Hand-made painting.

Painter: Stanislav Lazarov

Title: Blue miracles

Each of my paintings is painted with high-quality oil paints on canvas, ready to hang and enjoy immediately. The rich texture invites you to touch and admire from every angle - a true work of art for modern and classic interiors.

＊Packaging: The painting will be securely packaged in a protective box.

＊Material: High-quality professional oil paints on premium canvas.

Size: 70x60 cm

27" x 24" in

Hand-made painting.

Painter: Stanislav Lazarov

Title: Sea decor

Each of my paintings is painted with high-quality oil paints on canvas, ready to hang and enjoy immediately. The rich texture invites you to touch and admire from every angle - a true work of art for modern and classic interiors.

＊Packaging: The painting will be securely packaged in a protective box.

＊Material: High-quality professional oil paints on premium canvas.

Size: 70x60 cm

27" x 24" in

2 orange pod shapes is a placid body of water creating a surreal landscape of serenity. Print is color Fuji Crystal Archival print material bonded to a sheet on aluminum fluch to edges and ready to hang. Approx size 30"x40"

A color photograph of a full moonrise between towering columns creating a surreal image of time and space. Fuji Crystal Archive print material bonded to a sheet of aluminum ready to hang. Estimated value for each of the 3 images I've uploaded to be about

Öl, canvas, 110 x 110 cm, Aschendorf an plein air, 2018

I started painting late in the evening. At the edge of the wood, I saw the foxgloves in purple. This time, I didn`t paint the wood itself, but the wildflowers.

Remembrance Thai Mulberry and other handmade paper, mineral pigments on canvas 32 × 32 × 6 inches | Framed

Remembrance is built petal by petal from hundreds of individually torn and folded sheets of Thai Mulberry and different handmade paper. Before and after each tear, layers of red mineral pigments are applied — deepening from a warm red crimson at the center to a rich, saturated red at the edges. The tears are organic and unrepeatable; each fold is shaped by hand to achieve a precise yet living result.

The circular form radiates outward from its glowing core, evoking the sun, a bloom, or a heartbeat — a center of energy expanding into the world. The interplay of light across the raised, textured surface shifts throughout the day, making the work a continuously changing presence in any space it inhabits.

This piece exists between categories — neither painting nor sculpture in the traditional sense, but something wholly its own: tactile, organic, and irreplaceable. Its physical presence invites a sensory engagement that goes beyond the visual. Texture here is a form of intelligence, reaching toward touch even when touch is not possible.

The act of building petal by petal embodies the quiet power of slow, deliberate growth — small, consistent gestures accumulating into something profound. Remembrance is at once an artwork and a meditation: on patience, on process, on the beauty of transformation made visible over time.

Executed with archival mineral pigments, this work is conservation-grade and protected under museum-grade non-glare glass, suitable for institutional and private collections.

Ochre Wind Various handmade papers, mineral pigments on canvas 40 × 30 × 6 inches | Framed

Ochre Wind captures the sensation of a breeze moving across an open field — through dried cattails, tall grasses, or any landscape the imagination calls forth. The forms here are longer and more directional than in Behnam's other works: the folds and tears are deliberately shaped to suggest movement, each element angled to carry the eye across the surface in a continuous, flowing current.

Built petal by petal from hundreds of individually torn and folded sheets of handmade paper, the work shifts in color from warm golden ochre at the left, deepening through amber and sienna toward rich burnt brown and red at the right. This gradient is not merely visual — it evokes the quality of light changing across a landscape as wind passes through it. Viewed from different angles, the colors shift subtly, and the sense of motion intensifies.

Before and after each tear, layers of ochre mineral pigments are applied by hand. The tears are organic and unrepeatable; each fold is shaped to achieve a precise yet living result. The raised surface creates a shifting topography that responds to light throughout the day, making the work a continuously changing presence in any space it inhabits.

Ochre Wind exists between categories — neither painting nor sculpture in the traditional sense, but something wholly its own: tactile, organic, irreplaceable, and quietly alive. Hundreds of individual gestures accumulate into a single unified field of energy and movement. The act of building petal by petal embodies slow, deliberate growth — small, consistent actions converging into something profound. The work is at once an artwork and a meditation: on patience, on impermanence, on the beauty of forces larger than ourselves made visible over time.

Executed with archival mineral pigments and conservation-grade materials, and protected under museum-grade non-glare glass, this work is suitable for institutional and private collections.

