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GAME OF THRONES - Film / Production Crew Issued clothing to include: An XL Season 6 black Stunt Crew T-Shirt and Season 8 production issued crew gift - Water bottle 'Fxxk the water, bring me wine' - Unused - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

GAME OF THRONES - Film / Production Crew Issued Clothing to include: An XL black 2014 Stunt Crew T-Shirt and XL RARE limited edition crew gift from Show Runners featuring storyboard images and message on back - white Belfast 2010 T-Shirt - Unworn - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

GAME OF THRONES - Film /Production Crew Issued Clothing to include: an XL long-sleeved black shirt - RARE limited edition crew gift from production referencing Jon Snow - Unworn - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

GAME OF THRONES - Film / Production Crew Issued Clothing to include: an XL Black Season 2 World Tour long sleeve shirt and an XL Season 8 Stunt Crew Navy Blue T-Shirt - unworn - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

DR. WHO AND THE DALEKS (1965) - Later release - British One Sheet Film Poster (27” x 40” – 68.5 x 101.5 cm) - Folded (as issued)

Film / Production Crew Issued Clothing: - A group of three men's stunt crew XL T-Shirts: 2 x grey: MISS PEREGRINE'S HOME FOR PECULIAR CHILDREN and DRACULA and 1 x black DARK SHADOWS - unworn - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

Film / Production Crew Issued Clothing: - Two XL T-Shirts for PRINCE OF PERSIA sand, second unit and READY PLAYER ONE, black stunt crew together with a black ASSASSIN'S CREED baseball cap - unworn - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

MUSIC: THE WHO - THE KIDS ARE ALRIGHT (1979) - Starring The Who in all their glory, Jeff Stein’s rock documentary is a rock and roll rollercoaster ride, showing just why every kid who could wield an air guitar wanted to be in The Who - UK Quad film poster 30" x 40" (76 x 101.5 cm) (30" x 40")

MUSIC: THE WHO- MCVICAR (1980) - (ROGER DALTREY / ADAM FAITH) UK Quad Film Poster (30" x 40")

ROBIN HOOD 2009: - Film / Production Crew Issued Clothing: - A pair of XL, stunt crew T-Shirts - one green, one white - unworn - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

ROBIN HOOD 2009: - Film / Production Crew Issued Clothing: - A black, medium, stunt crew over the head hoody with navy baseball cap - unworn - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

PIRATES OF THE CARIBBEAN: - Film / Production Crew Issued Clothing: - A black, men's Large performance, soft shell jacket- unworn - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

CHARLIE AND THE CHOCOLATE FACTORY (2005) - A Set of 4 original production used WONKA bars from the movie directed by Tim Burton - featuring Johnny Depp as Willy Wonka. The lot consists of four wrapped bars; Whipple-Scrumptious Fudgemallow Delight, Chilly Chocolate Creme, Nutty Crunch Surprise and a Triple Dazzle Caramel. Each bar is made of brown plastic and wrapped in silver foil with printed wrappers - Near Fine (4) - This item has come to us directly from a member of the set crew. PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

HARRY POTTER: 'THE END IS NIGH' 2001 -2010 - Film / Production Crew Issued Clothing: - A very rare stunts worldwide, black, size L T-Shirt - unworn - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

FURY (2014) - Film / Production Crew Issued Clothing to include: an XL khaki green Second Unit T-Shirt and black (one size) second crew baseball cap - unworn - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

WAR HORSE: Film / Production Crew Issued Clothing: - A chocolate brown XL T-Shirt and baseball cap- unworn - PROVENANCE: These came from a private vendor who worked for many years on the production crew of numerous films and was issued these items as were all crew members - Authentic item and comes with an Excalibur Auctions Certificate of Authenticity

Peter Kuhfeld RP NEAC (British, b. 1952): double portrait of the artist's wife who is the English figurative painter Cathryn Kuhfeld, née Showan, and one of their daughters, seated together in the artist's studio beside a white painted fireplace and with easel in the background, signed lower left, Highgate Gallery label verso with hand written notes 'Exhibited and purchased from the one man show of Peter Kuhfeld June 1985', 61 by 85cm, glazed and framed, 74.5 by 78.5cm.

A group of WWII medals, for Petty Officer Perkis Royal Navy, who served on the HMS Suffolk and other ships, comprising 1939-1945 Star, Italy Star, Africa Star, Atlantic Star, and 1939-1945 War medal, all with ribbons and addressed cardboard medal box, together with a brass Albert chain. (1 bag)

An edition of the Radio Times for the week covering the 21st to 27th November 1964, the cover illustrated for an episode of Dr Who and the Daleks, 32cm high x 25cm wide

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.

Ɵ Two Qur'anic Juz', copied for Sheikh Hazza bin Zayed Sheikh Qabilah Beni Yas, in Arabic, decorated manuscript on paper ["in the town of Al-Dhafra" probably from the north-western regions of the Arabian peninsula, dated Safar 1170 AH (1757 AD)]  single folio, containing two Juz' from the Qur'an, containing continuous text from Surah Yusuf (12: 53) to An-Nahl (16:128), complete, single column, 7 lines of black informal naskh, key words in red, vocalisation and diacritics in red and black, opening two sections of text within borders formed of overlapping circles forming geometric patterns, coloured in green, orange and yellow, verses marked by small yellow circles outlined in black and decorated with red dots, text-block framed within a double-ruling of red, some scattered foxing and staining, overall clean and presentable condition internally, 245 by 170 mm.; modern red morocco, with central blind-stamped medallion to covers, framed by geometric ruling, also in blind to covers, a little darkened in places The colophon of this two-Juz' volume explains that the text was copied for Sheikh Hazza bin Zayed Sheikh Qabilah Beni Yas. This is a remarkably early reference to the Beni Yas tribal confederation, whose descendants from the leading six families currently form the United Arab Emirates. The Sheikh mentioned here is likely a member of the Al-Nahyan branch of the Beni Yas, who were residents of the al-Dhafra region before moving to Abu Dhabi in the eighteenth century. Sheikh Dhiyab bin Isa Al Nahyan was the first ruler of the Liwa Oasis (Abu Dhabi Emarate) from 1761, and was known to have a Bahraini born cousin called Hazza of the Al Bu Falah family, this perhaps being the Sheik to which the present volume is dedicated. The informal calligraphy and use of bold decorations in this manuscript have influences from Eastern African and neighbouring Arabian regions. The circular devices are very reminiscent of sub-Saharan Qur'an illumination and the vivid colours likely an Indian influence as well as a North African one, with trade routes between South India, Eastern Arabia (Oman and Yemen) and North-Eastern Africa (Ethiopia and Sudan) well established by the eighteenth century. The lack of illumination, and use of yellow, is also common for this area, as gold manuscript illumination was not usual practice for the region.   

