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Preisdatenbank abonnierenA pair of early 20th century brass Art Nouveau candelabra in the Mackintosh style, each with three branches upon an openwork 'T' shaped frame extending to a domed plinth base, 39cm H (2)Condition reportMultiple dents to the rim of one of the candlesticks, the second candlesticks with dents to a lesser degree, both candlesticks with overall light abrasions caused by cleaning/polishing.
An Art Deco gilt spelter figural table lamp, modelled as a young woman leaning back with arms raised, upon a stepped marble plinth base, 45cm high Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.Condition reportMultiple minor nibbles and chips to the edge of the plinth base, general light tarnishing and rubbing to the figure, minor 'flat spot' to the nose and chin, light fitting is loose and requires attention, speckled corrosion to the underside of the sconce, please see additional images
Two Art Deco gilt spelter figural table lamps, each modelled as a young woman with arms raised, upon an alabaster socle plinth, 46cm and 42cm high (2) (at fault) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items. Condition reportThe first lamp with light fitting and gallery, has extensive tarnishing/rubbing to the figure, with the lower rim of the socle detached from the base, very minor nibbles to the socle rim, see additional images.The second figural lamp base is without fitting or gallery, overall light scratches and rubbing to the body and around the right hand which is drilled for cable access, the figure has been later resprayed with some over spray to the socle base.
A Regency style brass and toleware standard lamp, early 20th century, the fruit finial above a domed toleware shade and a four branch light fitting, upon a slender tapering column terminating in a triform plinth base on three cast paw feet, 160cm high Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
A 19th century figured walnut tea caddy, of domed form applied with polished brass mounts and rivet detail, opening to a pair of lidded compartments, 16cm H x 23cm W x 12cm D, along with a George III flame mahogany tea caddy, of rectangular form with twin lidded compartments, 12cm H x 23cm W x 12cm D (2)Condition reportWalnut tea caddy has been sun bleached particularly to the sides and back with minor water stains to the top with small veneer blisters, small loss of silk lining to the interior of the cover, 1cm long, lacking brass rivet to the LHS front of the caddy where the banding has become detached, RHS similarly has become detached although the rivet remains.Mahogany tea caddy has general light fading and wear and the escutcheon is missing
A Mahjong set, early 20th century, comprising four trays of thirty six bamboo-backed bone tiles and two trays of bone counters, with further associated mother of pearl counters, dice etc, all to a fall front leather case with hinged cover, 29.5cm W x 23cm D x 8.5cm HCondition reportGeneral light play wear, with some very minor nibbles to a few tiles, further minor hairline cracks to several tiles, no major faults or damage.The tiles vary in colour, some lighter than others, which may indicate the set has been assembled. Each tile dimensions: 30mm x 21mm x 13mm.
An Abercrombie & Fitch type leather model of a Rhinoceros, 20th century, 51cm longCondition reportVisible seam on Rhino horn, multiple minor scuff marks to back and flanks, also some light rubbing wear to the back of the rear legs, otherwise no obvious faults or repairs, 28cm high tip of ears
A late 19th century German bracket clock, movement stamped for Winterhalder & Hofmeier, the arched stained walnut case with elaborate ormolu mounts and enclosing a gilt face with a silvered chapter ring, silent/chime dial and a further subsidiary dial, eight-day movement striking on a gong, the case mounted with a figure of Hermes, 56.5cm highCondition reportOverall rubbing wear to the clock case with some tarnishing to the clock dial, rubbing to the case where the rear door closes.Multiple holes to the fabric on both side panels with general light tarnishing to the mounts, clock movement runs when wound however there is no guarantee of working condition.
A late 19th century French gilt metal drum dial type mantel clock by A D Mougin, the 10cm white enamelled dial applied with Roman numerals enclosing the two train movement, stamped with the makers name and striking on a saucer bell, within a case cast with swept foliate and shell detail, upon an integrated plinth base and bun feet, 30cm high, with pendulumCondition reportPendulum present but no key, minor hairline cracks to dial with overall light tarnishing to the case.LH rear foot is associated, screws to the underside appear to be later and there is a slight warp to the base of the clock on the LHS where it joins the plinth, with evidence of a repair/restoration in the same area.
