We found 14177 price guide item(s) matching your search
There are 14177 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
14177 item(s)/page
Lot 152
A Chinese calligraphy writing set. The set to include ten writing brushes, an inkwell, one ink stick decorated with dragon, one ink stick decorated with bamboo, two soapstone stamps (uncarved), a brush holder, a water pot with copper laddle and a box of red paste. Comes with original fabric box.Box measures approx. 28cm L x 18cm D x 4.5cm H
Lot 1318
A pair of Chinese jars and covers, each decorated with figures in a landscape and calligraphy, six character mark to base, each approx 26cms high (2).Condition ReportThere is a minor chip to one tip of one finial, minor chips to the inner upper rims, some wear to the decoration, no major chips or restoration, good overall condition
Lot 1170
2 balusterförmige Vasen aus Feinsteinzeug. JAPAN, 20. Jh., aus rotbraunem Porzellan, jeweils im flachen Relief verziert mit der Darstellung von Gelehrten in einer Landschaft, ergänzt durch Gedichtkalligraphie, H: ca. 36 cm. Alters- und Gebrauchsspuren, min. besch.| 2 baluster-shaped vases in fine stoneware. JAPAN, 20th century, made of red-brown porcelain, each decorated in shallow relief with a depiction of scholars in a landscape, complemented by calligraphy of poems, h: approx. 36 cm. Signs of age and wear, min. dam.
Lot 51
INDIA. MUGHAL EMPIRE. Nur al-Din Muhammad Jahangir, AH 1014-1037 (1605-1627 CE).Gold Mohur, AH 1031//16 (1620). Agra. Class A. Zodiac constellation of Nemasp/Dhanusa.Obv.: Centaur, galloping left, head and upper torso right, preparing to fire arrow from bow; radiate sun surrounds.Rev.: Legend and date in Persian.In secure plastic holder, graded PCGS Genuine - XF Details (98 - Damage) , certification number 44168938.Reference: Wright-581; Hull 1400-2; KM-180.17; BM-348; Fr-770Weight: 10.85 g.Composition: Gold.The Memoirs of Jahangir [Tuzk-e Jahangiri] (Entry for 20 March 1619)In the 29th year of his reign, the Mughal emperor Akbar (1556-1605) established the Din-e Ilahi (literally faith of God), a syncretic belief system that incorporated elements of the different religious beliefs in his empire. Immediately thereafter, Akbar began counting his reign in accordance with the tenets this new belief system. Known as the Ilahi Era, dating was now based on a solar, rather than lunar, calendar with the year divided into twelve Ilahi months.Akbar's early successors continued to employ this dating system. Jahangir (1605-1628), Akbar's son and immediate successor, used the Ilahi Era to great artistic effect by issuing two series of mohurs that incorporated Ilahi Era elements. The earliest series, known as the portrait series, since the coins show the emperor on the obverse, all show the constellation Leo superimposed over the sun – a reference to Jahangir's birth in August. This series was struck within a three-year span early in Jahangir's reign and are quite rare. The second series, known as the zodiac series, since each of the twelve constellations of the Zodiac is represented on the reverse, was a much larger series. Struck both in gold and silver, the zodiac series was issued from several mints (with Agra being the primary), and like the previous series, minted over three or four years. Since the Ilahi months were solar months and corresponded with the solar ecliptic (an imaginary line in the sky that marks the annual path of the sun), each month was represented by an appropriate sign of the Zodiac, recording its particular month of issue.Because many of these coins had been recalled and melted by Jahangir's successor, Shah Jahan, original strikes are very rare. Collector restrikes were periodically issued over the following century, and though they are more often encountered than the originals, are relatively rare themselves. Numismatists have divided the portrait and zodiac series mohurs into four classes:Class A: undisputed original strikes, characterized by deep relief, somewhat uneven flans, and rounded calligraphy.Class B: possibly original strikes, but more likely minted in the first decade or two following Jahangir's death. The relief is shallower, of a more uniform appearance, and the calligraphy is more square.Class C: mohurs of Class A or B that have had the zodiac type removed and re-engraved.Class D: later imitations and forgeries.PLEASE NOTE: A 22.50% buyer's premium will be charged separately. VAT on the buyer's premium may apply in accordance with UK regulations. Additional 6% fee charged on the Saleroom. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.This lot can be shipped from the EU if certain conditions are met. Please contact us on EUclients@thecoincabinet.com to inquire about this service.