Ɵ Ahmad bin Ibrahim bin Khalil al-Halabi, Jadval Mu'arif Matla' al-Kawakib al-Khamisa asiyyara l'maqib al-Shams ... (being an astronomical treatise), in Arabic, decorated manuscript on paper [Damascus, dated Rabi I 853 AH (1449 AD)]single volume, complete, 8 leaves plus a later endleaf at each end, 10 full-page astronomical tables in red and black, some very slight marginal damp-staining, otherwise exceptionally clean condition, 280 by 95 mm.; nineteenth-century morocco over pasteboards, covers with centrally stamped device in blind, covers also ruled in blind, upper cover and extremities a little scuffedKhalil al-Halabi (d. 1455) was a Syrian astronomer who held the prestigious role of al-Muwaqqit (time keeper) at the Umayyad Mosque in Damascus. The colophon records that the present manuscript was copied by the scribe Muhammad bin Muhammad bin Abu'bakr al-Tizini al-Hanafi al-Muwaqat in the very same location, during the author's lifetime. The scribe was therefore likely a student of Khalil al-Halabi and probably copied from an authorial copy, either for use as personal reference or for fellow students at the holy mosque.  

Ɵ Abu al-Fazl Hubaysh bin Ibrahim al-Tiflisi, Nazm al-Suluk wa Taqwim al-Adviyeh (a dictionary of medicine and guide to herbal remedies), in Arabic, decorated manuscript on paper [Ottoman Levant (possibly Jerusalem), dated Shawwal 974 AH (1556-7 AD)] single volume, 274 leaves plus an additional endleaf at each end, perhaps lacking a Fihrist at the front of the volume (indicated by the pagination of leaves), single column, 19 lines informal black naskh with headings and important words in red, title on fol. 1r with text in alternate lines of red and black, pagination and contemporary catchwords throughout, a few marginal inscriptions and a few ink ownership inscriptions to title page, some finger-soiling to margins, else overall clean and very presentable condition, 210 by 140 mm.; eighteenth-century leather over pasteboards with flap, boards and flap with some provincial tooling in blind, Ottoman style central medallions and corner-pieces with additional florets and stamps surrounding these, rebacked, resewn and doubleurs added, some repairs to binding, overall very neat and clean conditionAbu al-Fazl Hubaysh bin Ibrahim al-Tiflisi was a physician and astronomer, given the title 'al-Mutabbib' (the doctor) for authorship of numerous medical texts; including the present volume as well as the Kafiyat al-Tibb (Encyclopedia of Medicine). Though little is known about al-Tiflisi's working life, he is thought to have lived around 600 AH (1203 AD): see Brockelmann (Suppl. i. 893) and C. P. Rieu (British Museum Catalogue, 1883, p. 852). The present codex forms a substantial work on herbal medicine and acts as a reference work for medication and the application of practical remedies. The colophon is signed by Ismail bin Abd'ulhaq al-Hamsa Damashqi al-Mutabbib, whose title most probably records the use of the volume by an early medical practitioner. It clearly stayed in such use for some centuries, and an early eighteenth-century ownership inscription to the title indicates that it was still used then by another Mutabbib, Afif al-Din bin Sadaqa bin Afif, who worked in the al-Salahi Hospital in Jerusalem. The binding currently housing the manuscript was probably added by Afif and used in the Salahi Hospital, one of the foremost centres for Islamic medical studies in the Middle East.

Ɵ Dawud Ibn 'Umar al-Antaki, Majmia' al-Munafia al-Badaniyaat at-Tibb wa li'Sayailat (treatise on pharmacy and medicine for the human body), in Arabic, illuminated manuscript on paper [Near East (possibly Jerusalem), on or before 1130 AH (1717 AD)] single volume, complete, 26 leaves plus a later endleaf at each end, single column, 21 lines of cursive black naskh, key words and headings in red, illuminated polychrome heading opening the text in typical Ottoman style probably added at a later date, some contemporary annotations to margins and recto of first leaf, single line of text including date and place of manuscript possibly in a different hand, catchwords throughout, some stains and smudges (rarely affecting text), 230 by 160 mm.; contemporary leather-backed marbled boards, outer edges repaired in later leather, repaired, a little scuffed Dawud Ibn 'Imar al-Antaki (d. 1599), also known as David of Antioch, was a Syrian-born Christian who despite blindness became a pharmacist and physician. He was best known for his Tadhkira, an Arabic language reference on medicine and the occult sciences, and the Tayzin, a collection of romantic poetry including a commentary on Christian and Arab traditions. The present text appears to be an abridgement of the Tadhkira, and was apparently copied for a Muslim community as the text opens with "Bismillah al-Rahman al-Rahim". 