A French Louis XVI style gilt metal and porcelain mantel clock, late 19th century, the 8cm painted drum dial surmounted with a nesting bird within vinery, and enclosing the two train movement stamped 'H Marc, Paris', striking on a saucer bell, the dial flanked by a pair of Sevres style oval porcelain portraits, the frames similarly surmounted with birds, over a further Sevres style panel depicting cherubs, 31cm high, pendulum and keyCondition reportSmall chips to the dial around the key apertures and just above the number nine, general light tarnishing and rubbing to the case, small gap between the case and the dial above numbers one and two, movement runs when wound however this is no guarantee of working condition
An early 18th century oak coffer bach, the twin panelled top above a nulled and lunette carved frieze, and two panels each centred with a flower head roundel, raised upon channelled stile feet, 53cm H x 70cm W x 40cm DCondition reportEvidence of repairs/restoration around the hinges, with further staining to the back boards, lacking lock, historic worm and wear to the feet.Overall generally sound condition with some evidence of light restoration
A silver tea strainer and stand, G W Lewis & Co Birmingham 1943, with openwork handle, 3.5cm high, weight 53.9gmsCR; Light denting to the stand, moderate scratching and wear commensurate with age and use, but no splitting, thinning, major damage or signs of repair. Strainer shows scratching and wear commensurate with age and use, but is in good order, no thinning, splitting, major damage, bending or repair.
A Victorian silver mounted glass decanter, Gough & Silvester, Birmingham 1865, tapering body etched with swag frieze above a Greek key border, pierced scrolling mount, hinged cover with cast knop, acanthus capped angled handle, 24cm highCR; Glass body in good order, no cracks, chips or losses. Heavy scratching to the base, light scratching throughout body. Some nibbling around the greek key decoration. Mount and handle show heavy wear and loss to the gilt, heavy scratching throughout, but no splitting, denting, major damage or repair. Hinged cover in opens smoothly, but does not close completely flush. The screw connecting the handle and base does appear to be slightly loose. See pictures for further illustration.
A George III oak dresser, the rectangular top with rounded front corners above three lip moulded frieze drawers, raised upon plain legs of square section with openwork spandrels to the front legs, 81cm H x 150cm W x 45cm DCondition report10cm discoloured band running the full width of the dresser top at the back along with a small screw hole at each side, indicating that there may have been an associated dresser rack at some point. General light stains and marks to the top.Handles and escutcheons are probably later, later pine drawer liners and runners, chips to the moulding on the left hand and centre drawer.Very minor evidence of historic worm to the rear legs, overall condition is sound with general wear commensurate with age and use along with evidence of historic restoration.
A large Victorian mahogany wardrobe, the rectangular wardrobe designed with two cupboard doors applied with arch moulding, opening to reveal a arrangement of hanging and drawers, 148cm wideCondition reportFading to the front and LHS of the wardrobe, rubbing to the plinth where the doors close, minor chips to the veneer at the top of the wardrobe, general light wear commensurate with age and use
A tiled top mahogany occasional table in the manner of Liberty, the square top centred with an Art Nouveau foliate stylised tile, within a border of plain tiles, raised upon slender tapering out swept legs, united by an 'X' cross stretcher, 69cm H x 45cm SqCondition reportHairline crack to one tile, replaced screws to underside possibly indicating top and base are associated/restored, only very light wear to legs and table top commensurate with age and use, little or no play in the the leg joints, please see further images
A pair of French style oak marble top bedside cupboards, mid 20th century, each of serpentine form, the single doors opening to a drawer, raised upon a moulded plinth base to the front and plain rear feet, 58cm H x 44cm W x 40cm DCondition reportRestoration to the corner of one marble slab top, see additional images, otherwise light wear only no visible faults or repairs
A pair of mahogany bedside/lamp tables, late 20th century, the square crossbanded tops raised upon slender supports above the lower shelf with a frieze drawer, upon brass castors, 52cm H x 45cm Sq (2)Condition reportVery light wear only, light rubbing, very minor chips and marks commensurate with age and use
A George III silver cream jug, Charles Hougham, London 1777, of baluster form with shaped rim on pedestal foot, acanthus capped scroll handle, embossed floral decoration, 11.3cm high, together with a late Victorian silver cream jug, William Aitken, Chester (date letter worn), of lobed oval form with angled handle, embossed scrolling foliate detail and gilt interior, 12.7cm long, gross weight 6.63ozt (2) CR; Charles Hougham jug: Dent to the rim of the foot. Mid-sized split and loss to the rim around the handle, possible signs of solder repair. Some misshaping to the spout. Light denting throughout, scratching and wear commensurate with age and use throughout. See pictures for illustration. No inscriptions.