Sun Mulberry, Kozo, tissue, and handmade papers, mineral pigments on canvas 50 × 40 × 6 inches | Framed

Sun begins where all energy originates — at the center. The canvas is raised in two concentric ripples, built petal by petal from thousands of individually torn and folded sheets of Mulberry, Kozo, tissue, and handmade paper. From this luminous core, color radiates outward in an unbroken gradient: molten yellow at the heart, deepening through orange and red, cooling into deep cobalt and violet at the edges — the full spectrum of a sun witnessed from rise to atmosphere.

Before and after each tear, layers of mineral pigments are applied by hand. The tears are organic and unrepeatable; each fold is shaped to achieve a precise yet living result. The raised surface creates a shifting topography that responds to light throughout the day, making the work a continuously changing presence in any space it inhabits.

Sun exists between categories — neither painting nor sculpture in the traditional sense, but something wholly its own: tactile, organic, and irreplaceable. Thousands of individual gestures accumulate into a single, unified field of energy. The act of building petal by petal embodies slow, deliberate growth — small, consistent actions converging into something profound. The work is at once an artwork and a meditation on patience, process, and the beauty of transformation made visible over time.

Executed with archival mineral pigments and conservation-grade materials and protected under museum-grade non-glare glass, this work is suitable for institutional and private collections.

Nymphéas et leurs reflets à Giverny

Abstraction Noir et Blanc

Trans - genre dans un doux laisser - aller

Dieux -Animaux dans leur univers

This photograph,printed on canvas ,depicts the ruins of castle Cashel in Ireland,and is framed in it orginal wooden and plaster frame from around 1800. The wooden frame has undergone a complete renovation and protected for another 200 years.Its current color is unique and the only one in the world-a golden color that changes to white depending on the light intensity.On cloudy days ,it is golden , and on very sunny days ,it changes to white 

170 x 100 cm. Mixed media / canvas. This work is titled "Campo dei Miracoli," like a street in the magical city of Venice. Nature is a miracle, and the life of a flower is such an ephemeral and magical moment that we strive to see and hold onto it. Fusing Impressionist clarity with vibrant Fauvism and elements of Pop Art, I use acrylics, collage, colored pencils, and gold to paint a panorama where the real converges with the imaginary. Something so everyday and yet so magical continues to captivate and amaze everyone. The flowers, here disproportionately large, are the main protagonists; but their grandeur lies not in their size, but in their power to inspire awe. This painting can be associated with scents, music, and contemplative, relaxing, and surprising moods.

Oil Painting on Board12"x9

mixed media collage on canvas

162 x 114 x 3 cm

Acrylic on canvas, 48x36 cm, CZYBA 2026.

Acrylic on paper, 21x29 cm, CZYBA 2026

original oil painting on canvas

original oil painting on canvas

original mixed media painting on canvas

Oil on canvas

70x50 cm

2026

Oilpainting, 60 x 90 cm, Marina Radius 1998

Oil painting on canvas, measures 48 X 36 inches, gallery wrapped around 1.5 inch deep stretcher bars with edges painted deep maroon

Tempera on bas-relief plywood structure 105 x 105 cm.

Mixed media on stretched canvas, with acrylic, copper and gold leaf. 110 x 76cm, 2026

White Pearl 2026year 70x50cm Original painting Oil on canvas

Abstract, acrylic on canvas, 24x48 inch

painting acrylic on canvas, 2026, 150 x 150 cm

painting acrylic on canvas, 2022, 55 x70 cm

This artwork I created between 2023 - 2025,acrylic on canvas, 100 x100 x 2cm.

This artwork I created between 2023 and 2025, acrylic on canvas, 100 x 100 x 2 cm.

This artwork I created between 2020 and 2024, oil on canvas, 76 x 51 x 4 cm.

50 x 70 cm, oil on canvas.

44 x 60cm, oil on canvas.

50 x 70 cm, oil on canvas.

Painting. 2025 , 81x100x2 , oil on canvas

Painting . 2026 , 90x90x2 , oil on canvas

Painting. 2025 , 81x100x2 , oil on canvas

Painting. 2023 , 60x80x2 , oil on canvas

Acrylique/ technique mixte sur toile - 61 x 50 cm

acrylique/ Technique mixte sur toile marouflée + caisse américaine - 41 x 41 cm

Technique mixte sur toile de coton-70 x 50 cm

Oil paint, acrylic medium, and high-density foam on linen over panel

48 x 36 x 3 1/2 in. (121.9 x 91.4 x 8.9 cm)

Courtesy of the Artist and Pace Gallery

Rembrandt Harmensz. van Rijn (Leiden 1606-1669 Amsterdam)

Young Lion Resting

Black chalk and gray wash, heightened with white, on paper washed light brown 115 by 150 mm; 4½ by 5⅛ in.

