Maqbool Fida Husain (Indian, 1915-2011)Untitled (Bhil Tribals) signed lower right and signed and dated 5/VIII/006 versoacrylic on canvas, framed181.5 x 120.5cm (71 7/16 x 47 7/16in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired from the artist in 2007.'A Painterly Journey of Husain in his own wordsBorn in the Second decade of the 20th Century Venue of landing - Pandharpur in MaharashtraMy mother Zainab took seven rounds around my frail bodyand bade farewell herself.My grandfather Abdul the tinsmith, my father Fida the accountantAn infant Maqbool, a would-be painter headed towardsIndore then ruled by the Holkar dynasty.My rocking cradle now firmly placed in princelypilferage and pageantry.A motherless Maqbool wandered alone in the lanes and landscapes of Malwa, now Madhya Pradesh.A sketching pad the only companion. The Third decade made me conscious of the British Raj and the arrival of Gandhi on the political horizon.Glancing through the pages of the most popular illustrated weekly called 'Riyasat.'The fourth decade put forward a decisive proposal towhich I at one clung like along deserted child dashesinto his mother's lap.My painterly journey commences against odds and orthodoxy.My brush dips down into deep reds and sweeps across the blue space above - I paint a woman, her navel red and breast blue whosemaroon tits swollen-Then comes the Fifth decade and I meet the painted woman whohas swallowed her darkness to shoe me the eternal entrance.The ecstasy of pain. The aroma of dying wounds. Then under the cover of my tattered umbrella and flickering lanternI take my woman to distant lands. To Chinese terracotta and jade horses, to Italian virgins of Cimabue and Giotto,to tormented Rembrandt portraits, to Van Gogh's lonely chair and abandoned shoes. All of a sudden I come to a halt in front of Guernica.As the Sixth decade declares war of self-destruction in the name of 'Avant-garde'But my painted man, woman and animal remain neutral-there I lay aside my conventional tools for a while.And hold the 16mm movie camera to shoot an experimental film in Rajasthan, based on visual equation of cow plus umbrellaplus a lantern minus a shoe is equal to one unit, Man-Woman.The film so baffled the Berlin Film Festival to award the 'Golden Bear.'Followed by hesitant National awards,And also the much awaited promotion from Padmashree to Padmabhushan to Padmavibhushan. The universities of Mysore and Benaras conferred doctorates.The New York at publisher Harry Abraham compiled a Comprehensive volume and how one reaps the reward of neutrality is still a question.But before I find the answer-The Seventh decade rings my doorbell, And as I open the door Goddess Durga enters riding thetiger followed by 'Kanya' the most beautiful woman on Earth, eternally waiting at the banks of the river Gomti.There joins another stream of thought, ripples of wave, the river Voltawa, Maria of Slovakia.The Eighth decade, the decade of eternal mother, her white sarilights up the unlit lanes of Calcutta. I paint and unfoldseveral layers of her sari in search of my lost mother.Sometimes her trembling hand appears from the bodiless bundle of cloth. To touch the fugitive son?The Ninth decade brings all the arc lights, sound effects and cameras, cranes and crackles of tinsel town. Shoot of an art and cinema episode.A hundred feet of visual script painted on the lemon yellow sari.Madhuri the metaphor for my Gaja Gamini,the beautiful walk, her dancing toes touching the crest of our time.Why a painter's dreamflashes on the silver screen instead of the wallsof Ajanta and the Sistine chapel?'Rashda Siddiqui, In conversation with Husain paintings, Mumbai, 2001, pg. 16-17.Dating from 2006, this enormous work was made in Husain's ninth decade. It encapsulates the motifs that Husain has come to be known for, the reclining woman and the fierce and protective elephants. A perennial artist, Husain adapted to and depicted various themes, religions and ideas throughout his career. Here he is depicting the Bhils, the largest tribal group in western India. They populate the states of Gujarat, Madhya Pradesh, Chhattisgarh, Maharashtra and Rajasthan, and Tripura in far-eastern India, on the border with Bangladesh. Also known as Adivasi's they speak various languages, and have regional dress variations, which might explain why Husain has refrained from depicting their clothing here. Known for their ability to live in the wild and hunt, the reclining woman appears to be protected by and content in the elephant's trunk. The elephant is perhaps shielding her from the blazing red sun emanating from the top left corner. Despite the sombre colours, there is a playfulness in the work. The brush strokes are sharp and short, and illustrate Husain's skilfulness as an artist, honed over a lifetime of experimenting, commenting and depicting innumerable topics.For further information on this lot please visit Bonhams.com