Ɵ Prayerbook of Du'a, with a dedication to Amir Shahrukh Sultan bin Timur Lang, in Arabic and Farsi, illuminated manuscript on paper [Timurid Persia (possibly Herat), c. 1430] single volume, 120 leaves plus an additional later endleaf at each end, single column, 9 lines of black naskh with eastern influences, some phrases at the front of the volume in red, 31 du'a headings in gilt banners opening different du'a throughout, these often decorated in red and blue, fol. 1r with an inscription dedicating the work to Shahrukh Sultan, apparently copied in a different hand, some of the leaves in the first section of the codex ruled in red, a few margins with annotations in a later hand, first and final few endleaves with eighteenth- century ownership inscriptions and annotations, a few leaves with repairs to small tears (rarely affecting text), some very faint water-staining, else bright and attractive overall, 100 by 110 mm.; early eighteenth-century leather over pasteboards, a little rubbed, outer edges a little wornA charming travel-sized book containing a collection of prayers, known as Du'a, beginning with the Du'a of Adam Ali al-Salam. Copied by a professional hand in an angular naskh with notable Central Asian influence, on thick buff paper, seemingly produced in a formal Timurid workshop.The first leaf includes a dedication to Amir Shahrukh Sultan bin Timur Lang, second ruler of the Timurid Empire from 1405 to 1447 and youngest son of Timur the Great, who founded the dynasty in 1370. Shahrukh Sultan strengthened trading routes between Europe and Asia, along the silk road, during his reign and notably relocated the capital of the Timurid Empire from Samarqand to Herat. This manuscript was illuminated and copied on fine thick paper, and likely produced in Herat either for Shahrukh himself or a member of his court as a personal gift.

Ɵ Baha al-Din Muhammad al-Amili, Tashrih al-Aflak (The Anatomy of Celestial Spheres), in Arabic, illuminated manuscript on polished paper [Safavid Persia, early eighteenth century] single volume, text including four chapters of this work, 22 leaves plus an additional later endleaf at each end, single column, 9 lines of elegant black naskh, some phrases in red or blue, numerous spherical diagrams throughout the text in red and blue, some of these heightened in gilt, contemporary annotations and marginalia throughout in a slightly later hand, including inscriptions to preliminary and penultimate leaves, two ownership seals at the end of the text, 205 by 120 mm.; later limp leather, rebacked, extremities scuffed Baha al-Din Muhammad al-Amili (d. 1621) was a Lebanese architect and astronomer who spent most of his working life in the Persian courts. The historic Naq'she Jahan Square and Charbagh Avenue structures in Isfahan, both famous Safavid sites, are attributed to al-Amili. As well as his architectural achievements, he is also known as one of the first Islamic astronomers to suggest the possibility of the earth's rotation on an axis, prior to the spread of the Copernican Theory and other western influences. The present text is a summary of theoretical astronomy, also known as a majmu'a (compilation), and includes the Earth's axis theory as well as discussing other planets in the solar system inclusive of the sun.  

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.

Robert Brown signed album page. (23 July 1921 - 11 November 2003) was an English actor, best known for his portrayal of M in the James Bond films from 1983 to 1989, succeeding Bernard Lee, who died in 1981. Brown made his first appearance as M in Octopussy in 1983. Dedicated. 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.

George Cross winner Brooklet VC. Card No. 30 Captain Charles Hazlitt Upham VC. signed on the reverse by Carl Walker G. C. Carl Walker, GC (born 31 March 1934) is an English former police inspector who served in the Lancashire Constabulary until 1982 when he was forced to retire due to injuries sustained in a shooting in Blackpool, an incident after which he was awarded the George Cross. 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.

Rare 1971 signed RAF Medmenham 25th ann Radio Inspectorate cover, flown from UK to Cyprus, Malta, Gibraltar with stamps and postmarks from each country. Signed by the two RAF pilots who flew the covers. Only 206 were flown, this is number 514 of 514 issued. 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.

Lars Thoring Clerk of Tromso who witnessed the Tirpitz raid typed signed letter to author Alan Cooper regarding identifying a lovely lady mentioned in his letter, who lived close to Tromso Airport in 1944. 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.

Barnes Wallis 12000, 20000 bombs related letter. Hand written letter from John Ross, who in WW2 was part of the Weights and Measures department sent to Vickers to ensure the equipment they were using to develop Barnes Wallis new bombs were accurate. From 617 Historian Jim Shortland collection. 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.

Blowout Sale! Dr. Who Tom Baker hand signed 10x8 photo. This beautiful hand signed photo depicts Tom Baker as the fourth Doctor in the hit sci-fi tv show, Dr. Who. This signed photo is guaranteed authentic and is supplied from one of the UK's leading autograph memorabilia companies. 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.

Blowout Sale! Dr. Who John Leeson hand signed 10x8 photo. This beautiful hand signed photo depicts John Leeson as K-9 in the hit sci-fi tv show, Dr. Who. This signed photo is guaranteed authentic and is supplied from one of the UK's leading autograph memorabilia companies. 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.

Blowout Sale! Dr. Who Ross Mullan hand signed 10x8 photo. This beautiful hand signed photo depicts Ross Mullan as The Silence in the hit sci-fi tv show, Dr. Who. This signed photo is guaranteed authentic and is supplied from one of the UK's leading autograph memorabilia companies. 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.

Blowout Sale! Dr. Who Colin Baker hand signed 10x8 photo. This beautiful hand signed photo depicts Colin Baker as the 6th Doctor in the hit sci-fi tv show Dr. Who. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. 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.

Low Price Sale! The Real Hustle Jessica Jane Clement hand signed 10x8 photo. This beautiful hand-signed photo depicts Jessica Jane Clement who was one of the presenters of BBC's The Real Hustle, and was also one of the contestant's on Ant and De's I'm A Celebrity Get Me Out Of Here. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. 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.

