Founded in 2010 by Mila Askarova, Gazelli Art House brings a fresh perspective to Mayfair. The gallery champions artists from across the globe with a focus on those at the height of their practice, presenting and contextualising their work to new audiences.


    With galleries in London and Baku, Gazelli Art House has a specialist focus in promoting art from Azerbaijan and its neighbours to further a greater understanding of the rich linguistic, religious and historic ties that connect this geography.


    Since 2015, the gallery has expanded to support artists working in the realm of digital art through its online platform Gazell.io. In 2020, it established the Gazell.io Project Space and VR library, the first permanent home dedicated to digital art in Mayfair.



    Perle Fine (b. 1905 – d. 1988), Cool Series #18, Deceptive Beat, c. 1961-1963

    Oil on canvas
    167.6 x 141.6 cm.
    Price: £70,000 (plus any applicable taxes)
    Throughout her fifty-year career, Perle Fine (1905–1988) was uncompromising of her ideals and vehemently trusted her artistic instincts; with this aesthetic confidence the abstract artist was able to step beyond the realms of the mainstream and establish herself among male counterparts.

    Perle Fine’s first exhibitions in the 1940s took place during a period of transition, with the New York art world at the epicenter of creative innovation. Emerging from the pupillage of Hans Hofmann, Fine knew success early, showing at Betty Parsons and Tanager Galleries in the 1940’s and 50’s. In 1942, her work had already been included in pivotal group exhibitions at galleries such as Art of This Century and Stable Gallery. Fine also socialised with key members of the New York School and European painters including; Willem de Kooning, Jackson Pollock, Mark Rothko, and Ad Reinhardt to Piet Mondrian. She was a member of ‘The Club’, the art press praised her and she was interviewed on the radio by Irving Sandler. Fine was included in a total of nine Whitney Annual and Bi-annual exhibitions between 1946 and 1972.
    The artist saw herself first and foremost as a painter, but also experimented with etching, collage and drawing. Fine’s style was lauded for its visual rhythms despite the geometric nature of its form. Perle Fine’s ‘Cool Series’ (1961–63) was an evolution of her earlier Abstract Expressionist style. The artist explained that this body of work was a “growth” rather than a “departure” from gestural abstraction into a more reductive, geometric approach to painting. Echoing her own move from bustling Manhattan to a quiet and contemplative East Hampton in the mid 50s; Fine’s ‘Cool Series’ represents what the critic Clement Greenberg described as a “new openness and clarity”. Fine’s soulful and analytical Colour Field series entitled “cool” engages the viewer and provokes a direct emotional and intellectual response teetering on the spiritual. Fine’s investigation of colour ranges from the brooding hues seen in Rothko’s work to the crisp and bright meeting of dual colors which echo the interior/exterior world she experienced in East Hampton.

    Perle Fine’s work is in collections including; Metropolitan Museum of Art, New York, Smithsonian American Art Museum, Washington, D.C. USA; Brooklyn Museum, New York, USA; Whitney Museum of American Art, New York, USA amongst others.
    Perle Fine integrated the hyper-masculine New York art scene and gained success on her own terms throughout her career.
    Estate of Perle Fine.
    New York, Graham Gallery, 1968.
    New York, Spanierman Gallery, 57th Street, ‘East End Artists Part II’.

  • Emily Young (b.1951), ‘Lapis Head’, 2006

    Khaleb Brooks (b. 1991, The Session Series: What Chu Lookin at Ho? Before the Session, 2020
    Linocut on 200gsm paper (Edition of 3 plus 1 artist’s proof).
    150 x 119 cm.
    59 1/8 x 46 7/8 in
    Price: £5,000 (plus any applicable taxes)
    Khaleb Brooks is an interdisciplinary artist, researcher and writer exploring blackness, transness and collective memory. Meshing the black queer figure with surreal environments in paintings, using printmaking to question the politics of desireand entering transcendental states in performance they force their audience to confront the literal and social death of black people globally. Over the last year Khaleb has been an artist in residence at the Tate Modern, where they used the museums collection to lead weekly workshops and create work around the Trans Atlantic slave trade. Performing in the 2019 Venice Biennale and consistently pushing the boundaries of art as a tool to politically engage, Khaleb continues to exhibit globally: Institute of Contemporary Art (2020 and 2018), Schwules Museum in Berlin (2019), Gazelli Art House in London (2019), GlogauAir in Berlin (2019), 198 Contemporary in London (2017) and We- Dey Gallery in Vienna (2018).
    Prior to working as an artist full time, Khaleb was an International Development practitioner where they worked with the United Nations and a multitude of NGO’s throughout Africa, Latin America and Asia. They consistently seek innovative ways to bring their passion for social justice to the creative sector. Khaleb, originally from Chicago is inspired by the perseverance of black families in overcoming poverty, addiction, abuse and gang violence as well as their own experiences of being transgender.