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Sayed Haider Raza (Indian, 1922-2016)Les Rochers signed and dated 'Raza 69' lower centre, further signed, dated, titled and inscribed Raza/P_782 '69/Les Rochers/10F and 'SHR-26' verso and 'YK520 CIN' on the stretcheroil on canvas54.7 x 46cm (21 9/16 x 18 1/8in).Footnotes:CELEBRATING SAYED HAIDER RAZA'S BIRTH CENTENARY AND 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired by the owner from Galerie Lara Vincy, Paris (acquired directly from the artist;Private Collection, France (acquired from the above)Christies, South Asian Modern & Contemporary Art,11th June 2012, lot 55.Acquired by the current owner from the above.LiteratureAnne Macklin (ed.), SH Raza, Catlogue Raisonné 1958-1971 (Volume I), Vadehra Art Gallery & he Raza Foundation, New Delhi, 2016, p. 173 (illustrated)A fascinating aspect of Raza's long career lies in how he evolved at least three different modes of abstraction – and their particular reflection on his own life and experiences.At the time of painting these small works, Raza was going through one of the most significant periods of his painterly career. His stint at the JJ school, the early years in Paris and his exposure the life of an artist in post war Europe was already behind him. This phase may well have started during the early 1960s, when he travelled to the University of California at Berkeley from France and experienced for the first time the works of Sam Francis, Mark Rothko and other leading American abstract expressionists, who lent their work the primacy of colour. Completely devoid of any structure, allowing for a fluid evocation of emotion, their work led Raza to move dramatically beyond the School of Paris influences that he had hitherto been exposed to. As he allowed himself greater painterly freedom in the unfolding decade of the sixties, Raza's work was to become more gestural, the brushwork looser, and the painterly affect that he sought more emotive. Yet nothing about this confluence of impressions was simple or direct. An artist of his time who responded spontaneously to the great wave of abstraction that swept the West in the 1950s and 60s, Raza also had nurtured a slew of memories that tied him inextricably with his homeland. As he describes it, the dense forests surrounding Mandla, a district in Madhya Pradesh where his father served as a forest officer were an overwhelming memory, of a sensorium of sounds, shadow and movement, unknown and mysterious to the young child. The weight of the night as it descended on the forest – innocent of electricity, as the villagers returned to their homes - was occasionally broken by the dances and singing of the Gond tribals by firelight, which etched deeply on his impressionable mind. Years later, as he engaged with a more liberated, and spontaneous mode of painting, Raza reverted to that childhood memory, making his works rich with an inchoate movement, and the irrepressible pulsation of life. There was also the memory of Kashmir, which Raza visited in 1947, its rich explosion of colours and its landscape, the subject of a wealth of miniature paintings.Les Rochers (1969)The two small paintings on view cohere in terms of Raza's treatment; whether these are preparatory works for larger canvases or complete in themselves, they bear the dynamism and energy of this phase. In the earlier work titled Les Rochers (1969) Raza allows a heavy overhang of darkness to seemingly merge with the large rock like forms, making one indistinguishable from the other. The sense of a looming darkness, kindled by embers of colour that seem to rise at the base of the work suggests the deepening of shadow over the landscape, like the closing in of the night.About this time Raza was to make a series of works drawing upon the rich tones of Rajasthani paintings – red, black, white and yellow—which