Secret Army multiple signed RAF Escaping Society cover. Signed by WW2 and members of the cast of the Tv Series. Gerald Glaister the producer also a WW11 RAF Sqn Ldr with double DFC Spitfire pilot John Brason the Script Editor & players: Bernard Hepton ( Albert Foiret The proprietor of the 'Candide ' and Leader of Lifeline ), Angela Richards ( Monique Duchamps - Albert's mistress and ultimate Leader of Lifeline ), Juliet Hammond - Hill ( Natalie Chentrens Dutch, the expert passeur ), Ron Pember ( Alain Muny Farmer,wireless operator and key member of Lifeline), Clifford Rose ( Standarden Fuhrer Kessler The notorious S.D. Gestapo Chief), Terrence Hardiman ( Major Reinhardt The Luftwaffe counter to Kessler,executed by the Germans at the end of the war, Group Captain W.S.O.Randle Technical Adviser and Keeper of the Battle of Britain Museum who, in reality, escaped from Occupied Europe in 1942 along the real 'Lifeline' escape route. 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.

Sharon Gless signed 10x8 black and white photo. American actress, who is known for her television roles as Maggie Philbin on Switch (1975-78), Sgt. Christine Cagney in the police procedural drama series Cagney & Lacey (1982-88). Dedicated. 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.

B Jukes after Charles Loraine Smith (British, 1751-1835) Push him up Tomboy, Proof of Bottom, The fore Horse of the Team, Pychely Hunt and Who...Oop, (5)

Kadhim Hayder (Iraq, 1932-1985)Divine Horses (From the Marty's Epic) oil on canvas, framedsigned (lower left), executed in 196570 x 100cm (27 9/16 x 39 3/8in).Footnotes:DIVINE HORSES (1965) / APPROACHING OBLIVION (1984)TWO HIGHLY SIGNIFICANT WORKS BY KADHIM HAYDER FROM HIS ARTISTIC PRIME AND THE END OF HIS LIFE INCLUDING A MAJOR PAINTING FROM THE 1965 MARTYR'S EPIC 'A elegiac tone has marked the work of Kadhim Hayderfor some years, ever since he painted a large number of pictures onthe martyrdom of Hussein at Karbala, but in a manner quite differentfrom that of Azzawi. For him the religious inspiration of Islamcomes through a sense of tragedy, in signs and symbols that he makeshis own; horses, helmets, swords, spears, men, women, tents, conspiracies, treacheries - the whole phantasmagoria of ancient battles ina peculiarly personal idiom.Man defiant though prisoner, though martyred and quartered;such has been his theme for a long time, partly derived from Arabhistory as he understands it, where much of his modern vision isrooted. But Kadhim Hayder has also employed his style in telling ofman in search of himself, in search of love, in search of wonder.,He unabashedly mixes the figurative with the abstract, but havingdevised a vocabulary of distinctly personal forms, the mixture serveshis purpose well, when figure and abstract seem to exchange functionand complement one another very much as in Sumerian art. His Buraq is thus in part the horse of the Prophet's night journey, and inpart the soul's journey through the dark blues of man's endless nightof mystery.'- Jabra Ibrahim JabraProvenance:Property from the collection of a prominent academic, Paris,Acquired directly from the artist by the above, who was a colleague of Kadhim Hayder at the Academy of Fine Arts Baghdad, 1970'sExhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Fanoon Tashkili, Beirut, 1965THE PRESENT WORK 'I learnt from Hussain how to achieve victory while being oppressed'- Mahatma Gandhi Vigorous, dynamic and intense, 'Divine Horses' is a seminal work by one of Iraq's most enigmatic modern artists, Kadhim Hayder. Part of the artists major body of work, known as the 'Marty's Epic', the present painting was presented at the artists landmark shows in the National Museum of Modern Art in Baghdad and then in Beirut in 1965. Being offered in the market for the first time, the work comes from the prestigious private collection of one of Hayder's colleagues at the Baghdad Faculty of fine Arts.Kadhim Hayder was a master of weaving symbolism, poetic allegory and abstraction into compositions that were predominantly narrative in subject matter. As a poet, he had a lifelong fascination with the Shi'ite epic of the Martyrdom of Imam Hussein and this episode forms the subject matter of his most significant body of work, 'The Epic of the Martyr' which was exhibited in 1965 at the National Museum of Modern Art. A popular subject in Shi'ite folklore, the story of Hussein's martyrdom has been a subject of both art and popular religious expression for centuries The present work must therefore be understood in reference to Hayder's wider cycle of works dealing with the battle of Karbala; the white horses of Imam Hussein are seen mourning the death of their Martyr beneath an ominous moon. Aesthetically rich, Hayder's horses cluster together in overlapping shapes which evoke the anthropomorphised behaviour of their mourning. Kadhim Hayder studied literature at the Higher Institute for Teachers; in 1957 he earned a diploma from the Institute of Fine Arts. Between 1959 and 1962 he studied theatre design at the Central College of the Arts in London. Upon returning to Iraq, he taught at the Institute of Fine Arts, opening a department of design. He continued to teach at the Academy of Fine Arts, when it replaced the Institute of Fine Arts; his book al-Takhtit wa Elwan (Sketching and Colours) became standard reading for students there. In 1971 he organized a group called the Academicians, based on an exhibition and around a text he wrote reclaiming a Platonic notion of the academy as a way to relate the different arts to each other, and to the arts of the past. He served as president of the Union of Iraqi Artists, the Union of Arab Artists, and the Society of Iraqi Plastic Artists. Hayder began showing work while he was still a student, at a number of collective exhibitions held at Nadi al-Mansur, the major exhibition space in Baghdad during the 1950s. When his work and that of other young artists was rejected for exhibition at Nadi al-Mansur in 1958, he organized a counter-exhibition of the rejected. He also displayed his work at Al-Wasiti Gallery in Baghdad in 1964, and in 1965 he exhibited the series The Epic of the Martyr at the National Museum of Modern Art. Selected works from the series were subsequently shown in Beirut, both on their own, and as a prominent part of a collective exhibition of work by Iraqi artists at the Sursock Museum, a show that toured a number of European capitals under the sponsorship of the Gulbenkian Foundation.His work was included in many major exhibitions throughout the 1970s, such as the First Arab Biennale, Baghdad, 1974; Musée d'Art Moderne de la Ville de Paris, 1976; and the International Art Exhibition for Palestine held in Beirut, 1978. In 1984 he held a final solo show at the Iraqi Cultural Centre in London. His work was quickly acquired by private collectors, and thus it is only in recent years that it has entered public collections beside that of the Museum of Modern Art in Baghdad, such as that of the Barjeel Art Foundation in Sharjah, and Mathaf: Arab Museum of Modern Arab Art in Doha.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

