Unknown artist a portrait of Cardinal Thomas Wolsey (1471-1530) based on a work of circa 1520 20th Century print on canvas 50cm x 60cm unframed,Unknown English artist a portrait of Anne Boleyn (1501-1536) based on a work of circa 1533-1536 20th Century print on canvas 50cm x 60cm framed, J H Lynch (20th Century) an exotic beauty print 50cm x 70cm framed; D Bragolin a tearful girl print 50cm x 70cm unframed, Two framed poster prints of works by Claude Monet (1840-1926) : Venise Palazzo de Mula, 49cm x 55.5cm; La Debacle sur la Seine 82cm x 60cm; a further Monet print of Waterloo Bridge 32cm x 23cm together with a framed coloured print on card of thatched cottages beside a flooded dyke 85cm x 34cm, Tyrus Wong (20th Century) Shangri-La print on board 74cm x 29cm framed, Highland cattle in the glen print 20cm x 30cm painted frame another print and a map, (14)
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Dia Azzawi (Iraq, born 1939)Portrait of Ancestor no.3 bronzesigned 'Azzawi' and dated '06' on the right side, stamped and numbered 3/9 on the verso, executed in 2006height: 40cmFootnotes:Provenance:Property from a private collection, LondonAcquired directly from the Artist.Note:This work is accompanied by a certificate of authenticity.This lot is subject to the following lot symbols: AR PAR Goods subject to Artists Resale Right Additional 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
Kadhim Hayder (Iraq, 1932-1985)Approaching Oblivion oil on canvasexecuted in 1984 141 x 116cm (55 1/2 x 45 11/16in).Footnotes:'We, who are geniuses, have no right to die, for our presence is necessary for the progress of humanity!' - Salvador Dali's final interview Provenance:Property from a private collection, LondonAcquired directly from the artist's final soho show at the Iraqi Cultural Centre, London, 1984Exhibited:London, Kadhim Kayder, Iraqi Cultural Centre, 1984The present painting is one of Kadhim Hayder's last works. A large intricate composition acting almost as in internal self portrait, a somber yet vigorous reflection of the artists ailing body as he slowly succumbed to leukemia.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
Louay Kayyali (Syria, 1934-1978)The Cake (Kaak) Seller oil on masonite, framedsigned 'Louay Kayyali' and dated 1974 in Arabic (lower left), executed in 197497 x 76cm (38 3/16 x 29 15/16in).Footnotes:Provenance:Acquired directly from the artist by the late Mrs Hadba Nizar KabbaniThence by descent to the present ownerLouay Kayyali is remembered as one of the most sought-after Arab artists of the Modernist era. We are honoured to be presenting three exquisite examples of the artist's tender and ennobling depictions of Syrian daily life. These paintings come to market with extraordinary provenance; 'The Cake (Ka'ak) Seller' coming from the distinguished collection of the late Hadba Qabbani, daughter of the late Syrian poet Nizar Qabbani, who acquired the painting directly from the artist, 'Maaloula' having been acquired directly from the artist by one of his relatives and 'Portrait of Jacqueline van den Brandeler (nee. Merrier)' was commissioned by the former Dutch Ambassador in Syria H.E Jonkheer D. van den Brandeler.Kayyali was born in Aleppo, Syria in 1934. He received an art scholarship in 1956 to study at Rome's Academy of Fine Arts and participated in numerous exhibitions and fairs during his time in Italy, including representing Syria along with Fateh Al Moudarres at the 1960 Venice Biennale. In 1961, Kayyali returned to Syria where he took up a professorship at the Damascus Higher Institute of Fine Arts. After the Arab defeat in the Six-Day War with Israel in 1967, Kayyali abandoned painting due to depression. In the early 1970s, he returned to painting and began producing numerous paintings depicting everyday people from the streets of Syria's such as newspaper sellers, shoe-shiners, and the characters depicted in the present works'The Cake (Ka'ak) Seller' is a prime examples of Kayyali's mature period in which key characters from Syrian daily life merge to the forefront. In this body of work, Kayyali highlights the protagonist's struggle and vividly captures how political upheaval affected the Syrian population's demeanor, shaping a culture and society that led to poverty and societal marginalization. Kayyali conveys a mixture of empathetic admiration and sad affection for his poor but noble subject mattersThese mesmerizing portraits condensing all minor detail articulate the softness and vulnerability of Kayyal's subjects. Melancholy, resignation and solitude best characterise much of Kayyali's work after the 1967 war and the sentiments of political failure in Syria and the Arab world in general. His paintings externalized the pressing humanitarian and political issues that surrounded him. Kayyali's powerful depictions of ordinary people are characterized by strong fluid lines that define the figures and the absence of extraneous detail.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
