534325 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
534325 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
534325 Los(e)/Seite
![Antique brass weighted ships desk lamp, designed with an angle light bracket. [37cm in height]](https://cdn.globalauctionplatform.com/1ad89cfa-a062-4d09-9b80-abc300e0420d/62834bd0-f2a6-4d8d-8352-abc4000a8eca/468x382.jpg)
Los 109
Muhammad Akbar Aref Muhammad Arzani, Hudud al-Amraz (a medical treatise), in Arabic, decorated manuscript on polished paper [Mughal India, first half of seventeenth century] single disbound volume, 44 loose leaves, text apparently complete in itself with catchwords throughout and earlier foliation, single column, 19 lines of black naskh with headings and important words in red, title to fol. 1r and some marginalia in a later hand, extensive worming to inner edges, most outer edges repaired, ink ownership stamp to title and inscription on final leaf, some light damp-staining, 275 by 195 mm.; housed in modern card portfolio-style folder Provenance: With seal of Qadir Bakhsh Kan'Murah on first leaf, and inscription to the final leaf of Qadir Bakhs ibn Abd'Al-Baqi bin Abdul-Rahman, these probably both eighteenth and early nineteenth century respectively. Text: Muhammad Arzani was a celebrated physician and author of a number of influential treatises on medicine and disease including the Qarbadini Qadiri (on skin diseases), the Mizan al-Tibb (a handbook of practical medicine), and Mujarrabat-i Akbari (on compound remedies). The present text expands on an existing work by Nafis ibn 'Iwad al-Kirmani entitled Shahr al-Asbab wa al Alamat, dealing exclusively with illness of infants, pregnant and breast-feeding women.
Los 125
George Landseer (attributed to), Indian Khanjar and Ballam studies, original illustrations, watercolours on paper [India, c. 1860]2 loose leaves, watercolours on western paper, depicting: (i) an Indian Khanjar against a striking black background, ruled within yellow and light blue, "Khanjar" inscription in Udru above the image, pencil inscriptions on the reverse erroneously identifying the artist as Charles Landseer, a few very faint spots, overall excellent condition, 300 by 240 mm.; (ii) a detailed Indian Ballam, against a cream background within a grey ruled border, "Ballam" inscription in Urdu above the image, pencil inscriptions as before, lightly rubbed and some slight surface soiling, overall very presentable and crisp condition, 300 by 240 mm.; both in modern card mountsGeorge Landseer (1829-1878) was a British artist, nephew of Sir Edwin Henry Landseer and son of Thomas Landseer, who was best known for his landscapes of India in watercolour and oil paintings. These are probably extracted from a larger body of work on Indian armoury that would have formed the personal album of a collector.
Los 130
Group of 12 Company School Costume and Trade illustrations, with an illustration of the Taj Mahal, on paper [India, early twentieth century] thirteen loose sheets, 12 of these of traditional Indian costume designs or showcasing various trades, with an illustration of the Taj Mahal, some of these ruled in black, all revere on the back, some light finger soiling else clean and attractive condition, each c. 320 by 230 mm.
Los 2
Ɵ C. Niebuhr, Description de L'Arabie d'apres les observations et recherches faites dans le pays meme, by Nicholas Möller [Copenhagen, 1773]single volume, complete, half-title, title and dedication with engraved vignettes, large folding engraved map of Yemen with colour addition, 25 engraved plates and maps (9 of these folding and 2 with coloured additions), errata leaf at the end, some very light offsetting and faint darkening to some leaves, overall clean and crisp condition, "Adolpho Burgery" inscription to front free endpaper and bookplate of Carlos Alberto Ferreira da Costa to upper pastedown, 4to (255 by 200 mm); contemporary quarter mottled calf, extremities rather scuffed, upper board detached, edges stained red
Los 57
Ɵ Abd al-Ghani al-Nabulsi, Al-Hadra al-Unsiyya fi al-Rihla al-Qudsiyya, also known as "al-Rihla al-Wustd" (a travel journal for al-Nabulsi's journey to Palestine, specifically Jerusalem and Hebron), among other extracts, working authorial manuscript copy and first appearance of the text, in Arabic, decorated manuscript on paper [various places throughout the Ottoman Levant, probably c. 1101 AH (1690 AD)]single volume, 154 leaves, informal spacing with single and double columns, varying line counts and extensive marginal annotations throughout in the author's hand, occasional overlining in red, some scattered faint staining or light browning, overall clean and crisp condition, 210 by 145 mm.; fine dark brown morocco over pasteboards with flap, Ottoman style blind-stamped medallions to covers, with ruling and arabesque borders also in blind, hinges of spine cracked and spine ends worn, slightly scuffed else attractive bindingA monumentally important authorial manuscript copy of an eye witness account of the author's journey across Palestine, Jerusalem and Hebron, compiled during his travels in the 1690sText: Abd al-Ghani bin Ismail bin Abd al-Ghani al-Nabulsi