Turf War (2003) is an unsigned Banksy screen print on wove paper, from an edition of 600, titled after Banksy’s solo exhibition. Adding a green, grass mohawk to the famous "Roaring Lion" portrait of Winston Churchill's, immortalizing the statue's real-life defacement during a 2000 Parliament Square protest.

Oil painting on board - Signed - circa 1849 

Board size: 8x10" - Frame size: 19x17"

No.215 signed 'CHANT AVEDISSIAN' and located in Arabic 'Cairo'; titled in Arabic 'Fawzia' (lower center) monotype stencil and gouache on recycled paper 49 x 69 cm

A monumental political composition depicting a pivotal revolutionary assembly, this work captures the theatre of power, ideology, and nation-building. Set around a crowded conference table beneath a vast strategic map, the painting reflects the visual language of early 20th-century Soviet realism, where political leaders were presented not merely as statesmen, but as architects of history. Rich in narrative detail and atmosphere, the work serves as both a historical document and a powerful example of art used to shape collective memory. Today, such pieces are sought after for their cultural significance, historical context, and enduring presence within important collections of political and Soviet-era art.

Over the course of a career that began in the restrictive environment of the U.S.S.R., self-taught photographer Nikolay Bakharev has amassed a body of black-and-white portraits of everyday people, infused with eroticism both subtle and overt. He shoots bathing suit-clad couples, families, and groups of friends that he finds at the beach, who often invite him into their homes, where he coaxes off their clothes and portrays them in awkwardly elegant, sexually charged poses. He sees these images as records of abandon, as he describes: “From my point of view, I expose the nature which people do not want to admit to, if it does not fit their notions of themselves.” Bakharev spends hours with his subjects, arranging them into poses that reflect his own vision of human sexuality—combining tenderness and rawness, openness and opacity, vulgarity and grace.

An iconic collaboration between celebrated British light artist Chris Levine and the legendary Grace Jones, this lenticular work is drawn from the acclaimed Stillness at the Speed of Light series. First presented at The Vinyl Factory in London in 2010, the project redefined contemporary portraiture through Levine's pioneering use of light, movement and holographic imaging.

As the viewer moves, the portrait subtly shifts, creating a mesmerising illusion of motion that transforms a static image into a living, meditative experience. The lenticular process enhances Grace Jones' striking presence, capturing both her sculptural beauty and commanding persona through Levine's distinctive visual language.

Combining cutting-edge technology with fine art, Levine's portraits have become some of the most recognisable works in contemporary British photography, held in major private collections worldwide. His collaborations with cultural icons, particularly Lightness of Being depicting Queen Elizabeth II, have established him as one of the leading artists working with light and perception today.

Grace Jones remains one of the defining cultural figures of the last half-century—an artist whose influence spans music, fashion, film and performance. This collaboration brings together two creative visionaries, resulting in a work that is both technologically innovative and visually unforgettable.

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