A pair of George III silver salts, marks for 'W.S' London 1785, each of navette form on oval pedestal foot with beaded borders, blue glass liners, engraved with heraldic crest of a phoenix facing dexter, each 11cm wide, weight (excluding liners) 5.99ozt (2)CR; One glass liner has a couple of very small chips to the rim, as well as moderate scratching commensurate with age and use, but neither show large fractures or splitting. Heavy wear to the gilt lining and heavy scratching. Some light denting to the bowls, moderate scratching and wear commensurate with age and use, but no splitting, major damage or repair. Moderate loss of definition to the beaded borders, some wear to the engraved crests. Both examples sit flat on a level surface.
Battle Of Leipzig Narrative Of The Most Remarkable Events Which Occured In And Near Leipzig, Immediately Before, During, and Subsequent To, The Sanguinary Series Of Engagements Between The Allied Armies and the French (1814) - Translated by Frederic Shoberl - Printed by Ackerman, London. Green board covers, with gilt tooled title to spine. The book featuring both original coloured engraving pull-out maps. Complete volume, some light foxing.
Passages From The Life Of A Philosopher - 1864 - Charles Babbage. Publisher: London: Longman, Green, Roberts, & Green. First edition book. 8vo. xii, 496 pp., bound without the publisher's catalogue sometimes found to the rear. Publisher's green cloth, gilt lettered to the spine, previous ownership bookplate to the front pastedown "Tho Sopwith MA FRS FGS. Occasional light foxing, very good condition.
Ten Droll Tales. 1926. Honore De Balzac. Publisher: London: John Lane The Bodley Head Limited. Jean de Bosschere (illustrator). Andre Maurois (introduction). First de Bosschere illustrated edition limited to 3000 copies. This one is the #322/3000. Language: Text in English. Size: 9 " X 6 ". Pages: xx-218 pages. Full red morocco leather binding with significant gilt tooling to spine by Bayntun bindery (hinges fine, light scratches to front and back board. Top edge gilt. Binding: Attractive and near fine.
Lucretia Borgia: The Chronicle Of Tebaldeo Tebaldei - Renaissance Period. 1942. Commentary and notes by Randolph Hughes. Engravings by Reynolds Stone. (London): Golden Cockerel Press. Limited edition book with slipcase, dedicated to Lieutenant Colonel Sir Arnold Wilson - book number 25 of 30 leather-bound copies. Gilt-stamped cream leather, slightly soiled, with light foxing at edges, uncut edges, top edge gilt. A very good copy.
The Works Of Shakespeare. 1929. First Folio, Limited Edition, Nonesuch Press (1929). William Shakespeare Published by Nonesuch Press. Limited Edition of 1600 copies. Numbered 87. Some light marginal browning at beginnings and ends. Original full leather bound, raised banded spines lettered in gilt, top edges gilt (faded), some light darkening to spine, edges and boards, with original slipcases, volume two lacking case.
