Contemporary Art Auction 2012

Contemporary Art Auction 2012 TAG Heuer is proud to be the sponsor of JAMM’s Contemporary Art Auction and to participate through this unique partnership to the development of culture and art in Kuwait and in the Middle East. TAG Heuer has been pioneering Swiss luxury watchmaking for over 150 years, bringing to the art of time measurement some of its most important innovations. Creativity and daringness are at the heart of TAG Heuer, as they are for any true artist.

KWT Magazine Frog_Mikrograph_CAR5041FC8178_mag_DPS_286x456.indd 1 10/2/12 10:22 AM About JAMM JAMM specializes in cultural projects without About the Alexander Gilkes was one of the youngest geographical boundary. More than simply an art Auctioneer members of an executive team at LVMH, where advisory company, JAMM is a vessel to promote he helped turn Krug Champagne into one of the cultural diplomacy. Our goal is to advance Arab and group’s star brands. More recently, as the global Iranian artists in the West, and Western artists in JAMM wishes to thank their exclusive sponsor marketing director and auctioneer for Phillips de the East, and thus encourage further collaboration Tag Heuer for their kind support. Pury. Alexander’s art education started in the between the two. Whilst we build both private and drawing schools at Eton and evolved throughout corporate art collections, the scope of our projects his extensive travels, which have included months encompasses artistic representation, exhibitions, in St.Petersburg, Russia, writing his student thesis events and auctions. We are committed to the on Soviet Cultural Politics and enjoying daily visits development of the contemporary art market in to The Hermitage. emerging markets including the Middle East, North Africa, Iran, Turkey, Latin America and Asia. JAMM Alexander is co-founder of Paddle8, an on-line is uniquely positioned to draw on its relationships destination that offers international collectors to bring active collectors and emerging artistic access to a selection of works from the world’s talent closer together. With its distinctive global leading galleries, foundations, and art fairs. footprint, JAMM brings together cultures, trends, collectors and private individuals who are shaping the contemporary art market today.

Design and print by www.calverts.coop 1 Mahsa Karimi Give me your hand 2012 Acrylic and collage on canvas 120 x 120 cm Provenance: Acquired directly from the artist by the present owner Estimate: KD 600 – 800 USD 2,100 – 2,800 The whole idea was about camouflaging something and intervening in another space. Something like the Trojan Horse… The important part for me is that this construction, the background is hiding something from you. They are camouflaging something from you, behind the port, these doors. Somebody is looking at you from behind that building or door, somebody is gazing at you, exactly gazing, they are fixing their eyes to your eyes. They are transsexuals, and they are bridges; they are not women, they are not men. This work is not from West not from East; it’s not a painting, it’s not a photograph, it’s a bridge. A combination.

2 3 Navid Azimi Sajadi Reda Salem Camouflage Old Lantern Still Life 2011 2012 C-print, Edition 4/5 Digital print on stretched canvas, Edition 1/7 67 x 100 cm 100 x 100 cm Provenance: Acquired directly from the artist Estimate: KD 700 – 900 USD 2,500 – 3,200 Provenance: Acquired directly from the artist Estimate: KD 800 – 1,200 USD 2,800 – 4,300 Omar Fakhoury’s painting depicts a typical wall of red and white barrels used by the army at bases and checkpoints around Lebanon. These precarious architectural structures are the witnesses and reminders of an ongoing political and military instability that the country has been experiencing for many decades.

4 5 Omar Fakhoury Daryoush Gharahzad Untitled Untitled 2012 2011 Acrylic on carton Acrylic on canvas 70 x 100 cm 160 x 120 cm Provenance: Courtesy of Agial Gallery – Beirut Estimate: KD 1,200 – 1,600 USD 4,200 – 5,700 Provenance: Acquired directly from the artist Estimate: KD 1,700 – 2,100 USD 6,000 – 7,500 As a creative artist Khazaal is centered on mankind and its dilemmas. His symbolism that verges on abstraction has evolved into a lighter state and much of the darkness one used to encounter in his previous subjects has dissipated. His painting now reflects the feelings and emotions he is experiencing in his honest concern for society and any negativity affecting its cultural development.

6 7 Mohammed Ramadan Hameed Khazaal Untitled Distance 2012 2012 Acrylic on canvas Oil on canvas 152 x 122 cm 120 x 100 cm Provenance: Acquired directly from the artist Estimate: KD 800 – 1,000 USD 2,800 – 3,500 Provenance: Acquired directly from the artist Estimate: KD 2,600 – 3,000 USD 9,200 – 10,700 8 9 Ahmad Al Ayoub Nasser Azizi Untitled Untitled 2012 2009 Acrylic and oil on canvas Acrylic on canvas 100 x 100 cm 100 x 100 cm Provenance: Acquired directly from the artist Estimate: KD 500 – 700 USD 1,800 – 2,500 Provenance: Private collection Estimate: KD 1,800 – 2,200 USD 6,400 – 7,800 When I was preparing for the entrance exams for the University of Fine Arts, I spent two years drawing flowers. I drew some every day… Afterwards, to earn a own personality... And these days, now that I draw flowers rather frequently, that sensation has come back very vividly. I find them just as pretty, just as disturbing. living, I spent nine years working at a preparatory school, where I taught the students to draw flowers. Once every two days, I would buy flowers for my lesson and At the same time there is this strength in them; it is the same image of strength I find when drawing the human face. So I thought that if the opportunity arose, I make compositions for my students to work on. At the beginning, to be frank, I didn’t like flowers, but as I continued teaching in the school, my feelings changed: would pretty much like to make a work in which I would represent them as if in a “crowd scene”, in the manner of these scenes of moving crowds that you see their smell, their shape – it all made me feel almost physically sick, and at the same time I found them very “cute”. Each one seemed to have its own feelings, its in films. – Takashi Murakami

10 11 Takashi Murakami Takashi Murakami Flower Ball Cosmo Flower Ball Pink 2007 2007 Color lithograph, Edition of 300 Color lithograph, Edition of 300 71 x 71 cm 71 x 71 cm Provenance: Private collection Estimate: KD 800 – 1,200 USD 2,800 – 4,300 Provenance: Private collection Estimate: KD 800 – 1,200 USD 2,800 – 4,300 There is no exact meaning in my work, but it is the very attempt to recall the naive moments, moments of surprise, where things appear for the first time.