Lot 326
**NO RESERVE**An Islamic Agate Silver Ring with Calligraphic Inscription. ring features a deep red agate gemstone, skilfully carved with Islamic calligraphy. The elegant inscription is framed by a polished silver band, which is detailed with spiralled ridges, enhancing the ring's overall aesthetic.11.9gProvenance: Private NW London Collection
Lot 328
**NO RESERVE**An Islamic Agate Silver Ring with Calligraphic Inscription.This Islamic agate ring set in silver, featuring finely engraved calligraphy on the agate stone. The design includes intricate Arabic script, adding a sense of spiritual significance. The stone is a rich, reddish-orange hue, framed by a simple yet elegant silver bezel. The ring's band has subtle detailing, lending it a refined appearance. 8.3gProvenance: Private NW London Collection
Lot 185
An Indian Deccan Brass Kashkul with Chain, 17th Century.This brass kashkul features curved sides tapering to pointed ends, each adorned with intricate dragon-head motifs. The surface is richly engraved with bands of calligraphy and floral arabesque patterns, displaying a polished finish. A linked brass chain is attached at both ends.L: Approximately 26cmH: Approximately 10.8cmProvenance: Private W London Collection.
Lot 130
An Islamic Ottoman Talismanic Jama Shirt with Calligraphic Designs.An Ottoman talismanic shirt featuring intricate calligraphy panels in vibrant hues of gold, red, blue, and green. The shirt is adorned with Quranic inscriptions, invocations, and geometric floral motifs, masterfully framed within grid-like patterns. The central panels display symmetrical compositions of text, each bordered with black script on a golden background.H: Approximately 103cmProvenance: Private W London Collection
Lot 311
** NO RESERVE** An Islamic Crystal Pendant Necklace with Arabic Calligraphy.The transparent crystal has a subtle frosted texture, with the calligraphy swirling across its surface in beautiful, flowing script. The pendant is suspended from a braided cord of soft teal and gold, adorned with tassels, providing an exquisite contrast to the simple elegance of the crystal.L: Approximately 2.5cmProvenance: Private UK Collection.
Lot 138
An Islamic Qajar Iron Kashkul Beggar's Bowl with Intricate Inlay and Figurative Motifs.This Qajar kashkul showcases intricate inlaid decoration featuring floral patterns, calligraphy, and figural scenes. The elongated oval body is adorned with detailed imagery of individuals, bordered by ornate geometric and floral motifs. The central opening is surrounded by a snake motif.H: Approximately 15cmL: Approximately 27cmProvenance: Private UK collection
Lot 117
A Qajar Brass Kashkul Beggar's Bowl with Islamic Calligraphy and Figural Scenes, 19th Century.The surface is adorned with intricate engravings depicting figural scenes framed within circular medallions, interwoven with floral and vine motifs. Arabic inscriptions encircle the body with the handles crafted in a lattice design. The base features symmetrical geometric patterns.L: Approximately 22.5cmH: Approximately 10.5cmProvenance: Private W London Collection.
Lot 312
** NO RESERVE**An Islamic Green Agate Pendant Necklace with Double- Sided Arabic Calligraphy.A finely crafted double-sided pendant made from green agate, intricately engraved with Arabic calligraphy on both sides. The pendant is set in silver and strung on a green braided cord.Approximately 5 x 3.2cmProvenance: Private UK Collection.