Narrative Of A Five Years' Expedition Against The Revolted Negroes Of Surinam, In Guiana, On The Wild Coast Of South America; From The Year 1772, to 1777. Elucidating The History Of That Country, And Describing Its Productions, Viz. Quadrupedes, Birds, Fishes, Reptiles, Trees, Shrubs, Fruits, & Roots; With An Account Of The Indians Of Guiana, & Negroes Of Guinea / By Captn. J.G. Stedman ; Illustrated With 80 Elegant Engravings From Drawings Made By The Author. 1806. J.G Stedman. London: J. Johnson and Thomas Payne,. Two volume book, 4° (256 x 230mm). Engraved titles with hand-coloured vignettes, 81 hand-coloured engraved plates and maps, some heightened with gum arabic, Three folding and one double-page, by William Blake, Bartolozzi and others after Stedman. Contemporary diced Russia gilt, boards with gilt borders, board-edges and turn-ins, modern calf spines, gilt in compartments, lettered in two, gilt edges, marbled endpapers. (Some light browning and off-setting from plates.)
Pubilistica: The History Of British Boxing. (Three Volumes) - 1906 - Henry Downes Miles. Published by Edinburgh: John Grant. Complete in three volumes, thick 8vo. Original brown decorative cloth book with gilt vignettes of pugilists in action to fronts. Volume One: xvi + pp507. Frontis. + 29 full-page illustrations and many illustrations in the text. Volume Two: pp544. Frontis. + 17 full-page illustrations and many in the text. Volume Three: Frontis. + pp534. Frontis. + Twelve full-page illustrations and many text illustrations. Contents in each very clean with some light foxing in each volume, particularly to page edges, boards a little rubbed to extremities. Also included is Fights Forgotten A History of Some of the Chief English and American Prize Fights Since the Year 1788 - 1908 - Henry Sayers. Hardcover – First edition. 8vo. 260pp + 4pp catalogue. Frontispiece of Tom Sayers + nine plates. Illustrated front endpapers. Original blue boards, boards worn, corners bumped, pages browned and binding a little loose.
An Historical Account Of The Embassy To The Emperor Of China. 1797. Sir George Staunton. Published by John Stockdale, London, England. Full olive green leather/marbled green boards. 475 pp. 33 bw plates. This book was undertaken by order of the King of Great Britain and includes the manners and customs of the inhabitants, preceded by an account of the causes of the Embassy and voyage to China. Raised banded spine, gilt letters on red compartment. Tooled geometric pattern to front and back boards. Light wear to cover & spine, untrimmed pages, some light scattered foxing and browning to page edges, clean & tight.
Discourse Of The Ecclesiastical And Civil Polity Of The Jews, Viz. 1706. Isaac Abendana. Printed by Samuel Ballard at the Blue Ball in Little Britain. Book is full leather calf light brown, raised banded spine and tooled floral patterned front and rear boards. Previous owners bookplate to pastedown "House of Abercairny, with previous book sellers reference to endpapers. Boards are rubbed and worn, edges bumped and turned. Text pages toning and slight foxing.
Reza Derakshani (Iran, born 1952)A Taste of Time acrylic on canvas, framed signed 'Reza Derakshani 07' (on the verso), executed in 2007120 x 230cm (47 1/4 x 90 9/16in).Footnotes:This beautiful painting is a classic example of the multi-talented and globally celebrated artist, poet, musician and writer Reza Derakshani's complex and spiritually-inclined practise. A dramatic composition, this single canvas invokes Derakshani's fondness for symbolic iconography including trees, leaves, earth and the animal world. Derakshani's delicate use of gold leaf and spindly, expressionist lines of paint delineate a mythic beast that dominates the canvas with its hulking, dark mass.In Derakshani's work, Persian myth, symbolism and visual metaphors are frequently employed within poetic and questioning narratives. In this work of considerable formal power and emphatic composition, Derakshani finds new harmonies and dissonances between light and shade and creates compelling tensions on his canvas which radiate a quiet, potent spirituality.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Abdul Hayee (Pakistani, B. 1948)Untitledsigned and dated 2004 lower left watercolour on paper 53.1 x 72.8cm (20 7/8 x 28 11/16in).Footnotes:Considered the doyen of Karachi watercolourists, Hayee is a self-taught artist. He paints in the late afternoons and Malir, west wharf Karachi and its surrounding environment feature heavily in his works, as evidenced in the present lot. He is particularly talented at capturing light and shadow on water.Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