12 13 Fadhel Al Abbar Adnan Meatek Carry Me, Carry You The Alphabet Man 2006 2007 Bronze Ink on paper 40 x 28 x 12 cm 29.5 x 21 cm Provenance: Acquired directly from the artist Estimate: KD 1,600 – 2,000 USD 5,700 – 7,100 Provenance: Acquired directly from the artist Estimate: KD 1,200 – 1,400 USD 4,200 – 5,000 Perhaps there is no other phrase that fittingly summarizes the development of current American and European culture than “Sex, Drugs, and Rock & Roll.” In Words are scary. Using words to explain, discuss or justify the visual texts, we are overshadowed by the words’ contours and old structures. Parnes’ art piece, it has transformed itself from a definition of Western depravity to the seemingly mundane, yet in the East, its context still retains its underlying “The explanation of the artwork is in its inner satisfaction.” It is a professional solution, but it does not grant me satisfaction. I think about my crisis and the crisis of meaning. Here, being written in Farsi, the words automatically create a sudden dichotomy. Aesthetically pleasing to the eye, the artist’s work also underlines the the culture of my society. All the intricacies of my artwork are laid there. There is no choice then but to think in different directions. Whether these perspectives are international cultural exchanges subtly taking place in present times. similar or different they are practically a depiction of a life, certain dates, political situations, three meaningless wars, semi-definitions, needs, rebellion, an escape, immigration, a destiny of a homeland and the destiny of its people.

14 15 Eric Parnes Mohammed Al Shammarey Sex, Drugs, and Rock & Roll Self-portrait 2011 2010 Neon, Edition 1/ 5 + 2AP Giclee printed on canvas 88 x 150cm 100 x 200 cm Provenance: Acquired directly from the artist Estimate: KD 2,000–2,400 USD 7,100–8,500 Provenance: Acquired directly from the artist Estimate: KD 2,600–2,800 USD 9,300–10,000 My association with the decline of images and ideas in this space and time informs my work practice. Individuals, species, events, geography, religion, philosophy, economics, politics – everything is constantly in a circle, which has a common key point for start and end. All our lives, we keep on re-inventing/ re-discovering that point… That’s where life breathes.

16 17 Suhaila Al Najdi Sajjad Ahmed Untitled Science Philosophy Religion (IV) 2009 2012 Acrylic on canvas Archival inkjet print on cotton paper, Edition 1/5 + 1 AP 200 x 300 cm 122 x 76 cm Provenance: Acquired directly from the artist Estimate: KD 2,800 – 3,200 USD 10,000 – 11,400 Provenance: Acquired directly from the artist Estimate: KD 800 – 1,200 USD 2,800 – 4,300 In 1954, Francis Bacon began a series of works entitled Man in Blue. These paintings are characterized by a deep blue and black background extending evenly right across the canvas. In the center is a single male figure in a dark suit, which is often associated with executives or politicians. The space they occupy is created with a simple painted frame and vertical strokes to suggest two walls. In this way Bacon was engaging with the current debate about the modernism in painting. I chose to paint this study to engage the debate of the political and religious views of the Abayya. The female model wearing the Abayya has become the victimized subject of religion and politics as it sank into the black depth of the framed room to speak in a more powerful way. The eyes appear to be gazing at a point where it is lost in this debate.

18 19 Fadia Haddad Amira Behbehani Untitled Study of Francis Bacon (Man in Blue) 2012 2012 Acrylic pigments on paper Oil on canvas 56 x 38 cm 145 x 135 cm Provenance: Courtesy of Agial Gallery – Beirut Estimate: KD 1,000 – 1,400 USD 3,500 – 5,000 Provenance: Acquired directly from the artist Estimate: KD 2,600 – 3,000 USD 9,200 –10,700 20 21 Walid Siti Alireza Masoumi Untitled Untitled 2004 2012 Graphite and acrylic on carton Ink on Plexiglas (double sided) 56 x 76 cm 180 x 120 x 6 cm Provenance: Courtesy of Agial gallery – Beirut Estimate: KD 1,100 – 1,500 USD 3,900 – 5,300 Provenance: Acquired directly from the artist by the present owner Estimate: KD 2,000 – 2,200 USD 7,100 – 7,800 The text in my sculptures and installations are revolutionary poems, appropriated mostly from famous Farsi and Urdu poets, such as Rumi, Saadi, Ghalib and Faiz Ahmed Faiz, who all wrote powerfully about freedom of thought and speech. The small-scale wall-mounted sculptures represent the poems’ poignant and piercing power to induce strong emotions. As many of these poems have also been sung by famous singers from the sub-continent, the suspended installations also express the poems’ melodic power and ability to elicit uplifting thoughts. The shadows cast on the wall are also vital to the aesthetic as they add additional depth and layers behind their meaning. My goal is to translate their poetic dynamism into visual energy. By pairing female forms with poetic text, I strive to show a connection between the mind and soul: a mind is free to think and a soul free to exist. Separate from their utterance as a sound and with or without the coverings of an outer garment. The text is used aesthetically, as a flowing pattern; as well as philosophically, paired with the ethereal figures it enables a dialogue with the viewer or monologue between mind and body.

I would shake the dust from my coat, and rise If I realized my own perfection. I would rush to the sky, empty and light; My head would be high as the ninth heaven. Rumi (1207 A.D. – 1273 A.D.)

We speak another language, not this tongue. There’s another home that’s not your heaven or hell. Free spirits draw their life from another source; That pure gem is mined from a different course. Rumi (1207 A.D. – 1273 A.D.) 22 Simeen Farhat Twisted Melody 2010 Enamel on wood, monofilament Variable dimensions Provenance: Courtesy of Xerxes Art – London Estimate: KD 3,400 – 3,800 USD 12,100 – 13,500 When your love and my joy conspire to spill my blood For a moment we paused in the human crowd, My soul flies from the cage that shapes this human mud. But found no trace of loyalty among them. He’s a godless infidel who has the chance to taste It’s best that we hide from view of the crowd, The sin of your sweet lips, and lives on, chaste. Like water in steel, fire in stone, hidden deep within them. 23 24 Rumi (1207 A.D. – 1273 A.D.) Rumi (1207 A.D. – 1273 A.D.) Simeen Farhat Simeen Farhat Intent Red Spill 2011 2012 Enamel on polymer resin Enamel on resin, MDF board 75 x 70 x 35 cm Variable dimensions Provenance: Courtesy of Xerxes Art – London Estimate: KD 2,400 – 2,800 USD 8,500 – 10,000 Provenance: Courtesy of Xerxes Art – London Estimate: KD 2,400 – 2,800 USD 8,500 – 10,000 In his paintings, nothing is stationary; all the drawings appear as if they are moving. Always, there is something hidden. Sami draws his entities with a tragic touch. Aziz Al Mudhaf’s work is charactarized by the use of strong, vibrant colors, which the artist applies generously to the canvas with his hands and fingers: “I mostly No time is wasted on static images. Beauty becomes part of this great confusion which the viewers live as the drawings themselves live. When we look at Sami’s paint with my hands and only turn to brushes for tiny details that I can’t capture with my fingers… It’s a physical process that is quite freeing as I place my canvas paintings, we feel as if we do not see the whole reality. Many parts of which have vanished, disappeared, erased. Only an inspiring revelation is left. What we see on the floor and move around it continuously”. The figures Al Mudhaf paints are more or less androgynous, undifferentiated beings, dissociated from a particular is only the traces of reality (…). The painter does not recall his art from memory but rather follows his passion which blurs his eyes with tears. – Farouq Yousef background. They act as a catalyst for the real, raw emotions to emerge through splashes of vivid color.