not only drew from the burning sands of the Malwa region and the blazing sun of the desert but the passionate music of Rajputana, and the rich symbolism of Tantric painting. Here we have the first inklings of the Bhanu mandala, or the form of the blazing sun – black, or red, and its associative form, the bindu, in paintings like Terre Rouge (1968). There is also the preoccupation with darkness, the pitch black of the night which will be fractured or broken through with shards of colour, in paintings like Les Rocher (1969) and La Nuit (1971). It is remarkable that Raza's paintings, devoid of all living forms – other than the Naga, or the cosmic serpent which wraps around the circumference of the earth, invoke life through the sheer vitality of colour.What the energy and spirit of these works indicate is Raza's exploration of primordial elements that appear to mark the beginnings of creation. The first few verses of the Rig Veda (c.1750 BE) are dedicated to the five elements that imbue the life force. On the earth -to-sky painted surface, even in the smallest works, he engages the power and mystery of the elements, drawing them into a great, cosmic churn. Indian art had never dedicated itself entirely to the landscape, and Raza stands like a solitary figure, closer to the Romantic poets of the 18th and 19th centuries, to Rilke and Lawrence in the sweeping agonistes that he draws from nature.The GroundMind you are, ether you areAir you are, fire you areWater you are, Earth you areAnd you are the Universe, mother...Saundaryalahiri verse 28It is against this background, of a vibrant evocation of the primal forces of wind, ether, fire and water, that the question of the ground arises. On what premise, both conceptual and artistic, is Raza grounding his work? While the paintings of the late 1960s and 70s fall under the broad rubric of the landscape, there is very little of the recognizable elements of nature on view. Instead, Raza seems to depend entirely on the energy of his brush strokes, and the sheer magic of colour to invoke a sensorial effect, of the seasons and the intensity of an Indian summer. It is in the churning, and the unexpected appearance of the circle, the square or a suggestion of a triangle in such works, that Raza is also preparing the ground for another mode of abstraction. This would lead him further into a recessed visual space, not to the Vedic pronouncement on the Panchamahabhutas or primal elements, but to the yantra, and its geometric symbolism. Codified by Adi Shankara in the Saundaryalahiri,(c 8th century) the geometry of the yantra is loaded with the signification of life giving energies. In secularizing them into a highly evolved geometric abstraction, Raza creates a unique language, which abandons concepts of time and space to create their own ground – of metaphysical reading perhaps, but also sheer visual pleasure.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
UNITED KINGDOM. Elizabeth II, 1952-. Gold 5 pounds (crown), 1993. Royal Mint. Proof. Celebrating the 40th anniversary of the Coronation of HM Queen Elizabeth II.Small first, laureate bust of Elizabeth II, designed by Mary Gillick in the year of the Coronation 1953, set within a circle and eight horse-mounted trumpeters separated by swords and sceptres; ELIZABETH II DEI · GRATIA · REGINA · FID · DEF · FIVE POUNDS · Design by Mary Gillick. / St. Edward's crown—used at the coronation in 1953—set within circle from which 40 trumpets radiate outward to symbolise the anniversary; inscription 'FAITH AND TRUTH I WILL BEAR UNTO YOU' around and anniversary dates '· 1953 - 1993 ·'. Design by Robert Elderton. Edge milled.Comes with the original box as issued by the Mint and the certificate of authenticity (COA). In secure plastic holder, graded NGC PF 69 ULTRA CAMEO, certification number 6322458-008. NGC Census in this grade: 36.NGC Census in higher grade: 52Total NGC Census: 100Reference: S-L2 (was 4302); KM-965bMintage: 2,500.Diameter: 38.61 mm.Thickness: 2.89 mm.Weight: 39.9403 g. (AGW=1.1777 oz.)Composition: 917.0/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
