THE_ONLINE Contemporary, Modern and Classical Art Auction
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Komet (1941 -2022)
Click for Artist Information"Éternel Retour"
KOMET'S WORK FROM 1990...
DREAM, FANTASY AND REALITY IN KOMET'S PAINTINGS...
Have to mention that Komet isn’t painting a dream on the contrary he paints the dreams he wants to envision. And because of this Komet needs to extricate, and interpret his dreams and re evaluate his relation to the surreal.
With no doubt we cannot state that the whole arrangement of Komet’s fantasies are neither unnatural or synthetic. There are the residues of his actual fantasies his dreams. In his paintings. But when he construes this real fantasy full of objects in an aesthetic and artistic set-up, it’s seems as if he sees the same dreams again. If we take this matter and evaluate it in a larger context we can say that Komet not only sees his own past, his own dreams, but others’ as well.
Relevent to Komet’s position a quote from Freud about substance and meaning seems at use: “Happy people don’t dream, only those that haven’t reached complete satisfaction would do such. Unsatisfied desires are the repellant force of dreaming. Every dream is the attempt to satisfy the desire and to change the truth that with holds the attempt.”
When we take his work into consideration, Komet’s life is definitely a very unhappy one. No doubt, joy has not disappeared completely, but sense of humor is ready to change to dark comedy which can turn into pain. I would like to say that Komet is seeing a big dream that can encompass all the other dreams within. Therefore the dreams in his work carry a quality of subjectivity.
Ahmet Oktay, “Komet”, Galeri Nev, 1995, Sayfa: 14, 16, 24
Oil on canvas
60 x 73 cm
2004, signed
Estimate: 450.000 TL - 650.000 TL
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Komet (1941 -2022)
Click for Artist Information"Empreintes de l'Inconscient"
THE MYSTERIES OF KOMET...
Komet’s paintings that provoke the imagination of audiences and that are loaded with dream signals so surprising that they suck the mental activity into an interpretation vortex, gird on the dangerous tranquility of an imaginary atmosphere within themselves. As works that created their own poetry, I prefer to think Komet’s paintings as a Hittite traveler that came from a local source in Corum and strolled primarily the curve of Kızılırmak and the all the streets of Paris, making fun of the global diaspora tales with a diaspora parody, rather than a traveler imprisoned in the context compartments of global literature. I believe that none of the philosophical attacks that determine their statements as the end of art or art history can drag Komet’s paintings into the context swamp of the speculatively globalizing shape disasters. An important reason of this is that a composition sensitivity, organized against narrative expressions, gained a seat in Komet’s figure world, and that the artist was able to keep a context expression that cannot be deterred by those kinds of accusations alive. The series of opposite movements forming one of the most significant criteria of painting layouts and figures reaching a lewd freedom are like puppets whose wires are pulled by the decisive, indecisive processes or current dilemmas determining Kommet’s current life.
Sezer Tansuğ, “Komet’in İzleri”/Komet Göçerken, Teşvikiye Sanat Galerisi Yayınları, 2000, Sayfa: 26, 27
Oil on canvas
33 x 46 cm
2021
Estimate: 220.000 TL - 340.000 TL
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Ergin İnan (1943 - )
Click for Artist Information"Wine of Color Flows to My Hands from Your Drunken Eyes"
ERGİN İNAN’S “GROTESQUE HEAD” PAINTINGS…
In his Grotesque Head paintings, Ergin İnan masterfully combines psychological depth, visual tension, and philosophical inquiry. Renowned for his deep engagement with themes of identity, time, and memory, the artist overturns traditional aesthetic conventions in these portraits inviting the viewer into a multilayered world where beauty and distortion, the sacred and the uncanny, coexist.
In İnan’s work, the concept of the “grotesque” does not merely point to the bizarre or the disturbing; rather, it symbolizes a fractured reality, where inner truth emerges through the distortion of outward form. The portraits may feature asymmetrical facial features, exaggerated expressions, or symbolic overlays that disrupt traditional human representation. Yet within this dissonance lies a potent emotional charge one that draws attention to the fragility and complexity of being human.
Influenced by Byzantine iconography and contemporary Western expressionism, İnan fuses Eastern metaphysical traditions with a modern visual language. In his Grotesque Head paintings, the viewer is presented not just with a face, but with a philosophical mirror a portrait not of appearance, but of essence.
İsmail Tunalı, “Ergin İnan-9 Grotesk Kafa”, Artist, 2007
Acrylic on wood
50 x 40 cm
1983, signed
Estimate: 180.000 TL - 260.000 TL
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Erol Akyavaş (1932-1999)
Click for Artist Information"From "Karbala" Series"
EROL AKYAVAŞ’S “KERBELA SERIES” WORKS...