Lot 142
An Islamic Talismanic Illuminated and Illustrated Manuscript Scroll.An Islamic manuscript scroll featuring intricate calligraphy and vibrant illuminations. The scroll includes panels with floral motifs, celestial diagrams, astrological charts, and illustrated figures. Richly coloured with gold, blue, and red accents, the manuscript is inscribed in black ink with marginal notes and decorations in various vibrant hues.Approximately 440 x 8.7cm
Lot 91
An Islamic Indo-Persian Kulah-Khud Helmet with Calligraphic Engraving and Chainmail.It features exquisite Islamic calligraphy and floral motifs delicately etched into the surface, highlighting the craftsmanship of the era. The helmet is topped with a decorative finial and accompanied by chainmail extending from the base, offering both protection and a distinctive ornamental design.H: Approximately 45.5cm
Lot 132
An Islamic Ottoman Green Kiswa Textile with Chevron Calligraphic Pattern.An Ottoman Kiswa textile, featuring an intricate chevron pattern adorned with Arabic calligraphy in white script against a deep green background. The calligraphic inscriptions are beautifully repeated, emphasizing Islamic phrases such as "Allah" and "Muhammad Rasul Allah." The design combines artistic repetition with harmonious geometry, symbolizing devotion and unity.Approximately 98 x 81cmProvenance: Private London collection
Lot 119
Ca. 18th century AD. A pottery kashkul (Beggar's bowl) of ovoid form with a wide opening, and a small spout to the side. From both ends of the vessel protrude metal attachments with a double chain for suspension. The exterior consists of a line of calligraphy around the shoulder and the main register with lobed medallions decorated with busts of youthful males interspersed with stylised motifs of birds and flowers, painted with cobalt blue, purple, brown, and green underneath the clear glaze. For a similar see Durham University Museum, Object number DUROM.W145. Size: 240mm x 125mm; Weight: 1kg Provenance: Private UK collection, formed since the 1990s on the UK and International Art market.
Lot 82
Ca. 9th - 10th century AD; Ca. 9th - 10th century AD; Ca. 12th - 13th century AD; Ca. 17th century AD; Ca. 17th - 18th century AD; Ca. 18th century AD. A large group of metalwork, including an Indian brass bottle with a screw top, two Fatimid bronze sprinkler bottles of footed globular form, the neck decorated with six knobs, one with an inner base missing, a Khorassan spouted jug with copper inlay, of bottle form, with a lamp-shaped spout with a lion-faced hinged lid, complete with its handle. The jug has incised decoration with two panels engraved with animals, two rounded with birds, and three panels of calligraphy, one inlaid with copper, with a bell or mihrab-shaped lozenge surrounded by a copper inlay. Also included are two bronze candlestick tops, two shallow bronze dishes, one of which is decorated with four panels of calligraphy, four silver-inlaid crescent moons, and a central arabesque knot with six floral panels on the rim. The outer edge is adorned with six panels of calligraphy and has an old collection label marked 'R.s 21'. The second dish is engraved with a central roundel showing a winged horse against floral arabesques, surrounded by four panels of calligraphy and four roundels, with the edge separated by six panels of calligraphy and six roundels, and the side with five panels of calligraphy and five roundels. A shallow bronze dish stands on three feet, with the upper rim decorated with nine circular stamps and traces of calligraphy, now illegible, and the outer rim decorated with six panels engraved with animals, some retaining traces of inlaid silver wire. Additionally, there is an Islamic brass bottle with oxidised silver inlay, decorated with horizontal bands and vertical stripes of inlaid floral decoration. A Seljuk brass dish of scalloped form, decorated with engraved Kufic inscriptions and arabesque panels around a central geometric knot with eight lobes, is also included. This type of scalloped dish is evidence of the origin of the shapes of later Chinese celadon ware. An Islamic brass stand of octagonal form stands on eight attached feet, decorated with repoussé ovals between the feet, four with calligraphy and four with floral and geometric decoration above. The size is 30 cm in width, including feet, by 6.5 cm in height, with a diameter of 16.5 cm. Finally, an early Islamic cup, made of brass with high copper content, is circular with a lead-shaped handle engraved with a bird, and the outer rim is engraved with a rope pattern, with the base curiously ‘scratched’ with a spiralling ‘movement’ of hatching. Size: 490-560mm x 375-450mm; Weight: 9.2kg Provenance: Previous property of an Islamic art professional, previously apart of the Henri René d’Allemagne Collection, 1979. Acquired by Ahuan U.K Ltd. from M. Roderick d’Allemagne, grandson of Henri René d’Allemagne (1836 - 1950.) This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 58