was a poet, mystic and an esteemed scholar of theology and literature. He was born in Damascus in 1050 AH (1641 AD) and was a great traveller in his lifetime, notably visiting Baghdad, Palestine, Lebanon, Egypt and Hijaz, before retiring back to Damascus. By the age of twenty, al-Nabulsi was formally teaching legal Fatwa in Damascus, and later spent seven years in isolation to devote himself to the mystic orders of Qadiriyya and Naqshbandi. His father Isma'il bin Abd al-Ghani bin Ismail ibn Ahmad al-Nabulsi was of Palestinian descent, the name 'Nabulsi' meaning 'from Nablus' (a village just North of Jerusalem), and was a scholar and jurist in the Hanafi School. Despite his Palestinian roots, al-Nabulsi (junior) very much associated himself with Damascus and often refers to himself as 'al-Nabulsi al-Damashqi' (al-Nabulsi of Damascus) in the present manuscript. Al-Nabulsi was a prolific writer and compiled many authoritative texts including both theological, poetic and travel treatises. Some of his notable texts are: Idah al-Maqsud min wahdat al-wujud (clarifying what is meant by the unity of Being), Sharh Diwan Ibn Farid (commentary on the poetic works of Ibn al-Farid), al-Sulh bayn al-ikhwan fi hukm ibahat al-dukhan (a legal treatise advocating the lawfulness of smoking tobacco) and Al-Hakika wa al-Majaz fi al-Rihla ila Bilad al-Sham wa Masr wa al-Hijaz (the truth and metaphor in travel to Syria, Egypt and Hejaz). On him see further Brocklemann (II, pp. 473); E. Sirriya 'Ziyārāt" of Syria in a "Riḥla" of 'Abd al-Ghanī al-Nābulusī (1050/1641 - 1143/1731)', Journal of the Royal Asiatic Society, (1979), pp. 109-122; and J. Gildermeister, 'Des 'Abd al-Ghani al-Nabulsi reise von Damascus nacht Jerusalem', Zeitschrift der Deutschen Morgenlandischen Gesellschaft, 36 (1882), pp. 385-400).This manuscript includes the original commentaries by the author on a journey to Palestine, Jerusalem and Hebron from which al-Nabulsi's text Al-Hadra al-Unsiyya fi al-Rihla al-Qudsiyya was compiled. Given the author's spiritual background, al-Nabulsi was primarily interested in visiting mosques, tombs and shrines in the region for ziarat (a form of pilgrimage to sites associated with Prophet Muhammad), however his mystical beliefs also drew him to spiritual and holy personalities on the journey as well. These human encounters with dignitaries, of past and present worlds, gained him barakat (blessings) and were just as important to al-Nabulsi as his visits to structural places of worship. Thus as well as descriptions of historical sites, which are documented over a period of about 45 numbered days throughout the text, this manuscript also includes descriptions of many encounters with important and influential figures along his journey, some of which come in the form of an Ijazah between al-Nabulsi and a respective recipient. Contemporary manuscript copies of al-Nabulsi's travel codices are rare. An autograph manuscript copy of his al-Hakika wa al-Majaz appears to be among the holdings of the Zahiriyya library in Damascus, where a revised edition of the present text is also listed (Ms. 95661, signed Ali Seyyed Muhammad al-Bashir al-Nadir and dated 1224 AH [1809 AD]). The present text has also been printed, with a summarised version issued in Cairo in 1902 and a publication devoted entirely to his description of the Haram-i Sharif edited by R. Gaf and lithographed by Sallfeld appeared in 1918. The hand in the present manuscript is consistent with an example of al-Nabulsi's signature in the al-Alam bibliography (IV, pp. 32).This manuscript is most probably one of only three copies to come to the open market in living memory. An incomplete nineteenth-century copy of al-Nabulsi's travel journal to Syria, Mecca and the Hejaz, entitled Al-Hakika wa al-Majaz fi al-Rihla ila Bilad al-Sham wa Masr wa al-Hijaz, was sold in Christie's, 7 October 2011, lot 104, signed by the scribe Salih al-Nabulsi (possibly a descendant of the author) and including a colophon that indicated that the manuscript was corrected against the author's copy. Also, an early twentieth-century manuscript copy of this text, signed 'Abd al-Ghani bin 'Abd al-Jalil bin Mustafa bin Isma'il, was sold by Christie's, 9 October 2015, lot 326.
Los 68
Ɵ An Astronomical treatise, in Arabic, decorated manuscript on blue paper [Ottoman Turkey or possibly Qajar Persia, dated 1231 AH (1816 AD)] single volume, 32 leaves (uncollatable), apparently complete, single column, 15 lines of fine black nasta'liq, some headings in red, illustrated with over 40 tables and diagrams, most of these ruled in red with annotations in black nasta'liq (by the same hand), some later comments and ownership inscriptions to endpapers, some light finger-soiling, else clean condition, a few early ownership seals, 220 by 170 mm.; contemporary brown leather over pasteboards, ruled and tooled with central medallions in blind, spine strengthened at ends (tightening the binding), a little worn at extremities An appealing work on astronomy with over 40 skilfully diagrams of a celestial nature, together with numerous charts and tables probably pertaining to the movements of the sun and moon.