25 26 Aziz Al Mudhaf Mohammed Sami 20 (triptych) Bull 3 2012 2010 Mixed media on canvas Acrylic on canvas 360 x 150 cm 95 x 95 cm Provenance: Acquired directly from the artist Estimate: KD 2,000 – 2,400 USD 7,100 – 8,500 Provenance: Acquired directly from the artist Estimate: KD 2,400 – 2,600 USD 8,500 – 9,200 I had the three words, I , Body and Motherland made from Plexiglas. I am sensitive about words. I get hooked up on them, especially when they find some form of physical embodiment and can be seen as such. I get more tangled with them. I can’t get away. Incarnate words are not just words; they are language shapes, fragments of thought appearing as acting agents in their material form. They both demonstrate and can be seen, act as the subject and the object. The words are here at this moment, not somewhere in our minds and no more commanding us. They don’t argue for anything. They enter the game with us and become part of the performance. I carry the three words and take them downtown, to Lalehzaar Avenue. I buy LED lights and install them inside of the words and hook them up to a rechargeable motorcycle battery, so I can take my illuminated words into town, on the streets. The sunset moments are golden for photography. The light is neither too little nor too much, it is just right. The illuminated words shine in the twilight of the dusky sky and city lights and light up people’s faces. In the moments when everything retreats in the shade and the shapes of things are distorted, lit up words define and spotlight people. The stage is set for the show.

Me #1

Motherland #4

27 Shahrzad Changalvaee Body #1 Motherland #4 Me #1 (from the Body Composition Remaining within Limited Domain series) 2010 Body #1 C-print, Edition 4/5 (set of 3 photographs) 60 x 90 cm (each photograph) Provenance: Acquired directly from the artist by the present owner Estimate: KD 2,700 – 3,100 USD 9,600 – 11,000 The ‘Divine Comedy’ series is inspired by the Islamic art of the Mughal period and by Persian miniatures produced between the 16th and the 18th centuries. The project explores also images produced in the 1940s in the Middle East and the Indian sub-continent, depicting mythological creatures such as the Buraq, part- human part-horse, as well as animals that symbolize virtues like beauty, wisdom and power, such as the peacock. In the 1940s, popular art depicted the human part of the Buraq as female, whereas that of the 16th century depicted it as androgynous. During the Mughal dynasty and later till late 18th century, there was an equal fascination with male beauty. In the poetry of the period, there are frequent references to young, beardless men as the ideal form. My aim is to explore the aesthetics of popular representations of beauty, in particular the portrayal of female pop stars, whose perfection places them in a similarly unearthly realm, closer to mythological creatures and to make a comparison between the notion of beauty in early Islam art representations and in popular art today.

28 29 Chaza Charafeddine Ahmed Abu Al Adas L’Oiseau du Paradis II Untitled 2010 2012 Inkjet print on fine art paper mounted on aluminum Ink on black canvas 32.4 x 48 cm 150 x 150 cm Provenance: Courtesy of Agial Gallery – Beirut Estimate: KD 700 – 1,100 USD 2,500 – 3,900 Provenance: Acquired directly from the artist Estimate: KD 1,600 – 2,000 USD 5,700 – 7,100 30 Golnaz Fathi Untitled (diptych) 2007 – 2008 Golnaz Fathi studied traditional calligraphy and developed a singular abstract style based on the warm-up exercises practiced by professional calligraphers before Acrylic on canvas they begin their work. Masterfully combining Arabic calligraphy and strong brushstrokes of vibrant colors, Fathi’s work focuses on visual expression. Her words 120 x 120 cm (each panel) are indistinct and rather than concentrating on the literal meaning of the words, the artist opens up a new world of symbols, which the viewer can openly interpret. Provenance: Private collection Estimate: KD 4,800 – 5,200 USD 17,000 – 18,500 Her paintings carry traces of meaning that have no known coded alphabet. Fathi’s work succeeds where language fails. My work is about a notion of a woman, specifically a Muslim woman – what she thinks about, how she expresses her ideas, religious beliefs, values and traditions and how she views the society around her. (…) my art cannot be attributed to one particular genre. Rather, they are dialogues and contemplations of ideas about Islamic rules and about the new phenomenon of the ‘updated’ or the ‘contemporized’ Islamic World.

31 32 Fatima Al Marzouie Ghadah Kandari Arabic Calligraphy Mom and Her Four Daughters 2011 2012 Acrylic, collage and mixed media on canvas covered wood Acrylic collage and oil pastels on canvas 168 x 120 cm 240 cm x 135 cm Provenance: Courtesy of Xerxes Art – London Estimate: KD 2,400 – 2,800 USD 8,500 – 10,000 Provenance: Acquired directly from the artist Estimate: KD 2,600 – 3,000 USD 9,200 –10,700 Converging Territories is a series of large-format color portraits of women and children taken in a large, unoccupied, family-owned house in Morocco, the then painstakingly covers the women and children with henna before photographing them in front of the cloth. ‘Through these images I am able to suggest the same house that as a young woman Essaydi was confined to for a month at a time whenever she transgressed her permissible roles. Revisiting that house, complexity of Arab female identity – as I have known it – and the tension between hierarchy and fluidity at the heart of Arab culture.’ Essaydi creates a mysterious and timeless space with a cloth background, entirely covered with Islamic calligraphy that she herself has written in henna. She

33 34 Lalla Essaydi Lalla Essaydi Converging Territories #3 Converging Territories #4 2003 2003 C-print C-print 90.8 x 72.4 cm 90.8 x 72.4 cm Provenance: Courtesy of Xerxes Art – London Estimate: KD 3,400 – 3,800 USD 12,100 – 13,500 Provenance: Courtesy of Xerxes Art – London Estimate: KD 3,400 – 3,800 USD 12,100 – 13,500 35 36 Sueraya Shaheen Ebrahim Habib Bita Fayyazi Untitled 2011 2012 Archival pigment print, Edition 3/12 Bronze 12 x 18 cm 42 x 80 x 20 cm Provenance: Acquired directly from the artist Estimate: KD 800 – 1,000 USD 2,800 – 3,500 Provenance: Acquired directly from the artist Estimate: KD 3,600 – 4,000 USD 12,800 – 14,200 There is a form of traditional Oriental surrealism in Ahmadian’s paintings that is reminiscing of the golden age of Iranian miniature paintings in the Timurid and Safavid era. After a passage of 400 years, Ahmadian has breathed new life into this traditional style of painting and has built a bridge between the traditional style of painting and modern art.