Ca. 18th - 19th century AD. A group of metalwork comprising a silver Ottoman pen holder of typical form with an attached inkwell, decorated with embossed and incised motifs, featuring two silver stamps above and below, with hinged lids. Included is a Mamluk Revival brass casket with silver inlay, of coffered shape, with a lid inlaid with silver calligraphy surrounded by six calligraphic panels; three sides adorned with geometric and floral designs, and the front panel inlaid in silver with five fantastical winged animals. Also in the group is a small steel hexagonal box, decorated with applied gold floral designs on each of the six sides, equipped with two rotating handles, hinged on one side and latched on the opposite side. Completing the set is a Toledo steel cane or umbrella handle with gold inlay, featuring three lozenges with depictions of fantasy birds amidst foliage, framed by matching panels on either side and three gold bands below.two rotating handles, hinged on one side and latched on the opposite side. Iran, Timurid period. Provenance: Henri René d’Allemagne Collection. 1979. Acquired by Ahuan U.K Ltd. from M. Roderick d’Allemagne, grandson of Henri René d’Allemagne. (1836 - 1950).Toledo Steel Cane or Umbrella Handle with Gold Inlay. The handle decorated with three lozenges containing fantasy birds in foliage with matching panels to either side, with three gold stripes below. Spain, 19th Century. Size: 9.3 cm x 10 cm. Size: 50mm-240mm, 20mm-80mm; Weight: 932g Provenance: Previous property of an Islamic art professional. Previosuly acquired by Ahuan U.K. Ltd. 19 February 1981 from E. Van Vleedenburgh. Provenance: Henri René d’Allemagne Collection. 1979. Acquired by Ahuan U.K Ltd.from M. Roderick d’Allemagne, grandson of Henri René d’Allemagne (1836 - 1950).
Lot 112
Ca. AD 1100 - 1200. A tray hammered from a thin sheet of bronze into a rectangular shape, featuring a shallow octagonal-shaped basin with broad lateral panels and a pronounced edge. The interior of the basin is adorned with a central roundel depicting birds, encircled by a band of dots. On the sides, pairs of felines with human faces flank the roundel. This entire register is surrounded by a band of running hares, with fish depicted in the corners. Stylised calligraphy inscriptions run around the circumference. Size: 310mm x 195mm; Weight: 460g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 33
Ca. AD 1200. A superb bronze bowl of circular form and extra-large size with elaborate Kufic calligraphy and engraved details of an army running around the internal rim, set amongst geometric and floral motifs. Decorated internally with the image of a seated couple recieving toasts and blessings, possibly inspired by Persian illumination. In the late 12th century, subjects such as hunting scenes and human figures drinking wine, which refer to the function of the vessel; appeared as decorations on objects. Size: L:85mm / W:200mm ; 1.78kg Provenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 109
Ca. AD 1100 - 1200. A pair of engraved bronze dishes with inlay, of shallow form with its walls sloping inwards towards the everted rim. The interior with a central, eight-petaled rosette encircled by decorative bands. Panels of Kufic calligraphy on the rim and the sides. Size: 180mm x 40mm; Weight: 740g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 101