"SVCCY" MATTEO SUCCI (Ravenna, 1997). "Game over", 2019.Digital collage art on aluminium.Edition 1/15.Size: 40 x 40 cm.Svccy is a self-taught digital artist who creates totally unpublished images using 2d and 3d graphic programs. His works are inspired by the art of digital collage, permeated by the Vaporwave visual current developed during the first decade of the 2000s. This trend born on the Internet embodies a retro style influenced in part by "chillwave" artists, who developed an imaginary associated with the use of images dominated by violet and fuchsia colours, the use of Greek sculptures, palm trees, pixel art, sunsets and references to Japanese culture at the end of the millennium.In contrast to the classic images of the genre, Svccy tends towards a darker, more introspective variant. The images reflect the human condition in today's society. The human figure is represented by statues, often faceless or covered by objects, symbolising the total lack of identity of the individual, subjugated by technology and the ultra-consumerist society. References to Rodin's classical and neoclassical sculpture intersect with post-apocalyptic scenarios of large abandoned, or rather finished and never used, shopping malls.All his works are processed by computer creating "collage-art" by joining images that apparently have nothing between them, where light and a good angle of vision are fundamental.Svccy aims to show us the reality in which man lives, an insubstantial, unreal reality, which is based on models of behaviour imposed by the media, which control our lifestyles through fashion and advertising, making us believe that we live a free and self-determined life when in reality it is only an illusion.
DIEGO PASTOR (Fitero, Navarre, 1982)."Pensamiento", from the series "Estados de ánimo", 2020. Unique piece.In steel.Signed.Size: 150 x 60 cm.A self-taught artist, Diego Pastor grew up in a family of blacksmiths, an aspect that explains why his career, from the beginning, is that of a creator with an interest in everything related to sculpture. His work is notable for his taste for materials, especially steel, which he endows with a great lightness and a gentleness that is not befitting of its unyielding nature. His language, strong and emphatic, results in dynamic, light and sensitive sculptures, capable of moving the viewer, even though each piece has as many readings as there are spectators. Pastor combines his facet as an artist with that of lamp designer in Falsa Escuadra, a project that exploits his facet as a craftsman to the full, as each piece is completely handmade in a unique way, from start to finish.
Jamini Prokash Gangooly (Indian, 1876-1953)Untitled (Himalayan Landscape) signed lower leftoil on board23 x 31.2cm (9 1/16 x 12 5/16in).Footnotes:ProvenancePrivate UK Collection.CompareFor a similar work sold at Christie's see South Asian Modern & Contemporary Art, London, 26th May 2016, lot 24.Jamini Prokash Gangooly was part of the extended Tagore family, that included Gagendranath and Abanindranath Tagore. It was under the tutelage of British painter Charles Palmer that he crafted and developed his skills in realist portraiture, oil painting and landscapes. Whilst he was adept at depicting various genres, and received awards both locally and internationally, he gravitated towards painting landscapes. Both the present lots exemplify his abilities to combine the imagery of his hometown of Bengal and European naturalistic methods and demonstrate his favoured subject, sunrise and sunset expertly painted, using light and shade.In the first lot, we can see two figures by the river, lighting a fire, the colour of which is mirrored on the tip of the large rock immediately to their left. The densely mist-laden atmospheric affect, created by the brooding mountains, is evident in the second lot, although the foliage plays a more prominent role here, with the various hues of green. His brushstrokes are almost invisible, and it is unsurprising that he earned the sobriquet 'Painter of Padma,' given his predilection for painting hundreds of oils depicting the same subject, the sun setting on the river Padma. Both paintings are quintessential examples of his most celebrated genre.For further information on this lot please visit Bonhams.com