Munir Fahim (Egypt, 1935-1983)Nubian Women oil on canvas, framedsigned 'M.Faheem' and dated '80' (lower right), executed in 1980100 x 80cm (39 3/8 x 31 1/2in).Footnotes:Provenance:Property from a private collection, LondonMunir Fahim is remembered as one of the most renowned portrait painters in Egypt. Egyptian women highly valued personal adornment and it was worn by all social classes. In these artistically unique and striking depictions, the Nubian women are seen adorned with bold golden and silver native jewelry. The women in each of the paintings embody pure intrinsic Egyptian beauty. Fahim was born on June 26, 1935 in the port city of Rasheed located in Egypt's Beheira governorate. In 1962, Fahim obtained a degree from the Cairo Faculty of Fine Arts and had his own atelier in Alexandria since 1965. Munir painted over 800 portrait paintings including ones of celebrities, artists and important personalities such as Egyptian President Anwar Sadat, Ms. Gihan Sadat, Egyptian Foreign Minister Mahmoud Riad and his wife, the Lebanese President and his wife, King Hussein Bin Talal, Queen Noor and Foreign Minister of Jordan Abd Monem Rifai and Marshal Habis Majali and artists such as Seif Wanly, Hussein Bicar and actor Kamal Shennawi and others. His works have been exhibited in numerous exhibitions in Egypt and he participated in the Alexandria Biennale in 1982. He has also exhibited in Lebanon, Jordan, Finland and in the Kunsthalle in Hamburg, Germany.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
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
Shafic Abboud (Lebanon, 1926-2004)La Femme en bleu, La Fiancée noire, Couleurs du Liban, Ecritures, Portrait de l'Oiseau a set of five lithographssigned 'Abboud' and individually numbered 18/30, 11/30, 8/30, 9/30 and 35/60, executed between 1969-198965 x 50cm eachFootnotes:Provenance:Property from a private collection, ParisIllustrated:Paris, Claude Lemand, Shafic Abboud Monograph, 2006For further information on this lot please visit Bonhams.com
A portrait of the Ottoman Sultan Abdülaziz (reg. 1861-1876) Europe, 19th Centuryoil on canvas 78 x 71 cm.Footnotes:Sultan Abdülaziz was the 32nd Sultan of the Ottoman Empire, having been born on February 4th, 1830 in Constantinople to Sultan Mahmud II and Pertevniyal Sultan. Although he grew up in the traditional Ottoman education system he was influenced by the material advances made in the West. Consequently, he became the first Ottoman Sultan in 1867 to travel to numerous Western European cities, some of which include: Brussels, London, Paris, Naples and Vienna. The museums in these cities impressed him greatly and upon his return to Constantinople he ordered the establishment of an Imperial Museum. His other achievements include the modernisation of the Ottoman Navy, the establishment of the first Ottoman railway networks and the issuance of the Ottoman Empire's first postage stamps.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
Mubarak-ud-Daula, Nawab of Murshidabad (1770-93), seated in durbar with Sir John Hadley D'Oyly, British Resident from 1780 to 1785 Murshidabad, circa 1795-1805gouache on paper 350 x 530 mm.Footnotes:ProvenanceGeneral Sir George Nugent, 1st Bt. (1757-1849), Commander-in-Chief, India, 1811-13, & Maria, Lady Nugent.Thence by descent via the Nugents to the current owners.For a very similar painting of the same subject in the Victoria and Albert Museum, see M. Archer, Company Paintings: Indian Paintings of the British Period, London 1992, pp. 78-80, no. 42(i), illus. She comments that the group of nine paintings of festivals and durbars in the V&A were probably based on originals by the British artist George Farington (1752-88), who was active in Murshidabad for a few years before his death there. There is