    Khaleb graduated from SOAS with an MSc in Violence Conflict and Development in 2015.
    Khaleb’s interest in collective and personal history led him to contact the Liverpool Museum of Slavery, where he is about to start a six-month research residency during which he will explore the archives. Khaleb will conduct a broad research project on the history of slavery and his personal story. Khaleb plans to spend his first two to three months looking into three key areas; The Middle Passage collection, exploring the interesting and disturbing spaces between Africa and the States. Khaleb hopes to contextualise this liminal space and delve into the relationship between water and people of colour. This area will also cover the cultural exchanges that occured during these passages. The importance of objects- artefacts - unveiling the objects used in slavery- the hope is to reimagaine these objects in a positive and from a place of empowerment. The experience from a queer and transgender perspective, Khaleb is already finding out more about the first drag queen William Dorsey Swann who was enslaved in Maryland in the mid-1800s. (originally called Queen of Drag’ this is a deeply personal area for Khaleb - tying together blackness and transness. The remaining time will be spent focusing into one of these areas.

  • Ibrahim El-Salahi, The Tree, 2003. Vigo Gallery

    Aidan Salakhova (b. 1964), Portrait, ‘Sophie-Lerock’, 2020
    White statuary marble
    68 x 25 x 25 cm.
    Price: £60,000 (plus any applicable taxes)
    Aidan Salakhova, daughter of the Azeri-Russian Vice President of the Russian Academy of Arts, Tahir Salakhova, is an internationally acclaimed artist – with a career extending over twenty years. Graduating in 1987 from the Moscow State Surikov Institute of Fine Arts, where since 2002 she has been a professor. Salakhova became an Academician of the Russian Academy of Fine Arts in 2007. In 1992 Salakhova founded the Aidan Gallery in Moscow, cementing her influence on the development of contemporary art in post- Soviet Russia.
    Salakhova’s work revolves around confronting portrayals of veiled female figures which reveal contradictions of the patriarchal order. Aidan urges the viewer to unearth societal enigmas; from the role of women to patriarchal neuroses which have lingered for centuries. The veil, which transcends different cultures and religions since antiquity, is a pivotal metaphor in Salakhova’s oeuvre. The slither of fabric enables Salakhova to address political, social, psychological and spiritual aspects of both the Islamic and Orthodox worlds.
    Salakhova’s own artworks feature prominently in many private and state collections including; the State Tretyakov Gallery, the Moscow Museum of Modern Art, the Ekaterina Cultural Foundation, Francois Pinault Foundation, Teutloff Museum and the Boghossian Foundation and also in the private collections of I. Khalilov, P-K. Broshe, T. Novikov, V. Nekrasov, and V. Bondarenko amongst others.
    Since 1990 Salakhova has held over 30 solo shows in Moscow, St. Petersburg, New York, Berlin, Paris and Baku. In 1990 her work was part of the Soviet pavilion at the 44th Venice Biennale and in 2011 she worked on the 54th Venice Biennale’s Azeri pavilion.

  • Ibrahim El-Salahi, The Tree, 2003. Vigo Gallery

    Jann Haworth (b. 1942), Biscuit, 1964
    Soft sculpture, framed, in felt, cotton and brass
    20.3 x 27.9 cm.

    Label to reverse, ‘RF1477 1964’

    Price: £20,000 (plus any applicable taxes)


    Jann Haworth is closely associated with the 60’s Pop Art Movement in Great Britain. A pioneer of soft sculpture, she is also well-known as the co-creator of The Beatles‘ Sgt. Pepper’s Lonely Hearts Club Band album cover.


    Born in Hollywood California, she attended North Hollywood High, UCLA before leaving for Europe to complete her education at The Slade School of Fine Art in London. She also studied Art History at The Courtauld Institute London and lived in the UK for 30 years holding both U.S. and U.K. citizenships. She now lives and works in Salt Lake City and Sundance UT and is the Creative Director of The Leonardo Museum SLC. Her work has been exhibited in major museums around the world and is included in the permanent collections of institutions such as Tate Modern, the Walker Art Center, and the Smithsonian Institution amongst others.

  • Ibrahim El-Salahi, The Tree, 2003. Vigo Gallery

    Bob and Roberta Smith (b. 1963), Protest to Protest
    Sign-writer’s paint on reclaimed timber found on the streets of Ramsgate
    60 x 60 cm.
    Price: £10,000 (plus any applicable taxes)


    Bob and Roberta Smith is the pseudonym of the artist Patrick Brill.

    Originally trained as a sign painter in New York, his works use text in bold slogan form to challenge societal norms.

    His curatorial projects such as Art U Need: An Outdoor Revolution, have transformed public spaces as seen in the Thames Gateway (2005-2006), and Peace Camp at The Brick Lane Gallery (2006).

    He founded the Arts’ Party Conference 2013, a forum for artists and organisations to debate the role of art and design in schools.

    In 2009, he was appointed as a Tate Trustee and he is currently Associate Professor at the Sir John Cass Faculty of Art, Architecture and Design at London Metropolitan University.