Erol Akyavaş’s Kerbela Series stands out as one of the most powerful and profound bodies of work in Turkish modern art, approaching themes of sacrifice, suffering, and spiritual transformation through a deeply expressive visual language. Created in the 1980s and early 1990s, these works center on the historical event of the Battle of Karbala, a tragedy that holds deep significance in Islamic history, particularly within the Shiite tradition.
Rather than depicting Karbala as a historical narrative, Akyavaş transforms it into a universal symbol of injustice, martyrdom, and resistance. The works in this series draw attention with their references to sacred geometries. Drawing from Islamic art, Sufi mysticism, and the Western modernist painting tradition, the artist constructs a unique visual idiom, creating fragmented figures and symbolic spaces that evoke sacred texts and inner spiritual realms.
In this series, Akyavaş explores the metaphysical dimensions of human suffering. The artworks are imbued with the tension between the earthly and the divine, between pain and salvation. He presents Karbala not merely as a political or religious catastrophe, but as an allegory of moral resilience and spiritual awakening.
The Kerbela Series powerfully embodies Akyavaş’s unique bridge between East and West, tradition and innovation, and reflects his metaphysical quest. These paintings continue to resonate today, offering viewers a contemplative space in the face of violence, loss, and the search for meaning.
Mixed media on paper
42 x 31 cm
2015, signed
Estimate: 160.000 TL - 240.000 TL
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Adnan Çoker (1927 -2022)
Click for Artist Information"From Line to Tone"
ADNAN ÇOKER'S WORLD OF ART...
There is no destructiveness in Adnan Çoker’s world. He does not view life pessimistically. He hasn’t severed his relationship with the world yet. On the contrary, he proceeds on his course of art by reckoning with traditions. It is nearly impossible to read writings of Malevic and correlate with his paintings and not feel grief. Why? Is it because his utopia is not a bright one which gives happiness? Or is it because of the suprematism which he fanatically believes in that became a religion for him? (Lets remember the paintings seen as icons in which he minimized color and form) I don’t know. Adnan Çoker’s paintings don’t leave this kind of effect on the viewer; they are far from awakening feelings like joy, grief etc. Regardless of the black space, they awaken an infinite feeling of stilness. Colors sparkling in void, takes in the eye in the painting and the eye starts to think. This is yet a thinking in the process of sensation. As for me, the unlikely attractiveness of these paintings originates from this. Nazan İşpiroğlu, “Adnan Çoker Retrospektif 2010”, Beltaş, 2010, Sayfa: 330
Acrylic on oil
60 x 60 cm
2019, signed
Estimate: 200.000 TL - 300.000 TL
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Ergin İnan (1943- )
Click for Artist Information"The Dream of My Heart"
APPROACHING A STRANGER FRIEND...
Inan portrays what is hidden and his own mysterious world. He sees the magnitude of the universe, of the cosmos in a tiny ‘dot’, in a ‘particle’. He reaches the universe from a dot, departing from a detail to reach the whole. Working, for him, requires a great concentration. This concentration means breaking the bond with the outside world and diving into the inner world, like some kind of meditation. He creates a universe weaved with coincidences, intersections, meetings; he gets excited when he perceives the secret order of the complex. His mysticism lies in the search of the unknown. He reaches objectivity from a subjective concept in his inner world. “I do not know where I am getting to, but I am trying to sort myself out... My painting or my idea is always to draw what is in the heart. Who goes to the heart, sees the pictures that hands cannot touch, that eyes cannot see; embraces people,” he says.
Dr. Elizabeth Wagner, “Ergin İnan”, Sevil Dolmacı Art Consultant, 2017, Sayfa: 24
Mixed media on paper pasted on canvas
103 x 132 cm
2006
This work has a certificate prepared by the artist Ergin Inan.
Estimate: 110.000 TL - 140.000 TL
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Chintan Upadhyay (1972 - )
Click for Artist Information"Their Carrier, Your Desires, Left Me Alone In This Scary World"
CHINTAN UPADHYAY, WHO LIVES AND WORKS IN MUMBAI, IS AN IMPORTANT REPRESENTATIVE OF MIDDLE-BAND INDIAN CONTEMPORARY ART...
Upadhyay is very bold and generous in the way he uses bright colors in his work; he tears away the female and male dolls from their own natural setting and transports them to an environment where time and space are irrelevant. His designs and traditional depictions inspired from the art of miniature, cover bodies and faces like tattoos. These components of Upadhyay's original style are transformed into critical, ironic and questioning expressions which criticize patriarchal society and sexual taboos as well as current politics.