also a comparable group now in the British Library (Add. Or. 3220-36) collected by Lt. Col. James Chicheley Hyde, who served in Bengal from 1806 to 1837. Archer notes that the artist(s) of such works were probably selling their work in both Murshidabad and in Calcutta, which corresponds with Lady Nugent's accounts of acquiring paintings.Our painting differs from the V&A work in the relative paleness of its palette, and there are minor differences in the background, though the essentials (figures on elephants, the buildings to left and right) are present in both. The same too tall figures appear as well, in the foreground, to the left and right of the front canopy poles. These figures were distinguishing characteristics in a story recounted by Archer (op. cit., p. 80): George Farington was commissioned by D'Oyly to paint him in durbar with the Nawab, and a smaller version was also made for a subsequent Resident, Robert Pott. D'Oyly's painting was sent back to London after Farington's death, but D'Oyly (then having run out of money) denied commissioning it. However, three artists (including Thomas Daniell) confirmed that this was indeed the case, and made reference to the too tall figures in the Pott version. The feature seems therefore to have made its way into the versions made by Murshidabad artists.Sir John Hadley D'Oyly had arrived in Bengal with the Company in 1770, aged sixteen, and had become a great friend of Warren Hastings, being promoted to the post of Persian Translator to the Board of Governors, and eventually to Resident at Murshidabad. William Hickey's frank memoirs commented that the post was 'considered as the most lucrative office in the Company's service, the whole stipend or salary allocated by Government to the Nawab passing through such Resident's hands, in which channel a considerable portion of it always stuck to his fingers'. For a portrait of him by John Thomas Seton, circa 1784, and discussion of his career, see M. Archer, India and British Portraiture, 1770-1825, London 1979, pp. 116-117, and no. 74.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
A large drawing of Sikh forces on the move, with noblemen riding in howdahs on elephants or carried in a palanquin North India, late 19th Centurypen and ink and some colour on paper 600 x 830 mm.Footnotes:For similar large drawings, see Sotheby's, Howard Hodgkin: Portrait of the Artist, 24th October 2017, lot 94, 136 and 139.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
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
A group portrait of soldiers of the 15th Sikhs by Paul Sarrut (1882-1969) Allouagne, dated 10 January 1915pencil on paper laid down on card, signed and dated lower right and inscribed fait à allouagne - 15th Sikhs - no. 4; signed lower left and inscribed Lt. Col. Commdg. 15-Sikhs by the commanding officer of the unit 276 x 206 mm.Footnotes:PublishedBritish and Indian Troops in Northern France, 70 War Sketches by Paul Sarrut, 1914 - 1915, Delépine, Arras, prior to 1920.ExhibitedEmpire, Faith and War: The Sikhs and World War One, Brunei Gallery, London, 9 July - 28 September 2014.Paul Sarrut was a French Liaison officer who had access to some of the Indian camps at the Western Front between 1914-15. He produced a number of intimate sketches of sepoys, often in places undocumented by camera, such as the inside of camps and billets. Seventy of these sketches, including the present lot, were reproduced as prints in British and Indian Troops in Northern France, 70 War Sketches by Paul Sarrut, 1914 - 1915, Delépine, Arras, prior to 1920. The publication was limited to 250 copies, issue no. 40 of which is retained at the British Library as part of the India Office Library (cat. no. BLL01007259929). The 15th Ludhiana Sikhs were an infantry regiment in the British Indian Army who were active between the years 1846-1922. During this time they were part of numerous battles that included the Battles of Ahmed Khel, Kadahar, Tofrek and Sakin, the expedition of Chitral, the Campaign of Tirah and World War I. In the First World War (1914-1918) they served on the Western Front in France as part of the 8th (Jullundur) Brigade, 3rd (Lahore) Division and in Egypt in the Mesopotamia Campaign as as part of the Western Frontier Force.They were moved to Egypt in late 1915 to fight against the tribal sect of Muslims led by Sayed Ahmed, known as the