Anwar Jalal Shemza (British Pakistani, 1928-1985)Blue Vase signed and dated 'A Shemza 55, lower left oil on canvas on board61 x 48.2cm (24 x 19in).Footnotes:ProvenanceAcquired from the artist by Mr Ejaz Batalvi and lent by him to the artist's 1956 Exhibition. Mr Batalvi is credited in the 1956 exhibition catalogue which is included in this lot;Acquired by the vendor from Mr Batalvi's son in December 2019.ExhibitedA. J Shemza, Exhibition of Paintings, List of paintings: Number 6, June 1956, (illustrated, unpaginated.)PublishedA. J Shemza, Department of Fine Arts University of the Panjab, Monograph Number Five, 1956, pg. 32-33A. J Shemza, Exhibition of Paintings, List of paintings: Number 6, June 1956, (illustrated, unpaginated.)'In twentieth century Abstract Art, the artists' expressions are arrived at through their appreciation and analysis of still life, landscape and figure reduced to the significance of still life.'(Anna Molka, 1956)The Blue Vase (Oil on canvas, 19 in. x 24 in.) is an early example of Anwar Jalal Shemza's modernist artwork from the 1950s and represents one of his first departures from the Bengal School Style. The painting was part of Shemza's first solo shows at the Department of Fine Arts, University of the Punjab, and at Karachi Arts Council in 1956. The title bewilders the viewer as the centrally placed vase is richly painted in hues of yellow, green, and black. The four stems of varying lengths that the vase holds bear orange flowers. Another stem that lies horizontally in front of the vase, balances the colours of the flowers in the vase. The background and the foreground are painted in shades of dark brownish-black that help the vase and the flowers stand out. The white outline of the vase not only delineates the shape and its unusual angle, but also alludes to the material reality of the central object – most probably glass. This interpretation gains traction from the fact that the entire 'roundness' of the base has been made 'visible' by the artist. The vase is placed on an elliptical concave woven tapestry that mimics the shape of its base. The richness of the painted tapestry is like a woven carpet – an industry to which Shemza's family belonged. The composition is design-intensive and bears witness to Shemza's training as a graphic designer from the Mayo School of Arts, Lahore (now, National College of Arts or NCA). The form of the vase can be seen as a body that holds the flowers, and it is neither Eastern nor Western – suspended between observation and stylization. This is indicative of Shemza's intention to create not the study of still life, but rather to experiment with the new syntax of abstraction that had been introduced in post-colonial Pakistan through the works of Zubeida Agha (1922-1997) and Shakir Ali (1916-1975). Anna Molka, an artist and art educator, writing on Shemza's work states:By exploring new potentialities, these experimental artists had veered towards abstract art. Their concentration upon a semi-scientific method of indicating instantaneous light on form caused them to break the representational tradition of the West. Shemza's The Blue Vase does not conform strictly to cubism. It carries the characteristic aesthetics of traditional Indian painting – to deny the illusion and uphold the two-dimensional aspect of painting, hence showing multiple perspectives. Perhaps the in-betweenness of this painting can be understood in the context of the fact that at this time, Shemza, along with his young cohorts (members of Lahore Art Circle or LAC – a small artists' collective based in Lahore and functional from 1952-1958), was experimenting with the syntax of modern abstract art. He desired to move the art practices of the nascent country away from prevalent painting practices of traditional Indian painting and European academic style towards more avant-garde practices in order to begin engagement with the global art world. Anwar Jalal Shemza was a painter, a designer, a writer and a teacher, commonly known by his pen name Shemza. He was one of the eight founding members of LAC which became the harbinger of modern art in Pakistan. Shemza's contribution to the art history of Pakistan and Britain came to attention posthumously in 2009 with two ground-breaking shows sponsored by Green Cardamom, London. The first show, curated by Iftikhar Dadi, was entitled Anwar Jalal Shemza: Calligraphic Abstraction, while the second, curated by Rachel Garfield was titled Anwar Jalal Shemza: The British Landscape. Shemza was born in Shimla, India in 1929 to a Kashmiri family who owned a carpet business in Ludhiana. He received a diploma in Commercial Arts from the Mayo School of Art (now The National College of Arts, Lahore). Shemza inherited his love for reading and writing from his father who was a poet, and after migrating to Lahore, Pakistan, he started to mingle with Urdu writers through