. The sale of goods at our auctions are governed by our Terms of Sale (for Live Auctions or Online Auctions as applicable), our Privacy Policy, the Important Information for Buyers, and any notices that are displayed in our saleroom or announced by the Auctioneer (in the case of a Live Auction) or displayed on any Listing for a Lot in our Online Auction catalogue (in the case of an Online Auction) (collectively, the “Terms and Conditions of Business”). The Terms and Conditions of Business are available for inspection on our Website and at our saleroom on request. Our staff will be happy to help you if there is anything in our Terms and Conditions of Business that you do not fully understand.
Please make sure that you read the applicable Terms of Sale carefully before bidding. If your bid is successful, you will be obliged to comply with our Terms of Sale.
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Estimates are designed to help you gauge what sort of sum might be involved for the purchase of a particular Lot. Estimates may change and should not be thought of as the Lot’s value or predicted sale price. The lower Estimate may represent the Reserve price (the minimum price for which a Lot may be sold) and will not be below the Reserve price. Estimates do not include the Buyer’s Premium or VAT (where chargeable). Estimates are prepared some time before the auction and may be altered by a saleroom notice or announcement by the Auctioneer before the auction of the Lot (for Live Auctions), or on the Listing for a Lot in our Online Auction catalogue before the auction of the Lot (for Online Auctions). They represent a matter of opinion and are not definitive.
4 BUYER’S PREMIUM
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7. REINVOICING SALES
For unmarked Lots, you can request a Lot to be reinvoiced outside the Auctioneers’ Margin Scheme. VAT at 20% will be charged on the Hammer Price and the VAT on the Buyer’s Premium will be itemised separately on our invoice. This will enable a VAT registered business to reclaim all the VAT. Please note that the item will no longer be eligible to be sold in the Margin Scheme. We recommend you seek advice before proceeding. Requests must be made within 6 months of the sale and certain conditions apply.
8. INSPECTION OF GOODS BY THE BUYER
As we act on behalf of the Seller, we are dependent on information provided by the Seller about their goods. We may inspect Lots and will act reasonably in taking a general view about them. However, we are normally unable to carry out detailed examinations of Lots to check their condition in the way a Buyer would do. You will have the opportunity to inspect the goods (upon request). Where a Lot is made available for inspection, we strongly recommend that you inspect any Lots that you are interested in prior to bidding at the auction. Please carefully note the exclusion of liability for the condition of Lots set out in the Terms of Sale for Online Auctions at Clause 22.5 and the Terms of Sale for Live Auctions at Clause 18.5.
9. GOODS WITH ELECTRICAL COMPONENTS
These are sold as “antiques” for their historical and decorative attributes, and for collection and display only. They are not intended for use. If you buy goods with electrical components and intend to use them, you must ask a qualified electrician to check them for compliance with safety regulations before you use them.
10. ENDANGERED SPECIES
If you intend to buy goods which contain endangered species, you need to find out if there is a prohibition on the purchase of goods of that character. For goods containing elephant ivory, you also need to satisfy yourself that they have been correctly registered or certified and meet the exemption conditions under applicable legislation.
11. EXPORT OF GOODS
If you intend to export goods you must find out:
11.1 whether an export licence is needed; and
11.2 if there is a prohibition on exporting goods of that character outside of the UK or on importing goods of that character in your intended country of import such as because the goods contain prohibited materials such as elephant ivory or other protected flora and fauna.
12. BIDDING
Bidders will be required to register with us before the auction starts. We Reserve the right to impose a deadline prior to the auction by which you must register or by which we must receive a commission bid. If you wish to bid on high value Lots this deadline may be several days before the auction in order to allow us sufficient time to carry out the necessary checks. Lots will be invoiced to the name and address on the registration form. Please enquire in advance about our arrangements for telephone or online bidding. You will need to provide us with proof of your identity in a form acceptable to us and such other information as we may require. Please note that we may refuse to register you if you do not provide us with all the information and documentation that we ask for or at our discretion.
13. BIDDING PLATFORMS
We offer free online bidding directly through our Website (www.olympiaauctions. com). You may also bid using an independent Bidding Platform. Bidders using an independent Bidding Platform or service should note that the platform may impose an additional fee or charge, which will be added to the total amount payable in the event your bid is successful. Please refer to the terms and conditions on the relevant independent platform for rates.