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

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

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

Louay Kayyali (Syria, 1934-1978)Maloula in Late Winter oil on masonite, framedsigned 'Louay Kayyali' and dated '1974' in Arabic (lower left, executed in 197475 x 96cm (29 1/2 x 37 13/16in).Footnotes:Provenance:Acquired directly from the artist by Dr Faysal Katkhuda, 1974Thence by descent to Mrs Nabilla KayalPublished:The Artists official websiteNote:Accompanied by a certificate of authenticity from the artist's family, signed by Dr Saad Taha Kayyali and Souraya Zureick KayyaliThe rocky hill-village of Maaloula has been a source of great historical and spiritual significance for over 2000 years and is the only place where Aramaic, the language of Jesus Christ is still spoken. The village gets its name from the Aramaic word Ma'la meaning 'entrance' and although small in size it is home to three important monasteries, those of St. Sergius, St. Bacchus and St. Thecla.Not only is the village of interest to Christian pilgrims it is also of interest to modern day artistic pilgrims, mostly originating from the Faculty of Fine Arts in Damascus, who since the 1960s have held field trips to study and paint the landscape and architecture of this mysterious place. As both Louay Kayyali and Fateh Moudarres were lecturers at the University of Damascus it would explain why the village holds such a cult status for young Syrian artists and why Maaloula frequently featured as a subject in both artists' oeuvres. This piece is a classic example of Kayyali's depiction of the village, and the combination of soft colours, bold lines and haunting vacant windows produces an engaging and timeless work typical of the artist's career.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

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

Morteza Sazegar (Iran, born 1933)G. 1-64 No.1 oil on canvas, framedsigned 'M. Sazegar' and signed 'G. 1-64 No.1' on the verso 86 x 66cm (33 7/8 x 26in).Footnotes:Provenance:Property from the estate of a distinguished Iranian academic, CaliforniaMorteza Sazegar is an artist who was operating at the very heart of the Abstract Expressionist movement in post war New York. Practicing sophisticated and refined colour-field compositions, Sazegar exhibited at prestigious galleries including Poindexter and Corcoran Gallery, amongst luminaries like De Kooning, Mark Tobey and Philip GustonSazegar's work is held by major museum collections in North America including the San Fransico Moma and the Whitney Museum.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

Ahmad Shibrain (Sudan, 1931-2017)Letters from Khartoum mixed media on paper, framedsigned in Arabic (lower left), executed circa 197036 x 36cm (14 3/16 x 14 3/16in).Footnotes:Provenance:Property from a private collection, CumbriaPurchased directly from the artist by the above, who was a teacher at the University of Khartoum in the late 1960'sAhmed Shibrain is an integral and leading figure of Modernism in Sudan. Shibrain was born in 1931 in Berber, Sudan. In the early 1950s, Shibrain studied at the Khartoum Technical Institute when the institution was the hub of contemporary African art of the region and in 1957 he went onto studying at the Central School of Art and Design in London. Alongside his influential contemporaries Ibrahim El-Salahi and Kamala Ishag, Shibrain was one of the founders of The Khartoum School in the 1960s. The Khartoum School was a movement of visual artists who cultivated a new visual style called Sudanawiyya, which expressed local and Pan-African traditions alongside Western influences. Through the use of calligraphy, the aesthetics of hurufiyya (transforming Arabic letters into abstract shapes; named after harf the Arabic word for letter) and Islamic motifs, the movement attempted to convey the cultural fabric of Sudan. After returning to Khartoum, Shibrain became the head of the graphics department at his former college in 1970, and its dean in 1975. He was known for his design of presidential medals, postal stamps and various ebony murals. He held numerous exhibitions in Africa and abroad, published several books and critical essays and held many functional and academic positions in Sudan. In 1966 Shibrain founded the non-profit Shibrain Art Gallery which showcases Sudanese artists.'As students, we used to rush into the other art studios, but entering his studio, we were always well-prepared as we felt that we were in the presence of creativity and achievement. He used to spend 10 minutes with each student, discussing their creative productions. Those 10 minutes were more than enough to feed us for the whole week, as they were so deep and interesting. Shibrain was fully aware of our potential and was the flaming fire that fed our creativity. We, as students, felt that he was living this 'age of the arts', and that he was always up to date and fully aware of where the arts was going' -Professor Hussein JumaanThis 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