Los 87
Leila and Majnun fainting at the sight of each other, scene from Nizami's Khamsa, leaf from an illuminated manuscript in Farsi, on paper [Safavid Persia, second half of the sixteenth century] single folio, miniature depicting Leila and Majnun surrounded by animals including a lion, leopard, deer and rabbits, villagers seen watching them from a distance with bedouin tents in the background, ink and gouache heightened in gilt, text in four columns of fine black nasta'liq, reverse with 21 lines, leaf ruled in gilt, some light surface scratching with slight loss of pigment, 315 by 195 mm.; in modern card mount
Los 92
A seated Mulla in conversation with a youth, leaf from a Shahnameh, in Farsi, illuminated manuscript on polished paper [Safavid Persia (probably Shiraz), last decades of sixteenth century] single leaf, text in 4 columns, 15 lines black nasta'liq (verso with 23 lines nasta'liq) above the miniature on the bottom half of the leaf, depicting a seated Mulla in conversation with a youth, on a hillside with an attendant in waiting, image heightened in gilt, panel ruled in orange, gold and black, miniature heightened in silver and gold, a few darkened areas and some light smudges, some light restoration to old chips, overall presentable and bright, 330 by 240 mm.; in modern card mount
Los 96
Calligraphic quatrain of poetic verse, in Farsi, illuminated manuscript on paper, from a Safavid album [Safavid Persia, probably late seventeenth century] single leaf, depicting a single quatrain (four lines)of elegant black nasta'liq calligraphy, in cloud-shaped outlining margins with a gilt background, framed within multiple coloured banners of blue pink and green, each decorated with a gilt foliate design, outer margins also decorated with gilt patterns or spiralling floral vines, some light rubbing and surface soiling, mounted on thick card, in card mount, 395 by 257 mm.
Los 549
Bev Bevan signed 6x4 black and white photo. English rock musician, who was the drummer and one of the original members of The Move and Electric Light Orchestra (ELO). After the end of ELO in 1986, he founded ELO Part II. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Los 618
Astronaut Canadian Dave Williams NASA signed 6 x 4 colour photo, light crease and paper clip mark. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Los 117
Britains - seven boxed sets comprising Q Victoria Scots Guards State Colour # 40207 and 5993, also Rattray's Silk 8838, 27th Light Cavalry Madras 8839, Pipes & Drums King's Own Scot Borderers 00129, Pipes & Drums of the Cameronians 00130, all appear mib with all packing pieces, and one other boxed set lacking original packing pieces [7]
Los 335
Soldiers by Bob, Oxford Diecast, Dragon Armour and others - A collection of boxed military vehicles and an unboxed Britains diorama. Lot includes a 54mm French Light Tank in camouflage from Soldiers by Bob (handmade in Us & very heavy!); Dragon Armour M1a1HA Abrams Tank with Mine Plough and similar. Models appear to be in Excellent - Mint condition in Very Good - Near Mint boxes with some imperfections. Unboxed diorama appears to be in Good condition.
Los 352
Britains - Four boxes of Britains figures from the 'American Revolution and The Alamo' Ranges. Lot consists of #17516 Wounded Set - Texan & New Orleans Grey; 2x #17582 Command Set 23rd Regiment of Foot; and #17446 10th Foot Light infantry. Items appear to be in Mint condition in Near Mint - Mint boxes with some minor storage imperfections. (4)
Los 89
Oryon Collection History Club - four boxes of hand painted metal soldiers, 1:32 scale by Oryon of Milan of Italy, British Cavalry Light Dragoons 1815, British Heavy Cavalry R Horse Guards 1814, British Light Infantry, 71st Regt Glasgow Highland 1815 and French Cavalry Hussars 1st Reg 1806, # 8012, 8015, 8019, 8021, all appear mint in box [4]
Los 90
Oryon Collection History Club - four boxes of hand painted metal soldiers, 1:32 scale by Oryon of Milan of Italy, British Cavalry 17th Regt Light Dragoons 1854, British Cavalry R Dragoons 20th Regt 1815, British Light Infantry 95th Regt Rifles 1811 and British Light Infantry 28th Regt 1814, # 8020, 8022, 8023, 8034, all appear mint in box [4]
Los 180
A silver cigar case (by Nathaniel Mills, Birmingham 1846), bears the crest of the Forbes Leiths of Whitehaugh, Alford Aberdeenshire, one of the eagle feeding chicks, inscribed "Virtus Vulnere Virescit", another with stag's head inscribed "Salus Per Christum" and another with dove and olive branch inscribed "Fidus Ad Extremum", the main body engraved with large castle and smaller country house verso, within scrolling foliate decoration, marked "CFL" (Charles Forbes Leith), 2.42 oz CONDITION REPORTS Light surface scratch, accretions, some small pin prick holes on the lid and base, cleaning fluid residue inside, small split to front of lid, small dent to the top of the lid. ~General wear and tear commensurate with age and use. See photos for more details.