Ca. 11th - 13th century AD. A group of metalwork comprising a bucket-shaped bronze mortar, decorated with four frontal bird figures, possibly hawks, and two opposing ridges with handles, one of which is pierced. Included in the group is a large Ghaznavid brass magic bowl, high in zinc and copper content, adorned with twelve portrait heads in roundels, connected by crescent panels, each featuring incised Arabic calligraphy below. Also featured is a Ghaznavid brass shallow bowl, centrally engraved with a war elephant carrying an armed rider with banners, surrounded by the twelve zodiac signs, each inscribed with its Arabic or Farsi name around the circumference. Finally, a Khorassan brass ewer of typical form is included, decorated with engraved images and calligraphy, notably without any silver or copper inlay. Size: 50mm-390mm, 160mm-340mm; Weight: 7.4kg Provenance: Previous property of an Islamic art professional. Previously apart of the Henri René d’Allemagne Collection, 1979. Acquired by Ahuan U.K Ltd. from M. Roderick d’Allemagne, grandson of Henri René d’Allemagne (1836 - 1950.) Reza Attigechi, Tehran, 1978. Provenance: Purchased by Riaz Babar, 1990. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 136
Ca. AD 1100 - 1200. A pair of bronze seljuk trays of rectangular form, bordered with Kufic calligraphy on the rim and circular arabesque motifs. Size: 305-305mm x 195-195mm; Weight: 1.49kg Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Lot 79
Ca. 12-13th century .A collection of four Islamic thimbles incised with a dotted design, two bronze candlestick necks, both of similar form, one with a band of calligraphy, each with key shaped fittings at the base. A small bronze oil lamp of globular form, with an open neck and three protruding pierced hanging loops. Engraved with incised bands of decoration, along with a bronze polygon set with a four sided large pyramid and eight smaller three sided pyramids, Interspersed with twelve knobs connecting double lines of dots, with two circular openings. This bronze decorative element may have been part of a window grille.Size: 30mm-120mm, 20mm-80mm; Weight; 890gProvenance: Previous property of an Islamic art professional.
Lot 91
Ca. 19th century AD .A painted gesso architectural model of the Alhambra, Granada, of rectangular form, depicting a mihrab decorated in gilt and polychrome in the Nasrid style, the decoration typically Nasrid with lobed cartouches filled with pseudo-thuluth calligraphy with arabesques and interlocking vegetal tendrils, within a walnut wooden frame inlaid with various geometrical marquetry woodwork motives and ebony including a very little percentage of small thin cut pieces of bone inlay.Size: 520mm x 390mm; Weight: 3.31kgProvenance: Previous property of a UK Islamic art professional. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Lot 11
Ca. Early 13th century AD. A Kashan lustreware pottery bowl of conical form, with slightly flared sides on a short flaring foot, decorated in a brownish-gold lustre, the well with a central roundel containing a floral interlace, surrounded by bands with bird motifs, the exterior with bands of calligraphy. Size: 175mm x 75mm; Weight: 215g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Lot 118
Ca. 18th century AD. A pottery kashkul (Beggar's bowl) of ovoid form rising from a concave base. The exterior consists of polychrome flower decoration and a line of calligraphy around the shoulder underneath the clear glaze. From both ends protrude small openings with attached metal chains for suspension. Size: 225mm x 140mm; Weight: 1.07kg Provenance: Private UK collection, formed since the 1990s on the UK and International Art market.
Lot 511
* Tanner (Robin, 1904-1988). An archive of correspondence between the etcher Robin Tanner and Fay and Ray Cori, 1970s to 1980s, approximately 60 items, including numerous autograph manuscript letters and cards between Robin Tanner (plus a small number from his wife Heather Tanner) and Fay and Ray Cori, some with their original envelopes, the letters from Robin Tanner in his distinctive calligraphic handwriting and discussing numerous topics including his work, the natural world, calligraphy, health issues, the weather, exhibitions, etc: "Etching the N.W. Wiltshire scene is an obsession with me, & if I had to say why I should insist that apart from giving me some satisfaction my prime reason is to try to give pleasure to as many people as I can", "The cuckoo arrived yesterday, & blackcaps & willow warblers or chifchaffs [sic] are well established... I've contrived to finish needling my large "JULY" plate, & hope soon to bite it.", "This is a "Fine" version of Perry's Osmiroid Italic pen, & on the whole I like it better, though it gives less contrast between thick & thin strokes. All these cheap fountain pens are poor..." and "I'm afraid my news isn't good. Because the prostate operation was ineffective a further one was proposed... revealed a malignant growth in the bladder.", exhibition catalogues including: Robin Tanner Memorial Exhibition, Garton & Co, 1988, Robin Tanner Etchings, Wine Street Gallery, June 2003, An Exhibition of English Pastoral Etchings, 1974/75, the book Wiltshire Village, by Heather and Robin Tanner, Impact Books, and the pamphlet What I Believe, all in very good conditionQTY: (approx. 60)