14. FINANCIAL CHECKS
As Auctioneers we may have to conduct various checks into our customers under the Money Laundering Legislation, under sanctions legislation and other related legislation. Unless we confirm we already have this information, on registration to bid you will be required to provide the following:
(a) For individuals, official photo identification (driving licence, passport or equivalent) and proof of address (if this is not included in your ID document).
(b) For corporate entities, the certificate of incorporation (or equivalent) with the entity’s official name, registered number (if any) and registered address, as well as details and ID documentation for directors and beneficial owners of the entity.
(c) For trusts and estates, details and ID documentation for executors/trustees and details of beneficiaries: please contact us for further information.
14.1 You may be asked for further information if we deem this necessary.
14.2 If you are bidding for another person (your Principal) you will be required to provide the above information for yourself and your Principal, along with a signed letter from your Principal authorising you to bid on his/her behalf.
14.3 If you require further information about ID requirements, please contact enquiries@olympiaauctions.com. If we deem that you have not provided sufficient information for us to complete our anti-money laundering, terrorist financing and sanctions checks to our satisfaction, we may refuse to register you to bid and we may postpone completion of or cancel any Contract made by you and the Seller in the event you have made a successful bid.
15. COMMISSION BIDDING
You may leave commission bids with us indicating the maximum amount to be bid against a Lot (excluding the Buyer’s Premium and/or any applicable VAT). We will execute commission bids as cheaply as possible having regard to the Reserve (if any) and competing bids. If two Buyers submit identical commission bids, we may prefer the first bid received (where this can be reasonably ascertained). Please enquire in advance about our arrangements for the leaving of commission bids by telephone or fax/email or via our Website or online Bidding Platform.
16. METHODS OF PAYMENT
16.1 Online: Payment can be made at www.olympiaauctions.com/payments.
16.2 Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
16.3 Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
16.4 Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted.
16.5 Credit Card payments in person: Payments above £6,000 cannot be accepted.
16.6 Debit card payments in person: Payments are without limit.
17. COLLECTION AND STORAGE
Please note what the applicable Terms of Sale say about collection and storage (see Clause 13 of the Terms of Sale for Live Auctions and Clause 15 of the Terms of Sale for Online Auctions). It is important that you pay for and collect goods promptly. Any delay may involve you having to pay storage charges. You (or your agent) must bring photographic ID for collection. Please note that collection may be made during working hours only, usually Monday to Friday 09:30 to 17:00.
18. POTENTIAL CANCELLATION RIGHTS
If you purchase a Lot in an Online Auction as a Consumer in the UK or EU from a Seller who is a Trader, you may have a right to cancel your purchase of that Lot from the day of the auction up to the day which is 14 days after the date on which you take possession of the Lot. You may also have the right to cancel Services provided by us. Further information is set out in the Terms of Sale for Online Auctions.
CATALOGUING PRACTICE
SECTION B
1.
Please note that all measurements are approximate and that illustrations are not to scale. The condition of a Lot is not usually included in catalogue descriptions, and no assumptions should be made in the absence of this information. Condition reports are available on request.
2. CERAMICS
Obvious faults may be recorded in italics at the end of a description for ceramics.
3.CLOCKS AND WATCHES
All Lots are sold “as is” and the absence of any reference to the condition of a clock or watch does not imply that the Lot is in good condition and without defects, repairs or restorations. Most clocks and watches have been repaired in the course of their normal lifetime and may now incorporate parts not original to them. Furthermore, we make no representation or warranty that any clock or watch is in working order. As clocks and watches often contain fine and complex mechanisms, the Bidder should be aware that a general service, change of battery or further repair work, for which the Buyer is solely responsible, may be necessary. The Bidder should be aware that the importation of watches such as Rolex, Frank Muller and Corum into the United States is highly restricted. These watches may not be shipped to the USA and can only be imported personally.
4. DISPLAY ACCESSORIES
Please note that armour stands and many of the display mounts used in the catalogue(s) and the sale exhibition(s) do not form part of the Lot unless stated in the catalogue, though they may be made available to the successful Buyer of the relevant Lot(s). Please contact us for prices and further details.