Los 76
A Collection of Silver, including: a set of three silver and glass candlesticks; a pair of silver tea-light holders; a pair of silver candlesticks, a pair of silver small cups; two silver dishes, each with gadrooned border, one circular and one oblong; a pierced silver dish; and a silver coaster, weighable silver 7oz 17dwt (13)
Los 16
Jewad Selim (Iraq, 1919-1961)Nisa Fi Al-Intidar ('Women Waiting') oil on board, framedexecuted in 194345 x 35cm (17 11/16 x 13 3/4in).Footnotes:WOMEN WAITING: ONE OF THE JEWAD SELIM'S MOST ICONIC PAINTINGS'Artists were appalled at the conditions of poverty, illiteracy and subjugation of a lot of Iraqi women during this period in Iraq's history. They were concerned about the situation of illiterate women who were 'waiting' for marriage or who were forced to work as prostitutes. Jewad was very proud of his sister Neziha for having the courage to break out of the tradition of 'waiting' and leaving to study art in Paris. The painting will have been a statement of the plight of women at this time'-Miriam Selim, the artists daughter Provenance:Property from the collection of Said Ali and Medhat Madhloom, acquired directly from the artistThence by descent to the present ownerPublished:Jewad Selim, Monument to Freedom, Jabra Ibrahim Jabra, Ministry of Information, 1974, illustrated P.99The Grass Roots of Iraqi Art, Jabra Ibrahim Jabra, Wasit Graphic Publishing Ltd, St Helier, 1983, illustrated in colourExhibition Catalogue: Jewad Selim, National Museum of Modern Art, January 1968, Ministry of Culture, Illustrated in Black and White Exhibited:Jewad Selim, House of Nizar Ali Jawdat in 1950, Baghdad, Iraq, 1950, No.9 (the artists first solo exhibition)Jewad Selim, National Museum of Modern Art, Baghdad, January 1968Bonhams are most privileged to present perhaps one of the rarest and most sought after works of Iraqi art to come to auction in recent history, from the father of Iraqi Modernism, Jewad Selim.Jewad Selim painted Woman Waiting in 1943 and gifted it to his close friends, the brothers Madhat and Said Ali Madhloom, in whose family collection the work has remained for the past 80 years. The work was not only exhibited at Jewad's first ever solo exhibition in the house of Ali Jawdat Ayoubi, but also featured in his major 1968 retrospective at the Baghdad National Museum, and has appeared in almost every major publication on the artist, including the seminal 'Grass Roots of Iraqi Art' by Jabra Ibrahim JabraExecuted in Jewad's key transitional period; during a five year stay in Baghdad after returning from Rome and before enrolling at the Slade, the work is a powerful and unique commentary on the plight of Iraqi women, and perhaps one of the first overtly feminist artworks painted in the Middle East In this painting Jewad depicts the prostitutes that were to loiter in the back alleys of Baghdad, entreating business for passers by. Far from being a merely literal appreciation of its subject matter, Jewad's depiction of the women is a wider commentary on the plight of a generation of Iraqi women whose fate and destiny were tied to the men for whom they were 'waiting'; this including not only Women Waiting for male custom, but for girls waiting to be betrothed whose transition to adulthood depended on the presence of a male provider. Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Selim weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on the florid landscape of downtown Baghdad, Selim's composition is populated with the humorous and extravagant characters encountered in everyday life. Light hearted and boisterous, the 'Women Waiting' is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on life in streets of Baghdad.'...A new trend in painting will solve the identity crisis in our contemporary awakening, by following the footsteps of the thirteenth century Iraqi masters. The new generation of artists finds the beginning of a guiding light in the early legacy of their forefathers' – Jewad SelimJewad Selim (1919-61)It is impossible to understand the modern art movement in Iraq without taking into account the works of this pioneer sculptor and painter, who was undoubtedly the most influential artist in Iraq's modern art movement. To him, art was a tool to reassert national self-esteem and help build a distinctive Iraqi identity. He tried to formulate an intellectual definition for contemporary Iraqi art. In charting his country's contemporary social and political realities, he was committed to combining the indigenous historical and folkloric art forms, with contemporary Western trends.Born in Ankara, Turkey in 1919 to Iraqi parents who moved to Baghdad in 1921, Jewad Selim came from a strongly artistic family: his father was an accomplished amateur painter, whose work was influenced by the European old masters, and his brother Nizar and sister Neziha were also accomplished painters, becoming well-known in their own right.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The effects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department.In 1946, he was sent to the Slade School of Art, London. At the Slade, Jewad met his future wife and fellow art student, Lorna. Jewad returned to Baghdad in 1949 to become Head of the Department of Sculpture at the Institute of Fine Arts, where he taught his students to draw on the heritage of their country to create a distinctive Iraqi style and artistic identity, which would become the ethos of an influential art movement just a few years later. In 1950 Lorna joined Jewad in Baghdad, where they were married.In 1951, Jewad Selim formed The Baghdad Modern Art Group.. Modern Iraqi art began with the first exhibition of the Baghdad group where they announced the birth of a new school of art that would 'serve local and international culture'.After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tehrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week later on 23rd January 1961 at the age of just forty-one, leaving a wife and two young daughters.Jewad's early death in 1961 was a shock to the artistic community of Iraq, but his spirit remained and was reignited by a new wave of young artists returning from their studies abroad, who picked up his mantle of extending Iraqi art into the rest of the Arab world and internationally. Jewad had paved the way ahead.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Los 32