UNITED KINGDOM. Elizabeth II, 1952-2022. CuproNickel crown, 1953. Royal Mint. Proof. A crown is a 5 shilling coin. This commemorative crown was issued to commemorate the Coronation of Elizabeth II, 2 June 1953. The equestrian obverse was adapted from the Great Seal of the Realm.HM the Queen on horseback left, Royal cyphers EIIR to both sides, GL (Gilbert Ledward) below by rear hoof; FIVE SHILLINGS below; ELIZABETH II DEI GRATIA BRITT OMN REGINA FIDEI DEFENSOR. Design by Gilbert Ledward. / Cruciform floral emblems with central crown, shields of constituent parts of the United Kingdom in angles; artists' initials 'EF' and 'CT' and divided date below. Design by Edgar Fuller and Cecil Thomas. Edge inscribed; FAITH AND TRUTH I WILL BEAR UNTO YOU +.In secure plastic holder, graded NGC PF 66 CAMEO, certification number 6319847-002. NGC Census in this grade: 123.NGC Census in higher grade: 62Total NGC Census: 547Reference: S-4136; KM-894; Dav-113Mintage: 40,000.Diameter: 39 mm.Weight: 28.28 g.Composition: CuproNickel.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
UNITED KINGDOM. Elizabeth II, 1952-2022. CuproNickel crown, 1953. Royal Mint. Proof. A crown is a 5 shilling coin. This commemorative crown was issued to commemorate the Coronation of Elizabeth II, 2 June 1953. The equestrian obverse was adapted from the Great Seal of the Realm.HM the Queen on horseback left, Royal cyphers EIIR to both sides, GL (Gilbert Ledward) below by rear hoof; FIVE SHILLINGS below; ELIZABETH II DEI GRATIA BRITT OMN REGINA FIDEI DEFENSOR. Design by Gilbert Ledward. / Cruciform floral emblems with central crown, shields of constituent parts of the United Kingdom in angles; artists' initials 'EF' and 'CT' and divided date below. Design by Edgar Fuller and Cecil Thomas. Edge inscribed; FAITH AND TRUTH I WILL BEAR UNTO YOU +.In secure plastic holder, graded NGC PF 65 CAMEO, certification number 5878473-009. NGC Census in this grade: 145.NGC Census in higher grade: 171Total NGC Census: 521Reference: S-4136; KM-894; Dav-113Mintage: 40,000.Diameter: 39 mm.Weight: 28.28 g.Composition: CuproNickel.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
UNITED KINGDOM. Elizabeth II, 1953-2022. CuproNickel 5 pounds (crown), 1993. Royal Mint. Proof. Celebrating the 40th anniversary of the Coronation of HM Queen Elizabeth II.Small first, laureate bust of Elizabeth II, designed by Mary Gillick in the year of the Coronation 1953, set within a circle and eight horse-mounted trumpeters separated by swords and sceptres; ELIZABETH II DEI · GRATIA · REGINA · FID · DEF · FIVE POUNDS · Design by Mary Gillick. / St. Edward's crown—used at the coronation in 1953—set within circle from which 40 trumpets radiate outward to symbolise the anniversary; inscription 'FAITH AND TRUTH I WILL BEAR UNTO YOU' around and anniversary dates '· 1953 - 1993 ·'. Design by Robert Elderton. Edge milled.In secure plastic holder, graded NGC PF 70 ULTRA CAMEO, certification number 6670773-015. NGC Census in this grade: 6, equal-finest graded.Total NGC Census: 20Reference: S-L2 (was 4302); KM-965Mintage: 66,080.Diameter: 38.61 mm.Thickness: 2.89 mm.Weight: 28.28 g.Composition: CuproNickel.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.
A small patinated bronze wren numbered 350/750, 5cm high and a nephrite bear/Provenance: Spetchley Park, Worcestershire CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
A page (cA4 size) with three original 'The Birds' ticket stubs, two pages from an autograph book and a business card - the latter three each bearing a signature from Ronnie Wood (as Ron Wood), with one also signed by Tony Munroe. Other 1960s ephemera inc two contracts 1966/1967 for 'Shotgun Express', two promotional images for 'The Steam Packet' in poor condition with both appearing to bear faded signatures from Julie Driscoll and Brian Auger. A New Years Eve handbill advertising Tennessee Teens (one of Robert Plant's early groups) and billing Dusty Springfield.
Two framed display: one 'Thistle Hotels' beermat seemingly divided into two with one half appearing to bear a signature by Liam Gallagher. A second display features a card with inscription and signature by Liam Gallagher beneath a cutting from a Sun article about a bust-up in the Thistle Hotel.
BLACK SABBATH / LED ZEPPELIN - LP RARITIES PACK. A lovely pack of 3 x LPs. Titles include Black Sabbath - Paranoid (6360011 - OG, Big Bear Credit On Sleeve, Psychedelic Inner Sleeve, VG+ / VG+), Led Zeppelin III (2401002, OG UK Copy Sleeve 'working wheel', 1st UK Record w/ Peter Grant Credit, Record Glossy G+ / Sleeve VG+) and Led Zeppelin II (Early UK Copy, 'Livin Lovin' Maid Credit, 'Lemon Song', Ex / VG+).