37 38 Salar Ahmadian Mohammad Rahimi Untitled Bride and Groom 2012 2011 Acrylic on canvas Oil on canvas 300 x 300 cm 170 x 140 cm Provenance: Acquired directly from the artist by the present owner Estimate: KD 1,800 – 2,200 USD 6,400 – 7,800 Provenance: Acquired directly from the artist Estimate: KD 1,700 – 2,100 USD 6,000 – 7,500 Nermine Hammam’s works are intricate composites of layered images and symbols, using a distinctive aesthetic that combines digital manipulation and painting. Upekkha features images of individual soldiers from the Egyptian army taken in Tahrir Square, reset against utopian landscapes of luminous blue skies, verdant fields, rolling snow peaked mountains and still bodies of water. The series examines youth in war, masculine frailty, and notions of power. By reclaiming these soldiers as individuals, the artist seeks to reveal the vulnerability of youth parading behind the weaponry and masculinity of the military, questioning the reality of power and its construction.

39 40 Ibrahim Al Atiya Nermine Hammam Untitled The Fall (from the “Upekkha” series) 2012 2012 Mixed media on canvas Epson Ultrachrome K3 ink on Hahnemuhle fine art pearl paper, Edition of 3 + 2AP 180 x 140 cm 50 x 50 cm Provenance: Acquired directly from the artist Estimate: KD 1,400 –1,800 USD 5,000 – 6,400 Provenance: Courtesy of Rose Issa Projects – London Estimate: KD 800 –1,200 USD 2,800 – 4,300 Turki’s eclectic and varied style is a reflection of both his diverse cultural upbringing and the confused occidental vs. oriental atmosphere of Dubai. His art is fuelled by what happens around him. He wants to comment on it and find the most powerful way to manifest both his environment and its subjects, and the deeper, more conceptual implications of all that his lens captures. The Washaeg series speaks of an empty world with an apocalyptic vision for global culture. His lens captures the void, which was once built on with majestic structures. What is left are fortified walls encircling nothingness. 42 Michel Haddi 41 Johnny Depp Sami Al Turki Shot on Santa Monica Boulevard, Los Angeles, for Premiere magazine Gidarr (from the Washaeg series) 1992 2010 Handmade C-print on Superfujiflex paper, Edition of 3 RC print, Diasec mounting on Dibond, Edition 5/5 104 x 74.5 cm 61 x 100 cm Provenance: Acquired directly from the artist Provenance: Courtesy of Athr Gallery – Jeddah Estimate: KD 1,200 – 1,600 USD 4,300 – 5,700 Exhibited in Iconic Bionic by Michel Haddi, JAMM Art, Dubai 2012 Estimate: KD 3,200 – 3,600 USD 11,400 – 12,800 In his photograph of Fifi Abdou smoking a cigarette, Youssef Nabil’s preoccupations with fame, sex, loneliness and death are immediately apparent. Like many of the famous sitters the Egyptian belly dancer is photographed in the realm of rest, far from her public persona. And yet, Nabil photographs her in a glamorous manner befitting her fame, set against a pale blue background, his gentle hand-coloring removing the blemishes of reality. In his staged photographs he creates scenes that recall Arabic cinema of the 1950s where the heroes and stars act out the broken dreams of love, life and sex. He colors his prints by hand, a technique that recalls the hand-colored family portraits that still adorn people’s living rooms in Cairo. This unusual and distinctive medium disrupts our sense of time and place; his photographs are, and are not, images of our time.

43 Youssef Nabil Fifi smoking, Cairo 2000 Hand-colored gelatin silver print, Edition 9/10 39 x 29 cm Provenance: Private collection Estimate: KD 4,200 – 4,600 USD 15,000 – 16,400 Leila Pazooki’s work explores the concept of “borders” which can be seen as both a recurring backdrop and a common thread which goes through her projects. Aesthetics of censorship started as a research project but now more or less forms a diachronic root in her investigation of reinterpretations, which permit the discovery of beauty in unexpected ways and where ‘borders’ or ‘cover-versions’ may acquire aesthetic values.

44 45 Shurooq Amin Leila Pazooki A Tale of Two Muslims (from the Popcornographic series) Love 2012 2010 Acrylic and photography collage with giclee print on canvas mounted on wood Neon, Edition 3/4 100 x 150 cm Variable dimensions Provenance: Courtesy of Ayyam Gallery – Dubai Estimate: KD 2,600 – 3,000 USD 9,200 – 10,700 Provenance: Acquired directly from the artist Estimate: KD 2,600 – 3,000 USD 9,200 – 10,700 ‘For all things come from earth, and all things end by becoming earth,’ wrote the Greek poet Xenophanes of Colophon in 550 BC. We all know the ground beneath us as a fount and resting place, but in Hearts & Minds (2012) Al Braithwaite uses the earth ingeniously as a document. Each of the ‘heart-grenades’ in this piece has at its core a measure of soil drawn from sites of contemporary geopolitical significance such as Helmand, Cairo, Sidi Bouzeed and Manhattan, locations that have witnessed in recent years both the jejune patter of everyday life as we know it and moments of extraordinary love, courage and tragic savagery. Once extricated from their physical and social setting, each sample has been manipulated into the negative imprint of a clenched fist, no two the same, before being bound as if a votive relic in layers of hide, wax and resin. These objects relate something of the journey they have undergone, while in the final rendering they become receptacles not only for the history of these places but the ideologies that have rained down upon them. – Henry Hemming

46 Al Braithwaite Hearts & Minds 2012 True soil, polymer resin, leather, PVA, wax, shellac, iron (unique work) 65 x 50 cm Provenance: Acquired directly from the artist Estimate: KD 4,200 – 4,600 USD 15,000 – 16,400 In Iran the US flag is often painted on the floor in front of ministries and other public buildings so that one must tread on the American flag in order to enter the building. Moakhar’s work Doormat/Persian Rug mocks this act of humiliating the inimical state, which one is forced to carry out, by using as its medium a carpet, an object of veneration and luxury in Iran, yet leaving its interpretation open to the viewer.