Ahmed Ben Driss El Yacoubi (Morocco, 1929-1985)Birth of the Moon oil on canvas, framedsigned 'Yaccoubi' (lower left), titled 'Birth of the Moon', dated '1963' and signed 'El Yacoubi' on the verso, executed in 196352 x 63cm (20 1/2 x 24 13/16in).Footnotes:Provenance:Property from a private collection, UK'The painting of Yacoubi is a window opening into space. You do not look at his pictures but through them.' – William Burroughs.'Eventually it was Francis Bacon who supplied the key, suggesting that Ahmed sit each afternoon in his Casbah studio and watch him paint. There was to be no conversation; it was merely a matter of seeing a painter paint.' – Paul BowlesThe following lot is a masterful rendition of the 'cosmic abstraction' concocted by the enigmatic artist Ahmed Yacoubi. Swirling, nebula-like abstract apparitions swarm Yacoubi's canvas, resembling astronomical forms, indicating an abstraction not dictated by mere reference to paint and form, but one which evokes the abstract and ultimately unintelligible properties of the wider cosmos and its majestic celestial scenery. Ahmed Ben Driss El Yacoubi, was born in Fez, Morocco, in 1928. Educated as a traditional healer, he was also known as a storyteller, poet, painter, playwright and author. Yacoubi met the American composer and writer Paul Bowles in Fez in 1947, and later in Tangier. Yacoubi then began doing translations for Bowles. Bowles and his wife, novelist and playwright Jane Bowles, encouraged Yacoubi to draw and paint the characters in his own stories after seeing Yacoubi's illustrations of his translations.The Bowles arranged for Yacoubi's first exhibition of visual work at the Gallimard bookshop on Boulevard Pasteur in Tangier. The exhibition was highly acclaimed, and 28 pieces were sold. Later exhibitions were held at the Galerie Clan in Madrid, the Betty Parsons Gallery in New York in 1952, the Hanover Gallery in London in 1957, and elsewhere throughout the 1960s, 1970s, and 1980s. A wide range of notable collectors began acquiring his drawings and paintings, recognizing his talent and artistic integrity. The Museum of Modern Art in New York, the Musée d'Art Moderne de la Ville de Paris, and the Sao Paolo Museum of Modern Art also purchased his works.In 1952, Bowles invited Yacoubi to his island, Taprobane, off the southern coast of Sri Lanka. While visiting the island, Yacoubi prepared meals for fellow guest Peggy Guggenheim, which she mentions in her memoir, Confessions of an Art Addict (1997). Guggenheim purchased several of Yacoubi's drawings.Ahmed Yacoubi evolved from what was described as a primitive style to a sophisticated secret technique of layering in oil glazes that produced canvases of with great depth and complexity. Having become acquainted with Francis Bacon during the latter's trips to Tangiers, Bacon further encouraged his work by painting four small canvases blue and telling him to 'Paint!' according to an anecdote by Allen Ginsberg.Bacon and Yacoubi painted together and remained friends for the duration of their lives. For Bacon, he was simply the 'most sympathetic Moroccan in Tangier'. 'Ahmed and I had no common language,' he remembered, 'but between my limited Spanish and French and his very good Spanish, we were able to talk a lot.'In the 1960's, Yacoubi moved to New York City permanently in the late sixties where Ellen Stewart provided him with a loft space in La Mama's rehearsal building that Yacoubi transformed into 'The Rising Night Gallery.' Amidst the changing art trends of the 70's and 80's, Yacoubi continued to delve with his singular and secretive oil techniques, maintaining the integrity of his inspired approach, producing magical scenes, portraits, and worlds that reveal his depth of insight into humanity and life.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

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

Omar El-Nagdi (Egypt, 1931-2019)Le Grand Marché oil on canvas, framedsigned 'O.El.Nagdi' and dated '1990' in Arabic and English (lower right)290 x 232cm (114 3/16 x 91 5/16in).Footnotes:Provenance:Property from the private collection of H.E Ambassador Francine HenrichExhibited:Omar El-Nagdi, Retrospective, Institut Du Monde Arab, 1995A MONUMENTAL COMPOSITION BY OMAR EL-NAGDI FROM THE DISTINGUISHED COLLECTION OF H.E AMBASSADOR FRANCINE HENRICHOmar El Nagdi was born in Cairo in 1931 and studied at the Faculty of Fine Arts of Helwan University. Nagdi continued his training in Russia and Italy, eventually graduating from the Academy of Venice in 1967. A prodigious pioneer in Egyptian art history, In the 1960s, Nagdi exhibited in Europe alongside the Western masters Claude Monet, Pablo Picasso and Salvador Dal. His works were soon after acquired by leading institutions around the world. An active member of Cairo's art community and of the Liberal Artists' group headed by Taha Hussein, Nagdi was an extraordinary painter and who equally excelled as a film director and music composer. A multi-disciplinary artist, Nagdi worked with sculpture, oil, watercolour and mosaics. Inspired by the diverse cultures that he encountered in rural Egypt, he fused in his works the Pharaonic and Islamic iconography with Cairo's urban culture idioms and Western aesthetics. His works visually enigmatic and captivating and inspired by folk art and traditions are reflections on everyday life in Egypt. His paintings are sufficient proof of his exceptional gifts for symbolic design and the splendid use of colour. Through his expressive textures, colours and symbolic elements, his works offer a communication that is deeply felt.This lot is subject to the following lot symbols: TP PTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.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

Fouad Agbaria (Palestine, born 1983)The Patience Matured oil on canvas, framedexecuted in 2016160 x 120cm (63 x 47 1/4in).Footnotes:Provenance:Property from a distinguished private collection, LebanonBorn in the village of Musmus near Umm El Fahm in 1983, Fouad Agbaria is one of the most prominent young Palestinian artists working today. He is part of an important and empowered group of young Palestinian artists who are continually redefining what it means to be Palestinian in historic Palestine.Agbaria attained a bachelor's degree in Fine Art from Bezalel Academy, Jerusalem in 2004 and a master's degree from Haifa University in 2014. He has also been involved in projects intended to raise the profile of the Palestinian population within present-day Israel such as the Umm el-Fahem Art Gallery and a 2010 pop-up gallery of Palestinian art in the port neighborhood of Jaffa – an area in which historic Palestinian homes have had their past erased by Israel.Since completing his undergraduate degree, Agbaria has painted prolifically often experimenting with different styles, techniques and media including charcoal, oil, acrylic and lithography. His body of work to date has dealt with many themes associated with the Palestinian narrative, identity and memory. He has participated in over 20 group exhibitions and has held three solo shows including 'Roots of identity' Collective exhibition, Art on 56 th, Beirut, Lebanon, 2016; : Contemporary Palestinian art, umm el fahem gallery, Palestine, 2016; Palestinian Olive Art, Alsraia Gallery, Khan Albasha, Nazareth, Palestine, 2012; Spring Salon Contemporary Art, Jaffa Port, Palestine, 2012; Bread and Roses, Minshar College of Art, Tel Aviv, Palestine, 2011; and Palestinian Art Salon Jaffa, Jaffa Port, Palestine, 2010.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