KITCHENWARE RECORDS AND RELATED - 7" COLLECTION. A superb collection of 64 7" singles released either on Kitchenware Records or is related stylistically. Artists/ titles include Prefab Sprout inc Lions In My Own Garden, Golden Hits Volume 2, Don't Sing, Couldn't Bear To Be Special, When Love Breaks Down, The Devil Has All The Best Tunes, When Love Breaks Down, When Love Breaks Down, Faron Young, Appetite, Johnny Johnny. The Kane Gang inc Brother Brother, Small Town Creed, Closest Thing To Heaven, Respect Yourself, Gun Law, Motortown, What Time Is It. The Daintees, Martin Stephenson, Hurrah, The Motorelles, Hug, The Changes, Cathal Coughlan, Fatima Mansions. Condition is generally Ex to Ex+/ Archive.
BLACK SABBATH - VERTIGO SWIRL LP PACK. A superb pack of 2 original Vertigo swirl LPs by Black Sabbath. Titles include Vol4 (6360 071, 1972 UK press on Vertigo. Small swirl labels. Swirl inner. Record has some light paper surface marks, VG+/ gatefold sleeve with attached booklet has some minor edge storage wear, VG+) & Paranoid (6360 011, 1970 UK press on Vertigo. Large swirl label has some handling discolouring. Swirl inner. Gatefold sleeve with Big Bear credit. Record and sleeve are both VG+).
GENE BASKETT, USA AN INTERESTING BOOT-DAGGER WITH HILT FORMED FROM AN ESKIMO ARTIFACT, TOGETHER WITH A STAND, manufactured in 1993 with double edged spear-point broad 3in. blade, pierced central fuller and circular cut-outs to both sides, nickel bolsters, the hilt formed from fossilised mammoth tusk and partially bored on one side for a previous use, the reverse with a scrimshawed depiction of a bear signed 'Carlo '93', together with a burl wood and wire stand with plaque marked 'ALASKA BOOT DAGGER' a certificate stating the scrimshaw work was by Gary Williams and an unassociated leather sheath. This bladed product is not for sale to people under the age of 18. By bidding on this item you are declaring that you are 18 years of age or over.Please be aware that we are unable to send edged weapons or bladed products by postal courier to a UK residential address (Offensive Weapons Act 2019)
A RARE CARD WALL-HANGING 1901 CALENDAR ADVERT FOR ELEY'S SPORTING & MILITARY CARTRIDGES, measuring 20 1/4in. high by 13 3/4in. wide, the polychromatic printed illustration featuring an African elephant flanked by a bear and a lion above a 12-month calendar in turn above a tiger and vignettes of pheasants and black swans, all below the title 'ELEY'S SPORTING AND MILITARY CARTRIDGES' together with a number of illustrations of paper and metallic ammunition, the address listed as 254 Grays Inn Road, London (bottom edge margin possibly trimmed, some cracks to edges and loss to right hand corners.
My Little Pony, Hasbro - G1 Baby twins Sticky and Sniffles/Tuggles and Toggles (UK), with accessories. Baby twin ponies are marked to the hoof with "87" and come with two bottles, 2 teddy-bear brushes, a lavender and yellow dish and 2 pink spoons. Also included in the lot are a Bassinette for new born twins, in aqua with yellow top, a See-Saw rocker in aqua and pink. and a collection of assorted baby accessories to include sippy cups, rattles, bottles.
My Little Pony, Hasbro - Twins and accessories. "Speckles and Bunkie/Fleecy and Fluffy" (UK) G1 pegasus baby twin ponies, marked 87 to the hoof. Come with two snail rockers, 2 rattles, 2 teddy-bear brushes, 2 bottles, 2 boxed diapers and 2 ribbons. Also included in the lot are the parts for a twin stroller in the same colour scheme of aqua and yellow. A pull along wagon in pink and a rocker in aqua.
My Little Pony, Baby Buggy - Comes with a light green Baby Cuddles pony with Beddy Bye Eyes, wicker look carriage, baby bottle, blanket, pillow, teddy-bear brush, diaper, bonnet and ribbons. In original box which shows some signs of storage wear and has a small hole cut out of the back cover, approximately 1 x 1.5 cm (This does not constitute a guarantee)
Ty Beanie Buddies, Babies, and Teenies - 8 x Ty Beanie Buddies, 12 x plastic cased and un-cased Ty Beanie Babies and Teenies - Lot includes a Beanie Buddy 'Hippity' rabbit, a Beanie Buddy 'Clubby 5' bear, a Beanie Buddy 'Britannia' bear, and similar. Beanie Babies appear in excellent condition. Plastic cases appear in excellent condition. (This does not constitute a guarantee)
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