Lot 691
The Bacon Family Bible, with Some Competent Original Calligraphy [The Holy Bible, conteynyng the olde Testament, and the Newe …] London, Christopher Barker, 1578. Reversed calf with gilt tooling featuring the letter B, birds and snails. 39 x 24 cm. Lacks general title, prelims (begins with Cranmer’s Prologue), and final pages (after letter F of 2nd index). Full engraved title page to New Testament. Woodcuts, especially of the Ark of the Covenant and the Temple (Exodus, I Kings, Ezekiel). Full page woodcut at OT f. 349 “describing the forme of the Temple & citie restored”. Map of places mentioned in the Acts of the Apostles at NT f. 65. Device of Christopher Barker as colophon. See A.S. Herbert, Historical Catalogue of printed editions of the English Bible 1525-1961 (L. & N.Y. 1968), no. 155 (p. 87). At the end of the Prologue is written Cranmer’s Latin epitaph by Walter Haddon, followed by the name “Thomas Buttes” and the motto “Soyes sage et simple / Be wyse and playne”. Buttes has also written his name and motto on other pages, and has filled two blank pages with text, all in his graceful calligraphy, The first contains the metrical prayer against vice by Frances, Lady Abergavenny (1530?-1576?), followed by the Lord’s Prayer in metrical form composed as an acrostic on Buttes’s name. The second contains the prologue and text of the alleged Epistle of St Paul to the Laodiceans, followed by an eleven-line metrical prayer to Jesus Christ. The names Nicholas Bacon, Anne Bacon and Butts Bacon are also written in various places. Thomas Butts (1514-1592), of Great Ryburgh, Suffolk, the original owner of this bible, was the second of three sons of Sir William Butts of Barrow, Suffolk (1486-1545), court physician to Henry VIII and a close associate of Archbishop Cranmer. In 1536 he participated in Richard Hore’s voyage to Newfoundland - and survived to tell the story to Richard Hakluyt. He and his brothers married the three daughters of Henry Bures of Acton, Suffolk. Only the youngest, Edmund, had issue – a daughter Anne, who evidently inherited the bible. She married in 1564 Sir Nicholas Bacon (c1540-1624), eldest son of Sir Nicholas Bacon (1510-1579), Lord Keeper of the Great Seal, and half-brother of the statesman-philosopher Francis Bacon. He was created Baronet Bacon of Redgrave, Suffolk in 1611 – the first person to hold this new title. Butts Bacon, whose name is also written on a page, was their seventh son. He was created in 1627 Baronet Bacon of Mildenhall, Co Suffolk. (1)
Lot 12
A SAFAVID ALBUM PAGE WITH CALLIGRAPHY SIGNED BY SHAH MAHMUD NISHAPURI PERSIA, 16TH CENTURY AND LATER ink, gouache and gold on paper, comprising a calligraphic panel with seven diagonal lines in black nastaliq, the panel above with two lines in black nastaliq, the central panel with an early 20th century miniature painted in the Safavid style, two triangular illuminations, left hand corner with a small illumination panel, verso with two manuscript leaves inscribed in nastaliq 38.5cm x 25.5cm Shah Mahmud, known as Zarrin Qalam (“the Golden Pen”), was born around 1495 AD in Nishapur and learned calligraphy from his maternal uncle, Abdi Nishapuri and later from Sultan Muhammad Khandan.Though his very first dated writings (from 923 AH/ 1517 AD) relate to the reign of Shah Ismail I, it is very likely that in his youth he entered the court of Shah Tahmasp (r. 1524-1576 AD). After living in Tabriz, when the Safavid capital moved from Tabriz to Qazvin, he immigrated to Mashhad where he lived and occupied himself with writing books in Nasta‘liq until the end of his life. He taught a number of students, among them Salim Nishapuri, Hājj Muhammad Tabrizi, Muhammad Husayn Bakhrazi, Sultan Mahmud Turbati and Qutb-al-Din Yazdi. Among his most important works are the first Qur’an copied in nasta‘liq (which is now kept in the Topkapi Museum in Istanbul) and the Khamsa-ye Tahmāspi (which is held in the British Museum). The last of his dated works was written in 982 AH/1574 CE, evidence that he lived in Mashhad until that time.