Sirak Melkonian (Iran, born 1931)Untitled (Saturn) oil on canvas, framedsigned (lower right), executed circa 1970's185 x 305cm (72 13/16 x 120 1/16in).Footnotes:'Melkonian's compositions are not of utopian lands but rather inner landscapes with no trace or record in history. Looking closely at the texture of brush strokes one is amazed at the mastery of his renderings' – Alain Bosquet, 1976A GROUP OF IMPORTANT WORKS BY SIRAK MELKONIAN FROM A PRIVATE FAMILY COLLECTIONProvenance:Property from the George and Carpetian family, acquired directly from the artist in London circa 1970'sThis remarkable set of works by Sirak Melkonian comes to the market for the first time, having been in the continuous ownership of the George and Carpetian Families since being acquired from the artist nearly half a century ago. An Armenian family who migrated to London, they were close personal friends of Sirak and were actively acquiring works from him during the peak of his artistic creativity The most significant work in the collection, 'Saturn', is an enormous oil on canvas spanning over three metres painted as a private commission for one of the families properties but never displayed due to its size, and now emerges from long term storage, finally stretched and displayed in all its glory for the first time since its execution the early 1970'sSirak Melkonian is one of Iran's most assiduous and gifted modern artists and has been practising his signature style of 'topographical' abstraction for over half a century. Melkonian's sparse, minimal palettes accentuate his exploration of line and colour. He offers his audience a new landscape which is neither imaginary nor real, neither surrealist nor naturalist, but profoundly personal and esoteric. Melkonian gained recognition as early as 1957 when he was awarded the prize at the Contemporary Iranian Artists exhibition at the Iran-America Society.This lot is subject to the following lot symbols: TP PTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.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

Ardeshir Mohasses (Iran, 1938-2008)In honour of the commander who loved nature and who was killed in the heart of nature by his servants ink, collage on paper, framedsigned 'Ardeshir' and dated '87', executed 198750 x 35.5cm (19 11/16 x 14in).Footnotes:'Woven into his art are Cyrus, Persepolis, Alexander, dynasties of despotism, Hafez, Khayyam, Tamerlane, early colonialism, oil, the Shah, Savak, the CIA, impoverishment, rampant materialism among the elite, chaos, Khomeini, the war with Iraq – he is a moralist, but passionately disciplined to see his world as it is, without illusions and without despair'-Ali Banuazzizi Provenance:Acquired directly from the artist during his lifetime, Thence by descent to a private family collection, New YorkPublished:Ardeshir Mohassess, Closed Circuit History, Ramsey Clark, Mage Publishers, New York, 1989, illustratedThis 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

Ardeshir Mohasses (Iran, 1938-2008)Tazieh Series ink on paper in four partseach work signed and dated 198736 x 27cm eachFootnotes:'With rich allusions to Persian miniatures, Western artists like Goya and episodes in Iranian history, Mohassess has depicted life in Iran before, during and after the Islamic Revolution of 1979. The drawings have a fanciful yet descriptive line quality, comically exaggerating facial expressions while giving full weight to bullet holes and severed limbs - the artist's deep suspicion of religious and political authority comes across clearly.'Provenance:Acquired directly from the artist during his lifetime, Thence by descent to a private family collection, New YorkPublished:Ardeshir Mohassess, Closed Circuit History, Ramsey Clark, Mage Publishers, New York, 1989, illustrated1. Taazieh Shahdat Hazrate HurThe Taazieh of the Martyrdom of Al-Hur2. Taazieh Shahadate Hazrate GhassemThe Tazieh of the Martyrdom of Ghassem3. Tazieh Shahdate Imam HosseinThe Tazieh of the Matyrdom of Imam Hussein4. The story of the man who could not afford to attend Muharram, who sold his son to a Cleric, the Cleric then freed the son, it was then revealed that the Cleric was Imam Hussein in disguiseThis 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

A courtesan at a balcony Mughal, 18th Centurygouache and gold on paper, laid down on a large album page, nasta'liq inscription in red, numbered 25 in Arabic, album page borders decorated with floral motifs in gold; verso, Mullah Dopiaza mounted on an emaciated horse, Mughal, 18th Century, nasta'liq inscription at top, single line of Arabic (text not identified) in thuluth script excised from a manuscript above painting, blue floral inner border, outer border with floral motifs on a buff ground paintings 225 x 160 mm. and 208 x 150 mm.; album page 447 x 285 mm.Footnotes:Mullah Dopiaza was a character from a sequence of folk tales from Northern India which featured the Mughal emperor Akbar and his humorous courtier Birbal. He was portrayed as an entertaining and witty man, who was one of Akbar's chief advisors and a rival of Birbal. Although the stories about the Mullah date from the end of Akbar's reign (1556–1605), this character continued to appear at later dates and became well known by writers in the late 19th century. Most scholars believe him to be a completely fictional character, though some think he was an historical, 16th Century figure, whose original name was Abdul Momin. He is believed to have been buried in a tomb situated in Handia in Uttar Pradesh.For a similar depiction, see Christie's New York, Indian and Southeast Asian Art, 21st March 2008, lot 715 (where the dog is in the same pose).For further information on this lot please visit Bonhams.com