Acrylic on canvas
215 x 350 cm
1997, signed
Estimate: 90.000 TL - 140.000 TL
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Mark Brusse (1937- )
Click for Artist Information"Le Corbeau et La Tomate"
MARK BRUSSE, WHOSE WORKS ARE SEEN IN EUROPEAN MUSEUMS AND WHO LIVES AND WORKS IN PARIS, IS ONE OF THE IMPORTANT REPRESENTATIVES OF DUTCH CONTEMPORARY ART...
Brusse, who masterfully blends Eastern minimalism with Western expressionism, is known for his poetic and often ambiguous imagery. In this work, the crow a figure laden with ancient meanings such as intelligence, omen, or transformation appears as a silhouette emerging from the darkness, its yellow beak standing out. Opposite it rests a tomato, burst open with cobalt blue and glowing like a delicate planet. This blue evokes inner turmoil, decay, or hidden vitality.
Mixed media on paper
70 x 140 cm
1907, signed
Estimate: 60.000 TL - 80.000 TL
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Michel Georges-Michel (1883 -1985)
Click for Artist Information"Montmarte"
ONE OF GEORGES-MICHEL’S SIGNATURE “MONTMARTRE” WORKS FROM 1907…
MICHEL GEORGES-MICHEL’S “MONTMARTRE” PAINTINGS…
Michel Georges-Michel primarily focused on figurative compositions, cityscapes, and interior depictions. Especially in his Paris themed scenes, a deep affection for the city’s architecture, its everyday rhythm, and the subtle transitions of light that define its character is clearly evident. In his works, he often portrays quiet moments such as a woman at her dressing table, a view through an open window, or a street corner in Montmartre imbuing these scenes with poetic stillness and internal depth. These pieces stand out for their soft color palettes and balanced compositions, reflecting a sense of lived experience and emotional resonance.
Among Georges-Michel’s paintings, the “Montmartre” works hold a special place. Michel always preferred to paint within a limited area around Paris. He used to say: “An artist who cannot paint within a four-lieue (approximately 16-kilometer) radius is a clumsy artist searching for mandrake but finding only emptiness.”
Oil on canvas
65 x 54 cm
1990, signed
Provenance: Sevin & Nazım Sadıkoğlu Collection
Estimate: 35.000 TL - 50.000 TL
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Selma Gürbüz (1960 -2021)
Click for Artist Information"Ottoman Cafe" from the "Archetypes Series"
A RARE WORK FROM SELMA GÜRBÜZ’S "ARCHETYPE" SERIES
“ON THE TRADITION OF OTTOMAN CAFÉS” SELMA GÜRBÜZ...
I inherited countless images. Is it them, or rather their memory, their repeated reminiscences, that inspired me to this vision of the cafés of Constantinople during the Ottoman era? For me, they remain the cafés of literary and aesthetic pleasures.
I chose to stage this kaleidoscopic spectacle of times past by arranging them on a flat surface: here is a shadow theater where beings and things move, tending toward the most absolute simplification. The figures and themes that make up this universe are placed in the perspective of synchrony and can be considered the archetypes of my painting. All these objects, all these decors, all this presence form a whole through constant accumulation, not through the play of a well-balanced equilibrium.
When I immersed myself again in the tradition that haunts and fascinates me, I thought of the tragic history of the persecutions under Murad IV, when he ordered the closure and destruction of the cafés in my city. Then I nostalgically traced back the course of time, like the dream of a dead culture that still lives, deep within me.
"Selma Gürbüz" Galerie Lacouriere-Frelaut
Gouche on cardboard
65 x 100 cm
THIS ARTWORK WAS EXHIBITED IN SELMA GÜRBÜZ’S 1990 EXHIBITION AT GALERIE LACOUÏERE-FRELAUT IN PARIS AND IS INCLUDED IN THE GALLERY’S EXHIBITION CATALOG.
Estimate: 80.000 TL - 120.000 TL
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Ansen (1978- )
Click for Artist Information"The Crime Scene "
ONE OF ANSEN'S MOST WELL-KNOWN MONOPRINT WORKS...
A striking example of Ansen’s signature visual language, The Crime Scene draws the viewer into a cinematic and mysterious atmosphere. Rendered in black-and-white tones, the work blurs the boundaries between reality and fiction through layered photographic manipulation. It presents a composition that evokes both the aesthetics of classic film noir and contemporary digital surrealism.
Ansen’s complex visual narrative is fully palpable in this piece: masked figures, dramatic lighting, fragmented bodies, and a disjointed yet compelling storyline create an unsettling ambiance. Themes of voyeurism, memory, violence, and constructed identity come to the forefront. As in much of Ansen’s work, the viewer is not merely an observer, but an integral part of the scene’s psychological intensity.