SOLD TO BENEFIT PANTHERA: THE WORLD'S LEADING CONSERVATION ORGANIZATION FOR WILD CATS

Workshop of Michael Wolgemut

Recto: The Flagellation

Verso: A Standing Woman

Pen and black ink over black chalk, on paper washed pink

152 by 263mm; 6 by 10% in.

Paul Klee

1879-1940

Versumpfung (Becoming Swampy)

signed Klee (lower right); inscribed VII (lower left on the artist's mount); dated 1929, inscribed WIO and titled versumpfung (lower center on the artist's mount)

ink and watercolour on paper sheet: 31,8 × 45,9; 12½ × 18⅛ in.

artist's mount: 38,2 × 52,1 cm; 15 × 20%½ in.

Executed in 1929.

Francis Picabia

1879 - 1953

Sans titre

signed Francis Picabia (lower left)

pencil and ink on paper 30,5 × 22,7 cm; 12 × 9 in.

Executed circa 1929-32.

This work will be included in the forthcoming catalogue raisonné being prepared by the Comité Picabia.

sothebys.com

John William Godward

English 1861 - 1922

Cleonice

signed and dated upper right:

J.W.GODWARD. 1913; signed, inscribed, titled and dated on the reverse: CLEONICE/J.W.

GODWARD/ROME/1913

oil on canvas

canvas: 19% by 15 % in.; 49.8 by 40.3 cm framed: 30 ½ by 25 % in.; 77.5 by 65.1 cm

Executed in 1913.

Condition Report

Provenance

Bonhams, London, 18 March 2003, lot 91

Private Collection, Limousin, France (acquired by 2005)

Christie's, London, 7 June 2007, lot 43

Acquired from the above by the present owner

Jean Baptiste Fortuné de Fournier

French 1798 - 1864

Souvenir de l'Exposition universelle des Beaux-

Arts de 1855

signed and inscribed lower right within self portrait: F. de Fournier fecit watercolor and graphite on paper image: 36 by 56 ¼ in.; 91.4 by 142.9 cm framed: 41 by 61% in.; 106.4 by 157.2 cm

Giorgio Vas

(Arezzo 1511 - 1574 Florence)

The Dispute of Saint Catherine with Emperor Maxentius

Pen and brown ink and light brown wash over black chalk, within partial brown ink framing lines, arched top;

extensively inscribed by the artist in brown ink, verso, with lists of artists' names and dates related to the 1550 edition of Vasari's Lives 200 by 108 mm; 7%8 by 4¼ in.

Condition Report

+

Provenance

Private collection;

sale, London, Christie's, 8 April 1986, lot 24;

Dr. George Goldner, Los Angeles; with Katrin Bellinger Kunsthandel, Munich and London, Drawing in Florence, 1500-1650, 1991, no.ari

At the center of this striking ring is a magnificent marquise-shaped diamond weighing 8.85 carats, its elongated silhouette creating a sense of effortless elegance and light. Set in luminous platinum, the diamond's exceptional D color and Internally Flawless clarity allow it to radiate with extraordinary brilliance and purity. Graceful yet powerful, this ring is a statement of refined luxury and timeless beauty.

Featuring a marquise-shaped diamond.

• Diamond weighing 8.85 carats

• Size 6

• Platinum

• Accompanied by GIA report 2233801888 dated January 14, 2026 stating that the diamond is D color, Internally Flawless. Together with a letter from the GIA stating that the diamond has been found to be type lla

Gracefully understated, this ring features a captivating emerald-cut emerald weighing 3.76 carats, its vivid beauty perfectly framed by a sleek bezel setting. Crafted in glowing 18 karat gold, the design feels timeless, allowing the emerald’s presence to remain the true focus. Serene yet expressive, the ring evokes a sense of quiet luxury and enduring grace. A jewel of rare character, it is meant to be worn close and cherished as a lasting symbol of beauty and meaning.

Featuring an emerald-cut emerald in a bezel setting. 

Emerald weighing 3.76 carats 

Size 6¼ 

Maker’s mark for Jogani 

18 karat gold 

Accompanied by a copy of AGL report no. 8093151 dated June 11, 2025 stating that the emerald is of Colombian origin, clarity enhancement: minor, type: traditional

Untitled (Camel Race)

signed Mohamed Siam and dated 1409 (AH) in Arabic (lower right)

oil on canvas

77 by 122 cm.

30 ¼ by 48 in.

Executed in 1988-1989 (AD)/1409 (AH).

NIKE, NIKE MESH JERSEY, SIZE 48 (+4 LENGTH)

MESH