the literary circle called, Halqa-e Ahbab-e Zouq. Shemza himself was a talented writer and wrote several plays for Radio Pakistan, and various short stories and novels as well. His active engagement with the literary circle in Lahore enriched his critical thinking and enabled him to embrace modern trends that were visible both in visual arts and literary fields of study. While he was creating experimental paintings as part of LAC, Shemza was also changing the way of telling traditional folktales, by rewriting them with a modern twist. In 1956, Shemza was awarded a scholarship by the British Council to attend The Slade School of Fine Art, London, where he received a diploma in 1959. In Britain, the trajectory of Shemza's work once again shifted towards experimenting with the abstract nature of Islamic calligraphy and exploring the relationship between visual and textual practice. His interest lay in understanding the form of Islamic letters and various processes of deconstructing the structure of the shapes of alphabets, which proved to be his passion for next twenty-six years. Shemza continued to teach at various educational institutes in Pakistan and the UK throughout his life. He was a prolific painter, who also dabbled into other mediums such as ceramics, printmaking, and drawing. During his life, Shemza exhibited in London, Tokyo, France, and Pakistan. His work is in the collection of several private collectors and art museums around the world including: Ashmolean Museum, Oxford and Tate Modern, London in the UK; Metropolitan Museum of New York and Minneapolis Institute of Art, in the US; the Guggenheim Museum, and Sharjah Art Foundation in UAE, and at the Lahore Museum in Pakistan. References: Dadi, Iftikhar. 'Anwar Jalal Shemza and Calligraphic Abstraction'.Perspectives London: Green Cardamom, 2009.Dadi, Iftikhar. Anwar Jalal Shemza. London: Ridinghouse, 2015.Garfield, Rachel. 'Anwar Jalal Shemza, The British Landscape', Perspectives 2. London: Green Cardamom, 2009.Iqbal, Samina, 'Modern Art of Pakistan: Lahore Art Circle 1947-1957', PhD. dissertation, Virginia Commonwealth University, 2016. Iqbal, Samina, Willie Simone and Iftikhar Dadi. Naya Daur: Shakir Ali and Lahore Art Circle. Lahore: Sang-e Meel Publications, 2017.Moheyuddin Zia. http://jang.com.pk/thenews/may2012-weekly/nos-06-052012/manto/abovenormal.asp. Pakistan. Accessed Jan 22, 2016.Molka, Anna. 'Anwar Jalal Shemza: Catalogue of the Exhibition'. Lahore: Punjab University Press, 1956.For further information on this lot please visit Bonhams.com
A 12- bore sidelock ejector gun by F Beesley, no.2241The fences carved with stylized acanthus leaves, best bouquet and scroll engraved lockplates and 'F Beesley patent London', with a 15in figured stock and leather recoil extension pad. The 29in Whitworth-steel chopper-lump barrels with game-rib and scroll-engraved breech-end, nitro-proof, gold inlaid 1 and SAFE, built in 1911Valid Shotgun certificate requiredBarrels with an area of light surface rust from long term storage.The Similarly some light rusting to the edge of the lockplate and to the trigger guard around the grip area, from long term storageGood levels of case hardeningMeasuring .732 in both barrels.Wall thickness measurements read lowest points at 11in from the muzzle;20 thousandths of an inch in the right barrel 24 thousandths of an inch in the left barrel
A collection of Beswick horses, to include a 'Champion Black Magic of Nork', a piebald gloss horse, model 1373, a large bay horse, a medium bay, and a bay foal, together with a further collection of Beswick horses, comprising a very large palomino horse, a medium palomino with a braided mane, a palomino foal, and a very small palomino foal, together with a dappled grey medium horse, a dappled foal, and a carthorselargest 31cm high (12)Light surface scratches, small chip and possible overpainting to foot of piebald, and fleabite chips to feet large chestnut horseThe large palomino has a broken ear, otherwise, it is in good order.The palomino small foal has a chip to one earThere is some roughness to the edges of the feet of the dappled foalThe carthorse is in good condition but the harness and bridle has disintegratedMinor nibbles to the ears of the medium palomino
A Chinese-style porcelain vase table lamp,late 20th century, of baluster shape with a mottled blue glaze, raised on a gilt-metal display stand,15cm diameter39cm high excluding the telescopic fitmentWire cut. General light surface wear and scratches. Minor glaze imperfections but generally in good cosmetic order.
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