47 48 Mahmoud Bakhshi Moakhar Abed Al Kadiri Doormat/Persian Rug Sacrifice 2008 2010 – 2012 Handmade dyed wool carpet, Edition of 15 Mixed media on canvas 65 x 100 cm 250 x 200 cm Provenance: Private collection Estimate: KD 600 – 1,000 USD 2,100 – 3,500 Provenance: Acquired directly from the artist Estimate: KD 2,600 – 3,000 USD 9,200 – 10,700 This body of work began as an exploration of censorship in Saudi Arabia and its effects on visual communication. Al Saud tried to apply the language of the censors to personal photographs. She began making line drawings, omitting faces and skin. Keeping only the essentials preserved the anonymity of my subjects. It became a game of how much can you tell with how little. When reduced to sketches, the images achieved enough distance from the original photographs that neither subjects nor censors could find them objectionable. For Al Saud, they became autonomous, relatable, pared down narratives. In Rumi in My Chalice, Shahriar Ahmadi has drawn on the 13th century poet’s themes of love and philosophical contemplation, using his canvas as a metaphor for Al Saud has always been interested in how photography functions, and she tries to undermine any documentary authority it may possess as a medium. She’s a chalice. Upon these massive surfaces a range of emotions from anxiety to playful abandon are explored through abstract compositions in a radiant, multicolor always felt that a photograph functions more like a memory, in that it’s a singular perspective of a split second in time, entirely subjective and hence impressionable. palette deployed against a monochromic background. By etching these drawings back into film and printing them in a traditional darkroom, she’s trying to point out how malleable it is as a medium, even before digital manipulation became so advanced and accessible. With these interventions emerges a highly coded and self-reflexive language.

Shahriar Ahmadi 50 Untitled (diptych), from the Rumi in My Chalice series Jowhara Al Saud 2008 Mixed media on canvas Birds 120 x 80 cm (each panel) 2010 Provenance: Private collection C-41 print mounted on Dibond, Edition 2/5 Literature: Hossein Amirsadeghi ed., Different Sames: New Perspective in Contemporary Iranian Art; 50 x 60 cm London 2009 (illustrated, p. 61) Estimate: KD 3,800 – 4,200 USD 13,500 – 15,000 Provenance: Courtesy of Athr Gallery – Jeddah Estimate: KD 700 – 1,100 USD 2,500 – 3,900 51 Inspired by the Berber, Islamic and African art and ethnicities, Hamza Bounoua paints letters, geometrical shapes and shadows of figures on Plexiglas – a surface Hamza Bounoua that he likes for its durability and similarity to glass. Working from the inside out, Bounoua uses engraving to make his abstract characters and letters pop out at Exits the viewer from a background made of fields of color and a dense constellation of symbols. 2012 ‘In my compositions, there are movements of colors, which overlap and gain space among the elements. Sometimes I use mystic scripture with a thicker texture Mixed media on Plexiglas of colors to resemble a dance. But there are lines in regular sequence. Earthy colors, [along with] blacks or golds like the sun, sprinkled with whites and blues 122 x 300 cm highlight my oriental background and emotion one might feel. My faith was created in a world of mathematical discoveries. Hence, the infinite geometry patterns Provenance: Courtesy of Dar Al Funoon – Kuwait Estimate: KD 4,200 – 4,600 USD 15,000 – 16,400 allowed me to encase a form within a narrow [surface].’ I am part of a long tradition of abstract painters who choose not to imitate reality but to explore how it makes us feel and behave. The subject in Samra’s work seems to be both the artist and the viewer at once and neither is static. Both are dynamic players in a dense matrix of actions and reactions. As such, one can detect empathy and a generosity of spirit in his art. His pieces don’t speak for you, through you or at you but rather of you and with you. He renders visual the experiences you share from the root of your humanity.

52 Faisal Samra Untitled (from the Icon series) 1998 Mixed media and collage 130 x 130 cm Provenance: Courtesy of Dar Al Funoon – Kuwait Estimate: KD 7,200 – 7,600 USD 25,600 – 27,000 A student of Chan (Zen) Buddhism, Zhou Wendou is fascinated by the notion that everything contains its opposite. Sometimes, he says, magic lies in doing something and making it look like nothing—or is it the other way around? Wendou’s work represents a “breaking off” which, in terms of subversive power of art, takes effect on a daily basis, being a guerilla attack to the authority in daily life.

53 54 Jamal Abdul Rahim Zhou Wendou Untitled Peoples’ Movement 2012 2012 Mixed media on canvas Chair, pants, shoes, Edition 2/3 180 x 180 cm 90 x 60 x 80 cm Provenance: Courtesy of Dar Al Funoon – Kuwait Estimate: KD 4,800 – 5,200 USD 17,000 – 18,500 Provenance: Courtesy of Other Gallery – Shanghai Estimate: KD 3,200 – 3,600 USD 11,400 – 12,800 Alfred Tarazi’s The Art of Forgetting (from The Oath series) tells the story of a country’s bloody past through the eyes of a boy who stands alone and looks at a country going through the last agonies of an internecine war and facing an uncertain future. Tarazi combines all the scattered fragments of collective and personal memories in an attempt to rearrange the chaos, to somehow make sense of senseless acts of violence. But uncertainty is unavoidable. What is the purpose of Shiva Ahmadi’s works occupy an uneasy psycho-visual space: at once meticulous and loose, playful and somber, mythical yet very much dealing with the real. those recurring scenes and imagery? Is it a difficulty to reconcile with a country at peace but that did not mourn its dead? How can one tackle unresolved scars? In Brown Veil, a woman is portrayed crushed under the weight of her veil, which also spreads out into a battlefield. Ahmadi’s intriguing iconography and the The works might not offer an answer but reflect a reality where answers and coming to terms with the past are still out of reach. specificity of the geopolitics referenced, make her work at once lush and seductive but ultimately destabilizing and uneasy.

55 56 Alfred Tarazi Shiva Ahmadi The Art of Forgetting (from The Oath series) Brown Veil 2012 2011 Oil paint, ink, gold leaf and print on canvas Mixed media on aquaboard 200 x 200 cm 89 x 114 cm Provenance: Courtesy of The Running Horse Contemporary Art Space – Beirut Estimate: KD 3,800–4,200 USD 13,500–15,000 Provenance: Leila Heller Gallery – New York City Estimate: KD 4,800 – 5,200 USD 17,000 – 18,500 57 Bert Stern

Marilyn in Red Scarf Marilyn Monroe in Red Scarf was taken by Bert Stern in late 1962, just six weeks before the actress died. During the three-day photo shoot commissioned by 1962/2012 Vogue, Stern took nearly 2,600 pictures of indescribable sensual and human vibrancy. In front of the camera, Marilyn was known to be like a chameleon, able to Archival pigment print, hand applied jewels (unique) transform herself into whatever role she was meant to play. Yet, there is an air of desperation in Stern’s haunting, almost dreamlike photographs. 61 x 51 cm Stern’s Marilyn Monroe in Red Scarf is a revealing, naked portrait of Marilyn the person – a vulnerable woman who, although at the peak of her career, had Provenance: Acquired directly from the artist by the present owner Estimate: KD 4,600 – 5,000 USD 16,400 –17,800 relinquished control of her life – and an homage to America’s first goddess, a woman we invented, but whom we could never really know. With the erosion of mediums and circumstances, I make marks and take contemplative steps, isolating a series of acts, which are not in themselves truly they have a lot of light. I don’t work with trash, but with last life. Those materials have a previous history. My art pieces concentrate on that energy. I continue it’s important: it is only an accumulation of daily exercises. The years have diversified to the point of reaching the most minute details of existence and it is not only life by recycling it, by using it’s previous life, energy, and history to tell my own story. in time that all will return to how it already was a thousand times before. I like to work with used materials, for the concentrated energy that emanates from them,