Sadiq Muhammad Khan IV, Nawab of Bahawalpur (reg. 1866-99), shooting deer in an enclosure, with beaters on horseback Bahawalpur, Sind, circa 1870-80gouache and gold on paper 280 x 484 mm.Footnotes:The state of Bahawalpur, now in Pakistan, was founded in the early 18th Century, but it came to prominence in that part of India as a result of its cooperation with the British during their operations in Multan and Afghanistan in the mid-19th Century. After rebellions against the Nawab in the 1860s the British stepped in, and Nawab Sadiq Khan IV (who acceded to the throne at the age of four) was given full powers, along with a council of ministers, under British control. During the Afghan campaigns of the late 1870s great assistance was provided by the state: the Nawabs were accorded a salute of seventeen guns.While hunting scenes are scarcely unusual in Indian painting, depictions of rulers of Bahawalpur are unusual, as is the particular style, with the figures shown with distinctive hair in dark, flowing ringlets, and large, bold, elongated eyes.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 cat holding a fish in its mouth Kalighat, Calcutta, early 20th Centurywatercolour on cloth, narrow maroon border, framed 82.5 x 55 cm.Footnotes:ProvenancePrivate UK collection.One interpretation of this charming image is that it satirises religious hypocrisy, referring to a proverbial story about an ascetic who does not follow his own principles of abstention, and hence by extension Brahmin priests, who break their own commandments prohibiting meat and fish. The association was made explicit in some depictions in which the cat bears Vaishnavite markings on its forehead, which disappeared later, as here. Sometimes a lobster featured instead of a fish. (See S. Sinha, C. Panda (edd.), Kalighat Paintings, Ahmedabad 2011, pp. 68-69, nos. 37 and 38). A second interpretation is a simpler one, that the paintings are a celebration of local fauna and of the richness of the Hooghly river and the food which derived from it: Kalighat paintings also depicted lobsters and various types of fish (op. cit., pp. 70-71).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 study of a bird perched on the branch of a flowering plant, by Shaykh Zayn al-Din, from the collection of Lady Impey Company School, Calcutta, dated 1777pen and ink, watercolour with gum arabic, heightened with bodycolour, on watermarked paper, inscribed at lower left Black Kuil [in Persian]/Divdar ka derakht, Giant Pree [?]/In the Collection of Lady Impey in Calcutta/Painted By Zayn al-Din [in Persian] Native of Patna 1777, numbered 39 at upper left 485 x 605 mm.Footnotes:ProvenanceAcquired by Lady Hogg from an unknown London gallery in 1940-41, which was by repute destroyed by bombs on the day following their purchase.Lady (Pollie Victoria) Hogg, maternal grandmother of the current owner, until 2003.Min Hogg, her daughter (1938-2019), founding editor of the magazine World of Interiors from 1981 to 2001.Thence by descent to her nephew.Sir Elijah Impey was the East India Company's Chief Justice of Bengal from 1774 to 1782. He was a well-known patron of Indian artists, but his wife, Mary, Lady Impey, who joined him in Calcutta in 1777, was particularly interested in the flora and fauna of the surrounding area, creating her own menagerie. She then commissioned studies of animals and plants from various artists from the nearby city of Patna, though trained in the studios of the Nawabs of Bengal at Murshidabad in the 1750s and 60s. The most senior were the Muslim Shaykh Zayn-al-Din, and the Hindus Ram Das and Bhawani Das. The precision of these artists' technique, which stemmed from the Mughal tradition, appealed to British patrons. The series commissioned by Lady Impey (as well as others in a similar style by unknown artists) are particularly striking because of their large size, using sheets of English watermarked paper. There were 326 works in the original series (of which 197 featured birds, 76 of fish, 28 of reptiles, 17 beasts, and 8 of plants), which were brought back to England with the Impeys in 1783, and were sold at Phillips in London in 1810.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 painting depicting the observation of Muharram, attributed to the artist Sewak Ram Patna, early 19th Centurygouache on paper, laid down on card, narrow black margin 545 x 750 mm.Footnotes:ProvenancePrivate UK collection: acquired by the seller's father and in the family home since at least 1960.While Muharram is the first month of the Islamic lunar year, it also refers to the period of fasting and mourning observed in that period, to mark the martyrdom of the Imam Hussain, grandson of the Prophet Muhammad, who was killed at the Battle of Kerbala (AD 680). Not only are there public displays of mourning, but the story of the martyrdom is retold constantly, culminating in large processions in which the mourners inflict pain on themselves as penance and as an expression of grief, while drawing along highly-decorated tazias or floats (for a painting of this subject done at Murshidabad, see M. Archer, Company Paintings: Indian Paintings of the British Period, London 1992, p. 81, no. 42(4)).The Patna artist Sewak Ram, who was painting there by around 1790, is also known to have depicted various aspects of this subject, including one work showing the procession with crowds of celebrants and onlookers, dated in English to 1807 (illustrated in M. Archer, op.cit., pp. 85-86, no. 49). Eight large related paintings were sold at Sotheby's, 14th June 1954, and were dispersed between the V&A, the Chester Beatty Library, Dublin, and the British Library. The version in the British Library (Add. Or. 18) is illustrated in Archer, Company Drawings in the India Office Library, London 1972, p. 105, no. 68 (i), col. pl. C. This version has a great many more lamps hanging from the ceiling, a much darker backdrop, and more of the celebrants standing than in our painting. Sotheby's sold a work, which they dated to 1807-19, of the same subject, from almost the same viewpoint (see Sotheby's New York, Important Indian Miniatures from the Paul F. Walter Collection, 14th November 2002, lot 55). In the Walter painting the tent and awning are an attractive dark blue and the congregation stand on a blue and white striped floor-covering. More sky is also revealed, unlike our painting which has a much larger awning spreading across almost all of the upper part of the composition. But the characteristic, almost vivid olive green appears in both (as it does in the work illustrated in Archer mentioned above; as does too the distinctive twist of the body seen in so many of the figures, most of whom stand as in the British Library painting).The same composition more commonly appears in mica paintings, for which Patna was well-known - see, for example, one of a group sold in these rooms, Bonhams, Islamic and Indian Art, 9th June 2014, lot 335.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