5. FIREARMS
Please note that all bore sizes are approximate.
6. JEWELLERY
It is common practice for many gemstones to be treated by a variety of methods to enhance their appearance and the international jewellery trade has generally accepted these methods. Although heat enhancement of colour is usually permanent, in some cases this could affect the durability of a gemstone. Oiled gemstones may need reoiling after a certain period. If no gemmological report is published in the catalogue, prospective Buyers should be aware that the gemstones or pearls could have been enhanced by some method.
7. PHOTOGRAPHS
In addition to the explanations set out below regarding categorising terms for works, please note the following. The date given is that of the image (negative). Where no further date is given, this indicates that the photographic print is vintage (the term “vintage” may also be included in the Lot description). A vintage photograph is one which was made within approximately 5–10 years of the negative. Where a second, later date appears, this refers to the date of printing. Where the exact printing date is not known, but understood to be printed later, "printed later" will appear in the Lot description.
Unless otherwise specified, dimensions given are those of the piece of paper on which the image is printed, including any margins. Some photographs may appear in the catalogue without the margins illustrated.
All photographs are sold unframed unless stated otherwise in the Lot description.
8. PICTURES
A work catalogued with the name(s) or recognised designation of an artist, without any qualification, is, in our opinion, a work by the artist. In other cases, the following expressions with the following meanings are used:
(a) “Attributed to”: means in our opinion it is probably a work by the artist in whole or in part.
(b) “Studio of ” or "workshop of ”: means in our opinion a work executed in the studio or workshop of the artist, possibly under his supervision.
(c) “Circle of ”: means in our opinion a work of the period of the artist and showing his influence.
(d) “Follower of ”: means in our opinion a work executed in the artist's style but not necessarily by a pupil.
(e) “Manner of ”: means in our opinion a work executed in the artist's style but of a later date.
(f) “After”: means in our opinion a copy (of any date) of a work of the artist.
(g) “Signed”, “dated”, “inscribed”: means in our opinion the work has been signed, dated or inscribed by the artist. The addition of a question mark (?) adds an element of doubt.
(h) “Bears signature”, “bears date”, “bears inscription”: means in our opinion the signature, date, inscription or stamp is by a hand other than that of the artist.
9. SILVER, GOLD AND PRECIOUS METALS
Weights may only be accurate to within 5 grams. Weights shown as “(* oz)” are in troy ounces and usually rounded down to the full ounce.
10.
THE FOLLOWING SYMBOLS MAY BE USED IN OUR AUCTION CATALOGUES:
(a) () indicates a Lot with no Reserve.
(b) (✧) indicates a “Premium Lot”. For Premium Lots, you must complete the required Premium Lot preregistration application and deliver to us such necessary financial references, guarantees, deposits and/or such other security as we may in our absolute discretion require, as security for your bid. Our decision as to whether to accept any pre-registration application shall be final.
(c) (◉) indicates items that have been identified at the time of cataloguing as containing organic material which may be subject to restrictions regarding import or export, such as a CITES certificate. The absence of the symbol is not a warranty that there are no restrictions regarding import or export of the item. We accept no liability for any Lots which may be subject to restrictions but have not been identified as such. Please refer to section A, paragraph 10 above.
(d) (⊕) indicates a Lot that may be subject to Artist’s Resale Right.
(e) (○) indicates “Guaranteed Property”. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. This guarantee may be provided by Olympia Auctions or jointly by Olympia Auctions and a third party. Olympia Auctions and any third parties providing a guarantee jointly with Olympia Auctions benefit financially if a guaranteed lot is sold successfully and may incur a loss if the sale is not successful. A third party providing a guarantee jointly with Olympia Auctions may provide an irrevocable bid, or otherwise bid, on the guaranteed property. If the Guaranteed Property symbol for a lot is not included in the printed or pdf auction catalogue (where applicable), then Olympia Auctions will notify bidders that there is a guarantee on the lot by one or more of the following means: the lot’s specific webpage will be updated to include the guaranteed property symbol, a notice will be added to the Olympia Auctions webpage for the auction, or a pre-sale or pre-lot announcement will be made indicating that there is a guarantee on the lot. If every lot in a sale is guaranteed, a Special Notice will be included to this effect and this symbol will not be used for each lot.