58 59 Damian Aquiles Damian Aquiles Spheres Cube 2012 2012 6 balls hand chiseled from found metal Hand chiseled from found metal Variable dimensions 40 x 40 x 40 cm Provenance: Acquired directly from the artist Estimate: KD 3,400 – 3,800 USD 12,100 – 13,500 Provenance: Acquired directly from the artist Estimate: KD 2,000 – 2,400 USD 7,100 – 8,500 In a wide range of mediums—including photography, sculpture, installation, conceptual work, and performance—Rachel Lee Hovnanian explores themes of beauty and its relationship to money and power, the pristine environments associated with wealth and luxury, and gender roles in society. Beauty, perfection, isolation. In the artist’s dystopian vision, the words have become synonymous. Hovnanian’s recent work explores the blurring of reality and the narcissistic side of digital life. The viewer is invited into the artist’s dream/awake state as she identifies commonplace sights, sounds, smells, tastes, and views of her early childhood in Texas. Fake Flowers, Living Room represents a distant memory of a profusion of fresh flowers—real or cultural taxidermy, the artist seems to ask.

60 Rachel Lee Hovnanian Fake Flowers, Living Room 2012 Photograph on rag paper, Edition 1/3 + 2 AP 193 x 140 cm Provenance: Courtesy of Leila Heller Gallery – New York City Estimate: KD 3,800 – 4,200 USD 13,500 – 15,000 The Mashrabiya Cabana blurs the boundaries between art and architecture and explores ways of developing a contemporary, Middle Eastern design language. The rich culture of patterns lends itself as the starting point for this investigation. The traditional mashrabiyas served as the key inspiration: the actual geometry has been transformed from a repetitive axial design into an aperiodic egalitarian pattern to reflect today’s zeitgeist. The purpose of the lattice shifted from that of being a screen to being a structural element. This was achieved by scaling the pattern to fit the engineering dimensions, which again has a reflective aspect on perception. As the irregular pattern evolves in all three dimensions, the sense of orientation and space seems to be outside the law of nature. In particular, in an isometric perspective, the volume implodes to being planar just to reappear when shifting the angle. Where the pattern is absent as a structural element, the geometry is applied onto the fabric that serves as an envelope to the cabana. This ensures that the design is complete in all elevations. A cube with a similar pattern of higher complexity hangs as a chandelier from the ceiling. Its shadows transform the Mashrabiya Cabana into a fascinating kaleidoscope of shapes and fragments. The four-meter-cube Mashrabiya Cabana consists of 323 steel elements. It takes more than 2500 man-hours to weld the pieces together.

61 André C. Meyerhans Mashrabiya Cabana 2011 Mild steel or aluminium, color-paint finish and fabric 400 x 400 x 400 cm Provenance: Acquired directly from the artist Estimate: KD 17,200 – 17,600 USD 61,200 – 62,600 In her more recent works from the past ten years, Farideh Lashai has employed video projection on her canvas paintings as her new medium. The artist explains that the video helps expand the painting as an elastic structure in time, material and space. It creates a space for articulating the hidden narratives in her painting. In the current work that was created in the heat of the Arab spring and the Egyptian revolt, Chaplin appears in a scene of The Great Dictator. The face of Um Kalthoum, the Grande Dame of Arab music rises on top of the painting, majestic as a moon with her renowned emerald earrings hanging. The eyes of the singer are closed, as if she is ignoring the minuscule dictator under her watch dancing in excitement to the tune of her song “El Amal”, meaning hope, desire. The desire of Chaplin playing Hitler is different to what the singer is preaching. He has the desire to devour the world, to make it his own, to possess it, as he plays with the globe bouncing it with his bum, touching the moon and Um Kalthoum’s earring. In a final act as the music comes to an end The Great Dictator’s sweet dream, the globe bursts in his hands, leaving him empty handed. The majestic face of Um Kalthoum calmly fades away, leaving a still painting behind, an abstract painting The work is not a reflection on political affiliations as such, but a greater statement about art, and how is supersedes and overwhelms power. It is a commentary that is now charged with meaning. on power of art, its grandiose and eternal character, and how it influences identity of nations. The work was made by using 2500 still images that were cut from The Great Dictator and animating a photograph of Um Kalthoum taken from the Internet to sync her lip movement to her song “El Amal”. 62 Farideh Lashai El Amal 2011 Projected animated images on painting, acrylic on canvas and sound The painting is unique, the animated projection is an edition of 7 + 2AP. 190 x 190 cm (distance of the projector is variable) Provenance: Acquired directly from the artist Estimate: KD 14,000 – 19,700 USD 50,000 – 70,000

Index A L Al Abbar, Fadhel 12 Lashai, Farideh 62 Al Adas, Ahmed Abu 29 Ahmadi, Shahriar 49 M Ahmadi, Shiva 56 Masoumi, Alireza 21 Ahmadian, Salar 37 Al Mazrouie, Fatema 31 Ahmed, Sajjad 17 Meatek, Adnan 13 Amin, Shurooq 44 Meyerhans, André C. 61 Aquiles, Damian 58, 59 Moakhar, Mahmoud Bakhshi 47 Al Atiya, Ibrahim 39 Al Mudhaf, Aziz 25 Al Ayoub, Ahmad 8 Murakami, Takashi 10,11 Azizi, Nasser 9 N B Nabil, Youssef 43 Behbehani, Amira 19 Al Najdi, Suhaila 16 Bounoua, Hamza 51 Braithwaite, Al 46 P Parnes, Eric 14 C Pazooki, Leila 45 Changalvaee, Shahrzad 27 Charafeddine, Chaza 28 R Rahim, Jamal Abdul 53 D Rahimi, Mohammad 38 Derakshani, Reza 63 Ramadan, Mohammed 6

E S Essaydi, Lalla 33, 34 Sajadi, Navid Azimi 2 Salem, Reda 3 F Sami, Mohammed 26 Fakhoury, Omar 4 Samra, Faisal 52 Farhat, Simeen 22, 23, 24 Al Saud, Jowhara 50 Fathi, Golnaz 30 Shaheen, Sueraya 35 Al Shammarey, Mohammed 15 G Siti, Walid 20 Gharahzad, Daryoush 5 Stern, Bert 57