Monir Farmanfarmaian (Iran, 1924-2019)The Magnified Sacred mirror and reverse-glass painting on woodexecuted in 2004diameter: 100cmFootnotes:A MAJOR MIRROR-WORK BY MONIR FARMANFARMAIAN FROM THE GEOMETRIC INSTALLATIONS SERIES'The harmonious division of a circle is a symbolic way of expressing the Tawhid, the Divine Unity as the source and culmination of all diversity'- Monir Farmanfarmaian, Mosaics of Mirrors 'This nonagon [The Magnified Sacred] represents the nine elements of the body: brain, bones, nerves, veins, blood, flesh, skin, nails and hair'- Monir Farmanfarmaian'For her 2006 exhibition in Tehran, Monir has conceived installations of large panels in different colours - with [the red nonagon] in a traditional color of passion and fire. The panels symbolize every aspect of the universe and characterize the timeless and infinite quality o Islamic geometric concepts'- Rose Issa Provenance:Property from a distinguished private collection, LebanonAcquire directly by the above from Rose Issa Projects, 2006Literature:London, Rose Issa Projects, Monir Shahroudy Farmanfarmaian: Mosaics Of Mirror, 2006, illustrated on page 38Exhibited:Monir Farmanfarmaian, Major Retrospective, Niavaran Cultural Centre, Tehran, 2006Monir Farmanfarmaian, Mosaics of Mirror, 2006, Rose Issa Gallery, LondonRadiant, enigmatic and complex, 'The Magnified Sacred' is one of the finest, and perhaps most technically intricate examples of Monir Farmanfarmaian's iconic mirror-work to come to market. Exhibited as part of an enormous series of 'Geometric Installations' executed between 2003-5 and exhibited at her major retrospective in Niavaran Palace Tehran in 2006, The Magnified Sacred is from one of Farmanfarmaian's most ambitious bodies of workMarrying craft, geometry and spiritual symbolism, Monir's composition extracts the centuries old Iranian tradition of mirrored paneling from its architectural setting, elevating it to an art form in its own right. Informed by a deep understanding of numerology and symbolism, Monir's work sheds light on the significance of shapes and signs within the typology of classical Islamic art, in an aesthetic framework that is captivating and intricate. Large in scale, sculptural in presence, and exhibiting an endless array of reflective variations, The Magnified Sacred is one of the most tightly composed and intricate examples of Monir's work.The shapes and patterns which Monir' employs in her compositions are clearly and intentionally derived from the geometric and numerological formulae present in Islamic and Iranian architecture. Whilst decoratively complex, the use of geometric patterns and tessellations points to a far deeper conceptual agenda, 'the proliferation of arabesque abstract decoration enhances a quality that could only be attributed to God, namely, His irrational infinity,' scholar Wijdan Ali observes in The Arab Contribution to Islamic Art (the American University in Cairo Press, 1999). 'The pattern of the arabesque, without a beginning or an end, portrays this sense of infinity, and is the best means to describe in art the doctrine of tawhid, or Divine Unity.'Exhibited and published in her major Monograph, The Magnified Sacred is a sublime example from an artist who has elevated her countries vernacular craft into a universal aesthetic, and in doing so, has become one of the most internationally acclaimed figures to emerge from Iran within the past century. Monir Farmanfarmian: A LifeBorn in Qazvin, Iran in 1924, Farmanfarmaian begun her studies at the Faculty of Fine Arts in Tehran before embarking to New York, where she attended Parson, The New School for Design and Cornell University, and worked as a fashion illustrator. It was in New York that Monir' mixed with the cities emerging cultural avant-garde, collaborating with artists such as Andy Warhol on illustrations for the Bonwit Teller department store. It was only after moving back to Tehran that Monir developed her signature style. Influenced by the arts and crafts of her native country, Farmanfarmaian fashioned an artform out of mirror-mosaic work drawing on traditional techniques of reverse-glass painting, inlaid carving, Islamic geometry, and architectural design. To create her reliefs and sculptures, Farmanfarmaian commissioned craftsmen to draft her early designs, then cut mirrors to fit the required shape, which were set in geometrical patterns, and mixed with plaster to produce new compositions into which the artist incorporated colored glass.Monir Farmanfarmaian received international acclaim in 1958, when she was presented a gold medal for her work in the Iranian Pavilion at the Venice Biennale, this was followed by exhibitions in Tehran, Paris and New York. She has recently become the focus of significant institutional interest, having held important exhibitions worldwide including the Gwangju Biennale, South Korea (2016); a major career retrospective at the Solomon R. Guggenheim Museum, New York, NY (2015) and at the Fundação Serralves–Museu de Arte Contemporânea, Porto, Portugal (2014).She is the subject of a substantial monograph, Monir Shahroudy Farmanfarmaian: Cosmic Geometry, edited by Hans Ulrich Obrist; and has authored an autobiography, A Mirror Garden (Knopf, 2007). Farmanfarmaian's work is placed in some of the most important institutions around the world, including: Solomon R. Guggenheim Museum, New York, NY; Tate Modern, London, U.K.; Museum of Fine Arts, Boston, MA; and Metropolitan Museum of Art, New York, NY.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Los 37