(f) (∏) indicates “Monumental”. Lots with this symbol may, in our opinion, require special handling or shipping services due to size or other physical considerations. Buyers are advised to inspect the lot and to contact Olympia Auctions prior to the sale to discuss any specific shipping requirements.
(g) (W) indicates property stored and to be collected from off-site storage. Please note that property can only be released once payment has been received in full and cleared funds. If you are sending your own authorised agent to collect property from Olympia Auctions on your behalf, please provide a letter of authorisation, a copy of your paid invoice and photographic ID.
(h) (#) Book sales. Although these items are not free from VAT, Olympia Auctions is able to use the margin scheme and VAT will not normally be charged on the hammer price. Olympia Auctions must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at the standard rate on this premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified.
AUCTION CALENDAR
Make a date in your diary to view our forthcoming auctions
30TH OCTOBER 2024 | Viewing 27-29 October MODERN & CONTEMPORARY AFRICAN AND MIDDLE EASTERN ART
6TH NOVEMBER 2024 | Viewing 3-5 November CHINESE & JAPANESE WORKS OF ART
13TH NOVEMBER 2024 | Viewing 10-12 November INDIAN, ISLAMIC, HIMALAYAN & SOUTH-EAST ASIAN WORKS OF ART
21ST NOVEMBER 2024 | Viewing 18-20 November EUROPEAN OBJECTS & WORKS OF ART
21ST NOVEMBER 2024 | Viewing 18-20 November JEWELLERY
4TH DECEMBER 2024 | Viewing 1-3 December FINE ANTIQUE ARMS, ARMOUR & MILITARIA
11TH DECEMBER 2024 | Viewing 8-10 December FINE PAINTINGS, WORKS ON PAPER AND SCULPTURE
To be added to our invitation list for private views and catalogue alerts, please contact enquiries@olympiaauctions.com | +44 (0)20 7806 5541
Please note these dates may be subject to change
www.olympiaauctions.com | 25 Blythe Road, London W14 0PD
ABSENTEE BID FORM
OLYMPIA AUCTIONS
SALE TITLE: MODERN & CONTEMPORARY
AFRICAN AND MIDDLE EASTERN ART
DATE: 30 OCTOBER 2024
CODE: SUNFLOWERS
Please mail, fax or scan and email to: Olympia Auctions, 25 Blythe Road, London W14 0PD Fax +44 (0)20 7806 5546
Email: pictures@olympiaauctions.com
Important
Please bid on my behalf at the above sale for the following Lot(s) up to the hammer price(s) mentioned below. These bids are to be executed as cheaply as is permitted by other bids or reserves and in an amount up to but not exceeding the specified amount. The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing responsive or consecutive bids for a lot.
I agree to be bound by Olympia Auctions Conditions of Business. If any bid is successful, I agree to pay a buyer’s premium on the hammer price at the rate stated in the front of the catalogue and any VAT, or amounts in lieu of VAT, which may be due on the buyer’s premium and the hammer price.
Methods of Payment
Olympia Auctions welcomes the following methods of payment, most of which will facilitate immediate release of your purchases.
Online: www.OlympiaAuctions.com/payments
Bank Transfer: Payments must be received from a bank account held in the name of the person or entity named on the invoice for the Lot.
HSBC Bank Plc, 38 High Street, Dartford, Kent, DA1 1DG
IBAN No: GB39HBUK40190422033119
BIC: HBUKGB4B
Sort Code: 401904
Account No: 22033119
Account Name: Olympia Auctions
Sterling Bankers Draft: Drawn on a recognised UK bank.
Cheque: Usually any cheques will need to be cleared before you can take the goods away. We require seven days to clear sterling cheques unless special arrangements have been made in advance of the sale.
Cash: £6,000 and “card holder not present” payments above £2,000 cannot be accepted.
Credit Card payments in person: Payments above £6,000 cannot be accepted.
Debit card payments in person: Payments are without limit.
Please print or type
Please note that if you have not dealt with us before, you will need to supply us with a copy of photographic ID and proof of address.