Derakshani’s passion for beauty and his nuanced perception of the light and dark of the world has found expression in many different forms, from music, graphic H T design, book illustration, film animation and calligraphy to studies in traditional and western classical visual arts. Yet it is within contemporary painting that he has Habib, Ebrahim 36 Tarazi, Alfred 55 experienced true liberation and fulfillment as an artist. The challenging techniques, innovation and mental stimulation inherent to contemporary art have led him Haddad, Fadia 18 Al Turki, Sami 41 to create a meditative solitude that results in pure freedom of self-expression. Haddi, Michel 42 Derakshani’s large expansive canvases, layers of quickly laid down materials and luminous colors create a textured and complex surface with compositional Hammam, Nermine 40 Z systems footnoting miniature paintings. The resulting contrasting areas of luminosity and opacity evoke a sense of poetic rhythms and musical harmonies. Hovnanian, Rachel Lee 60 Zhou Wendou 54 I took the improvisational aspects of my music and applied it to painting to make sense of these principles – which worked very well. Persian music is essentially abstract though it is subjugated to certain mathematical principles and rules. In painting I was able to eliminate these constraints by focusing on what emerges K unexpectedly depending on the emotionality of the moment – there are no boundaries just building up, deforming and reforming… Al Kadiri, Abed 48 Al Kandari, Ghadah 32 63 Karimi, Mahsa 1 Reza Derakshani Khazaal, Hameed 7 Garden Party 2011 Oil on canvas 182 x 304 cm Provenance: Acquired directly from the artist Estimate: KD 18,200 – 26,700 USD 65,000 – 95,000 Biographies Fadhel Sulaiman Al Abbar | 1946 | Kuwait Shiva Ahmadi | 1975 | Tehran, Iran EDUCATION Lives and Works in Northville, Michigan 2002 Degree in General Sculpture | Nuspeet City, Holland EDUCATION 1973 Masters in Landscape Architecture | Arizona University | Arizona, USA 2005 Cranbrook Academy of Arts | Bloomfield Hills | MI | Master of Fine Arts 1969 B.S. in Landscape Architecture | Arizona University | Arizona, USA 2003 Wayne University | Detroit, MI | Master of Fine Arts, Drawing 1967 Buena Vista College | Iowa 1998 Azad University | Tehran, Iran | bachelor of Fine Art, Painting EXHIBITIONS SOLO EXHIBITIONS 2011 Kuwait Festival | Aseila, Morocco 2013 Solo Exhibition | Leila Heller Gallery | New York, NY (Forthcoming) 2000 Ice Sculpture | Quebec City, Canada 2012 College of Wooster Art Museum | Wooster, OH (Forthcoming) 1988 Ice Sculpture | Lulea City, Sweden Throne | Solo Exhibition at Art Dubai | Dubai, UAE Solo Exhibition | Kuwait Museum | Kuwait 2010 Shiva Ahmadi: Reinventing the Poetics of Myth | Leila Heller Gallery | New York, NY 1989 Solo Exhibition | Abdullah Al Salem | Kuwait 2005 Oil Crisis | Laila Heller Gallery | New York, NY

GROUP EXHIBITIONS (selected) Ahmad Abu Al Adas | 1965 | Jordan 2012 The Fertile Crescent : Gender, Art & Society | Organized by Rutgers University at the Arts Council of Princeton | NJ (Forthcoming) EDUCATION The Rule and Its Exception | Leila Heller Gallery / Deborah Colton Gallery | Houston, TX 2000 Theatrical Decoration | Higher Institute of Dramatic Art | Kuwait 2011 Art X Detroit | Museum of Contemporary Art | Detroit 1988 Arabic Calligraphy | College of Basic Education | Kuwait JASMIN | Galerie Sabine Knust | Munich, Germany 1986 Diploma in Interior Design | Jordan (Dis)Locating Culture: Contemporary Islamic Art in America | Curated by Reem Alalusi | Michael Berger Gallery | EXHIBITIONS (selected) Pittsburgh, PA 2011 Gallery Hills | Kuwait 2010 Tehran – New York | Leila Heller Gallery | NY 2010 FA Gallery || Kuwait 2009 Iran Inside Out | Chelsea Art Museum | New York, NY 2009 Horse racing World | Dubai Selseleh / Zelzeleh : Movers & Shakers in Contemporary Iranian Art | Curated by Dr. Layla Diba | Leila Heller 2008 Race Horse Arab Exhibition | Qatar Gallery | New York, NY Horse racing World | Pyramid Society | Kentucky, USA 2008 Just paper | Leila Heller Gallery | New York, NY 2003 Gallery we meet in love with Kuwait | Kuwait Ahmadi & Zhang : Looking back | The Feldman Gallery at Pacific Northwest College of Art | Portland, OR Splash | Leila Heller Gallery | New York, NY 2007 Merging Influences, Eastern Elements in New American Art | Montserrat Art Gallery | Boston, MA Shahriar Ahmadi | 1979 | Kamiaran, Iran 2006 Figuratively Speaking | Elga Wimmer Gallery | NY 2005 Three Positions | Lombard Freid Projects | NY EDUCATION Atomica | Lombard Freid Projects | NY 2005 MFA Painting | Art University | Tehran, Iran Portland Museum of Art Biennial | Portland, ME 2002 B.A. Painting | Art University | Tehran, Iran Cross Current | Birmingham Bloomfield Art center | Birmingham, MI 1997 Diploma in Painting | Boy’s Academy of Fine Art | Kermanshah | Iran

EDUCATION Al Braithwaite | 1979 | Rinteln, W.Germany Visual Arts and Music | Tehran University | Iran

EDUCATION EDUCATION 1991 Graduation | Industrial Engineering 2011 BA in Graphic Design | American University | Kuwait