This monoprint is a unique, one-of-a-kind edition with no reproductions, giving it a distinct place among Ansen’s highly collectible works. Recognized as one of Turkey’s leading contemporary photographic artists, Ansen continues to captivate both local and international audiences with his digitally constructed and visually powerful narratives.
Lambda Mono Print
100 x 207 cm
2004, signed
Estimate: 250.000 TL - 350.000 TL
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Kezban Arca Batıbeki (1956 - )
Click for Artist Information"Battleship"
THE CENTRAL ELEMENT IN KEZBAN ARCA BATIBEKİ’S ART IS THE WOMAN...
The condition of being a woman or more specifically, "being a woman in Turkey" is a central theme that Kezban Arca Batıbeki has been exploring for a long time, carefully avoiding the repetitive traps that many local artists fall into. Another crucial concern for the artist is her consistent effort to steer clear of the orientalist or ethnic connotations often employed for the sake of gaining popularity in the Western art world.
For over 25 years, Batıbeki has been producing work across various artistic disciplines including painting, installation, short film, and photography. The starting point of her artistic inquiry is the complex world of women she has closely observed in her immediate environment. She has always sought to explore from alternative perspectives the intricate dynamics of love and hate that she believes exist between women, separated by only the finest of lines, challenging absolute truths in the process.
“Kezban Arca Batıbeki,” Beyaz Yayınları, 2009, p. 15.
Mixed media on canvas
95 x 180 cm
1999-2000, signed
Estimate: 200.000 TL - 300.000 TL
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İsmet Doğan (1957 - )
Click for Artist Information"Crying Letters-Lapsus"
THE FUNDAMENTAL DYNAMICS OF İSMET DOĞAN’S ART...
İsmet Doğan defines his artistic approach as follows: “I reinterpret what I encounter or am exposed to in a new context; I intervene, appropriate it, and place it within a different framework.” In his work, he critically examines the representational systems appropriated by Western visual culture. He especially emphasizes how the adoption of the Latin alphabet in Turkey’s language reform served as a tool of social engineering, leading to a cultural alienation within society.
ismetdogan.com
Mixed media on cardboard pasted on oil
195 x 165 cm
2005, signed
Estimate: 120.000 TL - 180.000 TL
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Alp Temur Ulukılıç (1957 - )
Click for Artist Information"Figurative Composition"
Oil on canvas
130 x 140 cm
1999, signed
Estimate: 60.000 TL - 80.000 TL
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Zahit Büyükişleyen (1946 - )
Click for Artist Information"Tropics"
Oil on canvas
140 x 250 cm
2025, signed
Estimate: 55.000 TL - 75.000 TL
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İlkem Güneri (1994 - )
Click for Artist Information"My Clerk"
Oil on canvas
120 x 150 cm
2025, signed
Estimate: 70.000 TL - 110.000 TL
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Hamid Tolouei Fard (1984 - )
Click for Artist Information"Bebek Pier"
Acrylic on canvas
100 x 150 cm
2022, signed
Estimate: 60.000 TL - 90.000 TL
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Nesren Jake (1984 - )
Click for Artist Information"Candy Shop"
Acrylic on canvas
125 x 100 cm
signed
Estimate: 35.000 TL - 45.000 TL
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Gözde Baykara (1977- )
Click for Artist Information"Whispers of Silence"
Oil on canvas
120 x 140 cm
2025, signed
Estimate: 80.000 TL - 110.000 TL
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Serdar Acar (1992 - )
Click for Artist Information"Untitled"
Acrylic on canvas
90 x 110 cm
2014, signed
Estimate: 45.000 TL - 65.000 TL
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Nejat Satı (1982 - )
Click for Artist Information"Soul 5"
Acrylic on canvas
56 x 45 cm
2009, signed
Estimate: 30.000 TL - 45.000 TL
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Adem Genç (1944 - )
Click for Artist Information"Abstract Composition"
Oil on canvas
160 x 196 cm
2012, signed
Estimate: 100.000 TL - 140.000 TL
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Halil Akdeniz (1944 - )
Click for Artist Information"Culture Symbols"
Acrylic and mixed media on canvas
195 x 140 cm
2011, signed
Estimate: 30.000 TL - 40.000 TL
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Halil Akdeniz (1944 - )
Click for Artist Information"Culture Symbols"
Acrylic on canvas
140 x 172 cm
signed
Estimate: 30.000 TL - 40.000 TL
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Alev Özas Kadim (1977 - )
Click for Artist Information"Bosphorus View from Sultanahmet"
Oil on canvas
160 x 180 cm
1957, signed
Estimate: 100.000 TL - 150.000 TL
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