Senussi. The Western Frontier Force consisted of an infantry brigade containing partially trained battalions, the 2/7th and 2/8th Middlesex, the 15th Ludhiana Sikhs, the 6th Royal Scots and the cavalry brigade containing three British Yeomanry regiments. The 15th Ludhiana Sikhs were given the first mission against the Senussi on 11th December 1915, where they were tasked with breaking the ranks of the enemy at Duwwar Hussein. The 15th Sikhs proved to be vital for the Western Frontier force. Their results were exemplary and they were given the honour 'Egypt 1915-17.' After World War I the Indian government reformed the army moving them from single batallion regiments to multi batallion regiments. The 15th Ludhiana Sikhs were now known as the 2nd Batallion/2nd Sikh Regiment. Finally, after Independence in 1947 the regiment was allocated to the new Indian Army.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
A portrait of Fath 'Ali Shah Qajar, signed by Hajj Mustafa, known as Mustafa Naqqash Iran, 20th Centuryoil on canvas, signed Hajj Mustafa lower left, on stretcher 149.5 x 99.5 cm.Footnotes:The artist's full name was Hajj Mustafa Hashemi Tarzami Hashemi, and was known as Mustafa Naqqash (painter). He died in 2003.The painting is modelled partially on the portrait of Fath 'Ali Shah by Mirza Baba, dated 1798, in the British Museum, and partially on another, by Mihr 'Ali, dated 1813, in the Hermitage, St Petersburg.This lot is subject to the following lot symbols: R PR This lot is subject to import restrictions when shipped to the United States.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
A pair of Bohemian opaline glass lamps depicting Nasr al-Din Shah Qajar (reg. 1848-1896) late 19th Centuryeach of blue glass with baluster supports on splayed feet with domed drip trays and flaring tops, with removable clear glass shades, the drip trays with pendant cut glass shards of varying sizes, decorated in polychrome enamels with floral and foliate designs, the shades with two transfer-printed portrait medallions depicting the Shah each 55 cm. high(2)For further information on this lot please visit Bonhams.com
Portrait study of a man in a green cloak, head and shoulders inscribed to the reverse oil on panel, oval 22 x 14.5cmCondition report: Oil on panel. The wooden support does not have a ground layer, the paint is applied directly to the wood and the vertical wood grain is evident across the surface. The paint layer is in a good condition. There is a thin layer of varnish which is slightly yellowed but acceptable. The frame has losses to the moulding.
A porcelain plaque painted with a portrait of the Empress Eugenie (1826-1920) after Franz Winterhalter (1805-73), she sits with a pink cushion at her back, white roses in the bodice of her full lace dress and at the back of her brown hair, impressed marks, 18 x 13cm (7 x 5 in) The original portrait painted in 1854 resides in the Russell-Cotes Gallery, Bournemouth
Dod PROCTER (1891-1972) 'Lydia'oil on canvasSigned top right36 x 28cmProvenance:From the estate of Joan Manning Sanders.It was the understanding of Manning Sanders' family that this was a portrait of the artist and model Eileen Mayo but a contemporary article about Dod Procter in Good Housekeeping Magazine (November 1926) titles this work as 'Lydia'. It is our belief that the frame may have been made by Ernest Procter.Note: Joan Manning Saunders was a Cornish child prodigy who earned national acclaim in 1928 when her work was exhibited at the Royal Academy, she was just 16 years old.She was taken under the wing of fellow artists in the Newlyn colony and the influence of Dod Procter can clearly be seen in her paintings.Condition report: This portrait was a personal possession of the artist and was then bequeathed to her friend, the mother of our vendor. We feel the artist has worked on several areas that concerned her but no other hand has been involved.There is some peripheral damage and some blooming of paint.UK postage: £50+VAT.
Two cased quarter plate Ambrotype portraits of Gentlemen, each with subtle hand tinting (condition 5); a smaller mother and child image, a single portrait of a girl in an uncommon beehive design Union Case by Littlefield, Parsons & Co., and a double portrait group (cover glass broken) in a patterned Union Case. (From The Bob White Collection).
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