Nasser Assar (Iran, 1928-2011)Mystical Sunset oil on canvas, framedsigned 'N.ASSAR' and dated '66' (lower right), executed in 1966 147 x 89cm (57 7/8 x 35 1/16in).Footnotes:Provenance:Property from the estate of a distinguished Iranian academic, CaliforniaShimmering, delicately rendered and enigmatic, Nasser Assar's 'Mystical Sunset' is one of the largest and most powerful canvases by an artist whose works were squarely inspired by a combination of Eastern painterly traditions and Western Abstraction. Reflecting a tender and meditative appreciation of nature, Assar's rosy bucolic Sunset recalls the placid and sympathetic depictions of the sunset over Mount Fuji by the revered Japanese print-maker HokusaiBorn in Tehran in 1928, Nasser Assar is one of the most seminal protagonists of the Iranian modernist movement. His works mark both a compositional departure from the academic formalism of the turn of the century, and a clear thematic circumvention of the dominant neo-traditionalist orthodoxy of his time. His migration to Paris in the 1950s coincided with a critical juncture in the progression of European modernism. Still in its infancy, the French post-war art scene eventually gave rise to the establishment of Tachism and Lyrical Abstraction, movements which heavily influenced the work of Assar. However, whilst operating alongside luminaries such as Tapies, Fautrier, De Stael and Wou Ki, Assar still developed a unique and distinctive style of abstract expressionism which was neither derivative nor imitative of his European counterparts.Assar's canvases are wrought with a strong sense of conceptual duality derived from the inner-collation of calligraphy and landscape. Taken compositionally, Assar's depiction are built up of pseudo calligraphic oriental letterforms set in an ethereal, polytonal landscape. Yet within the composition itself, letterforms and natural forms are inseparable, having seamlessly permeated their surroundings. This unrestricted oscillation between world and environment, aside from being technically progressive, itself serves as an aesthetic device for the expression of a far more profound artistic impulse whose genesis is found in the Zen calligraphy whose influence is so evident in Assar's work.In the Zen Buddhist tradition, performing calligraphy, or hitsuzendo, is a meditative practice seminal towards the attainment of spiritual unity with the divine. In light of the universality of his practice, the language in which the calligraphy is composed becomes irrelevant, and Assar's choice to diverge from his native Persian, far from being an act of disregard, is merely an aesthetic affirmation of his belief in the transcendental and universal characteristics of divine truth. Concurring with the Sufi tradition, this entails an understanding of the world which treats worlds, languages and systems of communication merely as names and symbols for illusory, transient, material objects, which cast a deceptive veil of sense experience over the unified, absolute, and singular underlying spiritual reality. It this underlying reality which Assar attempts to penetrate, by demonstrating that the material landscape of our world is purely an artefact of our linguistic habits, and not a source of absolute truth. This is all achieved within an aesthetic which is both technically proficient and visually diverse, and whose freedom of hand evolves a spontaneity which is at once expressive and unrestrained.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Los 40
Sohrab Sepehri (Iran, 1928-1980)Untitled (from the Tree Trunk Series) oil on canvas, framedsigned 'Sepheri' in Farsi (lower left), executed circa 1970s85 x 120cm (33 7/16 x 47 1/4in).Footnotes:Provenance:Acquired from the artist in 1972 by a private collector, IranThence by descent to his daughter,Acquired from the above by Dr Maleki, TehranAcquired directly from the above by the present ownerNote:The present work is accompanied by the copy of a Letter of Authenticity signed by the Director of the Tehran Museum of Contemporary Arts and the works previous owner, Dr Maleki'I have never known two poplars to be enemiesI have never witnessed a willow selling its shade to the groundThe elm tree freely bestows its branch to the crow-and wherever there is a leaf- my passion blossoms likes a bush -bathing me in the joy of existence'- Sohrab SepehriThe present lot is an exceptional example from Sohrab Sepehri's celebrated Tree Series. Executed in the early 1970's, the depiction of Trees, for Sepehri, represented an escape from the harsh urban environment that he found so oppressive and melancholic, longing for a return to the verdant pastures of his native Kashan. Sepehri's strong representational impulse propelled by a love of the natural landscape of his native of Kashan and the near monastic technical discipline honed from his study and mastery of Eastern painting techniques. Poet, artist and intellectual, Sepehri's mild manner and withdrawn persona belied the richness of expression manifest in his works. Enraptured by nature, Sepehri had a deep and profound attachment to the topography of his native Kashan, the 'oasis city' where trees and vegetation sprung amidst the arid desert. The genesis of Sepehri's work was firmly rooted in this landscape, and he often bemoaned the long periods of absence from Kashan he had to endure when exhibiting and working abroad.Sepeheri had a firm belief in the inherent grace and nobility of the nature he so admired. Inspired by Eastern traditions, with which he had direct contact during travels in India and Japan, Sepehri came to see the purity of the natural world as an antidote to the corruption of the human condition. Removed from the sphere of urban tumult, an unblemished natural world exhibited