EDUCATION Lives and works between Italy and Iran 1982 High School | Bahrain SOLO EXHIBITIONS 1986 Draftsmanship | India 2012 Olcay Art gallery | Istanbul, Turkey SOLO EXHIBITIONS (selected) M.U.S.P.A.C. (Museo sperimentale arte contemporanea) | Aquila, Italy 2004 Dialogue with others 2009 False Flags | Azad Art Gallery, Tehran, Iran 2003 Another Vision | Art Center | Bahrain 2008 PH7 Art Gallery | Rome, Italy 2002 Bahrain Art Society | Bahrain 2005 Azad Art Gallery | Tehran, Iran Dar Al Funoon | Kuwait GROUP EXHIBITIONS (selected) Ministry of Culture | Oman 2012 Special Preview of emerging Iranian art, Buhl & Amin Collection | New York, USA 2001 Epreuve d’artiste | Beirut, Lebanon 2011 The Iranian Weltanschauung Curated by Shahin Meralli | Freies Museum | Berlin, Germany 2000 Agial Gallery | Beirut, Lebanon AL-GHAIB | Maraya Art Center, Curated by Gaia Serena Simionati | Sharjah, UAE Opera hall | Egypt MOP CAP 2011 | Shortlist Exhibition at Traffic Gallery | Dubai GROUP EXHIBITIONS (selected) 2010 Barakat | STUX Gallery, Curated by Gaia Serena Simionati | New York, USA 1998 Group Exhibition | institute du Monde Arab | Paris, France 2009 Tawassoli | Galleria Artericambi, Curated by Gaia Serena Simionati | Verona, Italy 12th International Biennial for Etching | Norway The International Roaming Biennial of Tehran | Belgrade, Serbia 1997 17th Miniature print Biennial | Spain Far From Where We Came | Aran Art Gallery | Tehran, Iran 1996 Mini-Print International Biennial | Sweden Imprendi I arte Art Prize | Rome, Italy (cat) 16th Mini-Print Exhibition | Poland 2008 The International Roaming Biennial of Tehran | Urban Jealousy | Berlin, Germany Egyptian International Print Triennial | Cairo 2006 The Fourth International Painting Biennial of the Islamic World | Tehran, Iran 1994 3e Triennale Mondiale d’Estampes Petit Format | France Villa Celimontana | Festival Jazz di Roma Galleria Stella | Rome, Italy 8th International Miniature Print Exhibition | Korea 1993 International Print exhibition | Machida, Tokyo Mini-Print International exhibition | Spain Reda Salem | 1951 | Kuwait First Egyptian International Print Triennial | Cairo 1992 10th Norwegian International Print Triennial | Norway EDUCATION 1980 BA Degree in English Literature

SOLO EXHIBITIONS 2011 Xerxes Gallery | London, UK Constructakons | The Pavilion | Dubai, UAE 2010 Gallery Rx | Paris, France

Zhou Wendou | 1970 | Beijing, China

SOLO EXHIBITIONS 2010 The use of the Useless | Other Gallery | Beijing, China 2009 Ampa Gallery | Madrid, Spain 2007 Ampa gallery | Madrid, Spain

GROUP EXHIBITIONS (selected) 2009 XIII Premio Unicaja de fotografia | Almeria, Spain Originaire – Installation Exhibition | Deshan Art Space | Beijing, China Beijing Time | Chinese Contemporary Art Exhibition | Matadero de Madrid, Spain 2008 Chinese biennial | KU Art Center | Beijing, China 2007 (68) Exposicion Internacional de Arte Plasticas de Valdepenas | Ciudad Real Spain Gallery of the Academy of Fine Arts | University of Complutens | Madrid, Spain 2006 XXXIII Premio Bancaixa | IVAM | Valencia, Spain IX Mostra Internacional Union Fenosa | A Coruna, Spain 2000 Gallery of Venice Academy of Fine Arts | Venice, Italy 1999 Museum of the Obispo Vellosillo | Segovia, Spain Conditions of Sale 1) JAMM LLP as agent 8) Shipping JAMM LLP acts as agent for the seller. The contract for the sale of the property is therefore made It is the buyer’s responsibility to pick up purchases or make all shipping arrangements after between the seller and the buyer. payments have been made in full. Al Matrouk Cargo Center can arrange property packing and shipping at the buyer’s request and expense. 2) Buyer’s Premium 9) Collection of Purchased Lots JAMM LLP charges a premium to the buyer of 10% on the final bid price of each lot sold. Purchased lots may be collected from Al Matrouk Cargo Center. Lots will not be released until all outstanding charges due to JAMM LLP and Al Matrouk Cargo Center are settled. We regret that 3) Bidding JAMM LLP staff cannot accommodate requests to roll canvases sold on stretchers. When making a bid, the bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and any applicable taxes, plus all other applicable charges. 10) Storage 4) Absentee Bids All lots (sold and unsold) will be removed and warehoused by Al Matrouk Cargo Center. After five days from the date of the auction, lots shall be subject to a daily storage charge of US$3.00 per lot plus Please refer to the catalogue for the Absentee Bids Forms. Written bids should be submitted a an administrative fee of US$30.00 payable to JAMM LLP . minimum of 48 hours prior to the sale. JAMM LLP will e-mail confirmation to the buyer on receipt of all written bids. Where JAMM LLP receives written bids on an identical lot of an identical amount, the lot will be sold to the buyer whose written bid was received and accepted first. 11) Insurance Successful bids and passing of risk: Subject to the auctioneer’s reasonable discretion, the highest 5) Payment bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the Buyers are required to pay for purchases within five days of the sale. Payment can be made by bank acceptance of the highest bid and the conclusion of a contract for sale between the seller and wire transfers, credit or debit cards. the buyer. Risk and responsibility for the lot (including frames or glass where relevant), passes to the buyer at the expiration of five calendar days from the date of the sale or on collection by the 6) Import Permits buyer if earlier. Buyers are reminded that it is their responsibility to arrange adequate insurance for purchased lots. Property sold at the auction may be subject to import restrictions of foreign countries. It is the buyer’s sole responsibility to obtain any relevant import license. The denial of any license or any delay in For enquiries please e-mail Gazala Shaikh at [email protected] obtaining licenses shall neither justify the rescission of any sale nor any delay in making full payments for the lot. Upon request JAMM LLP will assist the buyer in submitting applications to obtain the appropriate licenses, however JAMM LLP cannot ensure that a license will be obtained. Local laws may prohibit the resale of some property in the country of importation. No such restriction shall justify the rescission of any sale or delay in making full payment for the lot.

7) Import Duty Purchases originating from Kuwait, sold and remain in Kuwait do not attract import duty. Purchases of imported objects collected or shipped within the GCC (UAE, Oman, Qatar, Saudi Arabia, Bahrain) are subject to 6% import duty on the total price (hammer plus buyers premium) levied at the time of collection/shipment by Al Matrouk Cargo Center. For buyers in the GCC, please note that the duty is paid at the origin (in Kuwait) and not in the importing country. Duty paid in Kuwait will be treated as ﬁnal duty payment as per GCC custom laws. It is the buyer’s responsibility to ascertain and pay all taxes due. Absentee Bid Form Please complete the absentee bid form below. Print and fax a signed copy to Gazala Shaikh at +965 224 16759 or scan and send to [email protected]

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20 Hanover Square, London, W1S 1HZ www.jamm-art.org TAG Heuer is proud to be the sponsor of JAMM’s Contemporary Art Auction and to participate through this unique partnership to the development of culture and art in Kuwait and in the Middle East. TAG Heuer has been pioneering Swiss luxury watchmaking for over 150 years, bringing to the art of time measurement some of its most important innovations. Creativity and daringness are at the heart of TAG Heuer, as they are for any true artist.

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