order, harmony and simplicity.Sepehri's focus however, fell on perhaps nature's most visually striking and symbolically potent inhabitant; the tree. Monolithic, life-exuding, and perpetual, the tree is both the ultimate example of the force of nature, and its symbolic focal point, harbouring all four elements of life; soil within its roots, water within its ducts, expelling life giving oxygen and providing the fuel for fire, its form and significance gripped Sepehri's creative faculties.Sepehri's choice in depicting this singular archetype of nature derives from his belief in the beauty of the concise. Zen tradition encourages the shedding of excess and the absence of the superfluous, to this end Sepehri depicts only trunks, for he was no realist, and was concerned more with the meaning of a tree, its aesthetic essence, than construing its actual physical occurrence in a specified landscape.Combined with this, he employs a limited palette, consisting of coloured grays and dark greens. The limiting of colour to an absolute minimum is a conscious exercise in terseness, echoing the formal restraints of the Zen haiku which are limited to seventeen syllables, and reflecting Sepehri's belief that economy in colour resulted in greater artistic lucidity. Despite this terse palette, Sepehri manages to faithfully capture the texture, complexity and light and dark tonal variations between his tree trunks, delineating gracefully where trunks and branches engage, interlope and separate.Ultimately, for Sepehri, the depiction of a tree was a meditative endeavour, in the Japanese tradition of 'hitsuzendo', an attempt at creative self-reflection. Unlike Western traditions where the artist uses his faculties to fashion a work into existence, the Zen painting tradition holds that the 'man the art and the work are all one'.Flawlessly executed, the present work is not only superlative in its composition but stems from one of the most creatively fertile years in Sepehri's career, when the artist had no fewer than four major solo exhibitions in Paris, new York and Tehran. Archetypal, exemplary and sublime, the present painting is a work that is truly deserving of the title, 'best of breed'For further information on this lot please visit Bonhams.com
Los 49
Farid Belkahia (Morocco, born 1934)Étude sur le Malheur pigment on animal hidesigned 'f.belkahia' and dated '98', executed in 1998diameter: 77cmFootnotes:The present work is an beautiful and exemplary example from Farid Belkahia, a supreme figure in Morroccan modernism who will be honored with a solo retrospective at the Centre Pompidou later this year.Belkahia's reached his artistic maturity roughly at the same time that his native Morocco achieved independence from French rule. He was determined to take an uncompromising artistic stand, embodied, as early as 1963, by his imperative need to compete against Western influence with the definition of a specifically Moroccan modernity. The result was his radical and definitive break with easel painting and the oil painting medium. From then on, Belkahia showed a clear preference for traditional materials, such as copper and ram's skin. This was a celebration of Morocco's pre-colonial, multicultural past, as were his many references to Amazigh (Berber) and African material culture (tifinagh signs from the script of the Amazigh language, patterns of Amazigh carpets, tattoos) and to traditional techniques, such as henna and walnut stain dyes, and the treatment of raw skin. His work brought to light the artisan methods of the centuries-old culture, as well as popular and traditional arts that remained faithful to their historic and spiritual past. The use of these materials propelled him to make non-figurative works, developing shapes in volumes that sat between two-dimensional works and sculptural objects, which entered the viewer's space.For further information on this lot please visit Bonhams.com
Los 7
Fahr El-Nissa Zeid (Turkey, 1900-1991)Portrait of the artists daughter, Şirin Devrim as Lady Macbeth oil on panel, framedexecuted circa 1960's60 x 50cm (23 5/8 x 19 11/16in).Footnotes:'Come, you spiritsThat tend on mortal thoughts, unsex me here,And fill me from the crown to the toe topfulOf direst cruelty!'Macbeth Act 1, scene 5, 38–43Provenance:Property from a distinguished private collection, TurkeyNote: The present portrait is a depiction of the artists daughter Sirin Devrim played Lady Macbeth in the 1960's at the Rumeli Fortress on the Bosporus, organised by the Istanbul City TheaterShirin Devrim was born in Istanbul, Turkey and was educated in Berlin, Baghdad, Istanbul and New York. She was a graduate of the Yale School of Drama. Her first professional appearance was in 1950 at the Court Theatre in Wisconsin as Bella Manningham in Gas Light. In 1953, she made her off Broadway debut as Rosa Gonzales in Tennessee Williams' Summer and Smoke. In the mid 1950's she returned to her native land and overnight became one of the leading actresses and directors of the Turkish theater. Among the many parts she played are Mrs. Harrington in Peter Schaeffers' Five Finger Exercise , Mrs. Levy in The Matchmaker, Mrs. Rosepettle in Oh Dad, Poor Dad..., Mrs. Gant in Look Homeward Angel and Mary in The Women , and Serafina in the The Rose Tattoo, as well as Katherina in Taming of the Shrew, Lady Macbeth, and Queen Gertrude in two different productions of Hamlet.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Los 73
Farhad Moshiri (Iran, born 1963)Gold Leaf Bowl with Green Hue acrylic and oil on canvas signed 'Farhad Moshiri' and dated '2005' in Farsi and English on the verso, executed in 2005150 x 150cm (59 1/16 x 59 1/16in).Footnotes:'Thus spake I to a potter on a day,Bidding his careless wheel a moment stay--'Be pitiful, O potter, nor forgetPotters and pots alike are made of clay'-Omar Khayyam Provenance:Property from a private collection, LebanonAcquired directly from the Third Line, Dubai, 2006Bonhams are privileged to offer a fine and monumental example from Farhad Moshiri's inimitable jar series.The 13th century Persian poet and polymath Omar Khayyam proclaimed clay as a 'mysterious mother substance', and exalted what he described as a 'wizard dust, wherein all shapes of birth, — soft flowers, great beasts, and huge pathetic kings, fill a needled girth'. The analogy of the substance of life, as mere clay at the behest of an unseen potter which shapes, forms, breaks and remoulds at its whim, is a powerful and lasting motif in classical Persian literature, and serves to highlight the indifference of the universe to the relentless cycle of extinction and decay which characterises existence. It is this symbolic, poetic clay which forms the substance of Moshiri's jars, and it is in the context of this symbolism where their true meaning is brought to light. In their form, Moshiri's jars are inspired by the artistic heritage of Persian antiquity, which was home to one of the foremost centres of ceramic production in the ancient world. Ceramics which survive, as Moshiri depicts them, in a state of beautiful decay; fractured, discoloured and petrified beneath the earth, they live on as mere vestiges of a bygone age, their brilliance reminding us of the illustrious civilisation that gave rise to them, their decay ruing its inevitable downfall. For Moshiri, the flattening of these jars onto canvas harks their extinction as objects of use, whilst ruing the expiration of the cultural landscape they once inhabited. A consummate draftsman with a deft touch, Moshiri's Jars show an astounding level of technical skill, seldom has melancholy been channeled in such an aesthetically brilliant and visually vibrant form. Poignant, striking and refined, the present work is an example of Moshiri in his artistic prime.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Los 225
Maharajah Ranbir Singh of Jammu and Kashmir (d. 1885) seated on a terrace, cradling a sword Punjab, second half of the 19th Centurygouache and gold on paper, black inner border, light pink outer border 211 x 159 mm.Footnotes:For comparative portrayals of Ranbir Singh, notable for his impressive moustache, see W. G. Archer, Paintings of the Sikhs, London 1966, figs. 57 and 58.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Los 235
A small portrait of Ensign Philip Moxon, killed at the Battle of Ferozshah, 21st December 1845, during the First Anglo-Sikh War British School, mid-19th Centurywatercolour on paper, with arched top, in frame, the backboard with contemporary handwritten note giving the circumstances of Moxon's death; together with a photocopy of several pages from a history of the Munster Fusiliers, giving details of the battle and of Moxon's action painting 95 x 70 mm.; frame 215 x 187 mm.(2)Footnotes:The note on the reverse reads:Philip Moxon, 3rd son of Thomas and Elizabeth Moxon. Born at Dover, 18th July 1826. Killed alas! at the battle of Ferozeshah, India, on 21st December 1845.He carried the Colours of the 1st European Light Infantry, being ensign (now I believe called the 1st Fusiliers). The battle was fought on Sunday (the shortest day). He was killed in the moment of victory, by the exploding of a shell that fell near him.The accompanying history notes that the colour carried by Moxon, 'which was saturated with his blood', now hangs in Winchester Cathedral. See D. Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, p. 217: Sikh development of shrapnel, and 'were fully conversant with the French practice of using canister of two sizes to deliver anti-personnel fire anywhere between 200 and 400 metres. This goes a long way to explain why British casualties in some engagements of the First Anglo-Sikh War approached fifty per cent'.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Los 249A
Maqbool Fida Husain (Indian, 1913-2011)Mother Teresa oil on canvas, framedsigned upper right, executed in 2002100 x 73cm (39 3/8 x 28 3/4in).Footnotes:'I have tried to capture in my paintings what Mother Teresa's presence meant to the destitute and the dying, the light and hope she brought by mere inquiry, by putting her hand over a child abandoned in the street. I did not cry at this encounter. I returned with so much strength and sadness that it continues to ferment within.' - M.F HusainProvenance:Acquired by Mr Ravindra Maheshwari, 2002, MumbaiThence by descent to Mr Upendra Maheshwari,Acquired by Dr H.S Kanda, 2016Acquired by Mr Ajit Singh Gulati, 2015,Thence by descent to the present ownerNote:The present work is accompanied by a certificate of authenticity from the artists son Shafat Husain, dated 2009First appearing as a morif in Maqbool Fida Husain's paintings in 1980, the figure of Mother Teresa recurred repeatedly in his works in the later years of his career. She is faceless, with her corporeality implied by the sari and its modeling. Gradations of the night sky permeate her hollow form, while a dove of peace and a child nestles on her. By absenting facial descriptions in both the sainted Teresa and the child, Husain emphasises the emblematic status of both in the Indian imagination. The young indigents' lack of self-sufficiency is powerfully expressed through their lack of feet and hands. Mother Teresa's sari maternally nestles the child, promising succour and hope. The artist states 'I have tried to capture in my paintings what her presence meant to the destitute and the dying, the light and hope she brought by mere inquiry, by putting her hand over a child abandoned in the street. I did not cry at this encounter. I returned with so much strength and sadness that it continues to ferment within.' (Artist statement, Y. Dalmia, The Making of Modern Indian Art: The Progressives, New York, 2001, p. 116)This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Loading...-
534325 Los(e)/Seite