Lot 2
A KUFIC QUR'AN LEAF ON VELLUM NEAR EAST OR NORTH AFRICA, 9TH/ 10TH CENTURY Arabic manuscript on vellum, seven lines to the page written in bold kufic script in black ink, vowel points marked with red dots, small pyramids of gold dots marking verses, a large medallion in gold marking the tenth verse, consisting of the word ashr in kufic script with concentric lobed cartouches, decorated with coloured dots, inscribed with later pagination (177 and 129 on recto, 178 and 89 on verso), mounted, glazed and framed 23.1cm x 32.5cm Bonhams, Islamic and Indian Art, 24th April 2012, lot 1. Text: Sura LXXVI, ad-Dahr, Time, or al-Insan, Man, part of verse 9-part of verse 13.This striking and fine leaf is one of several existent from the same Qur'an manuscript. One of its distinctive features is the horizontal stretching of the letters, known as mashq, regarded as the finest quality of calligraphy. Further leaves from this Qur'an manuscript are in the Iran Bastan Museum, Tehran (inv. 4289; illustrated in M. Lings, The Qur'anic Art of Calligraphy and Illumination, Westerham 1976, no. 5). Others have been offered at Christie's, Islamic Art and Manuscripts, 27th April 2004, lot 14; Sotheby's, Arts of the Islamic World, Doha, 19th March 2009, lot 303; and more recently, Christie's, Art of the Islamic and Indian Worlds, 6th October 2011, lots 1-3.
Lot 50
Sadequain (1930-1987)Untitled signed 'Sadequain 15/12/61' upper rightpen and wash on paper37.5 x 55.5cm (14 3/4 x 21 7/8in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired in the 1960s-1970s;Thence by descent.'Sadequain's great contribution to modern art in Pakistan was that he amplified it with the living cultural resources of his broad and deep tradition in his own style and according to his conscience as no other artist could do.' Akbar Naqvi, Image and Identity: Fifty years of painting and sculpture in Pakistan, Pakistan, 1998, p. 403.After winning the Pakistan National prize for painting in 1960, Sadequain was invited by the French Committee of the International Association of Plastic Arts to visit Paris. Already a celebrated artist in Pakistan, the next few years in Paris catapulted Sadequain onto the international stage. In 1961 he was awarded the 'Laureate Bienniale de Paris' at the Paris Biennale and the scholarship prize enabled him to remain in Paris.The two lots offered in this auction were painted during his time in Paris, and illustrate the distinguished calligraphic cubist style that Sadequain invented. Influenced by the sculptures of Picasso and the Spanish arabesque of González, these heavily stylized, statuesque and monumental figures are depicted in broad sweeping lines, bearing the influence of the École de Paris. Responsible for the resurrection of Islamic calligraphy, he transformed the art of calligraphy into these eye-catching expressionist paintings. He married this with the scratched surface, which gives these works volume and amplifies their flatness. Resembling a cobweb, there is an intricacy and detail to these works which defies their appearance of simplicity.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 11.For further information on this lot please visit Bonhams.com
Lot 46
Ismail Gulgee (1926-2007)Untitled (Abstract) signed and dated 'Gulgee '04 lower right; further inscribed 'Gulgee Collection 2004' versooil on canvas, framed44 x 29cm (17 5/16 x 11 7/16in).Footnotes:ProvenanceProperty from a private collection, Pakistan.Acquired from the artist.Born on December 25, 1926, in Peshawar, British India (now Pakistan), Gulgee's artistic journey began at an early age, nurtured by his father, who was himself an accomplished calligrapher. After completing his education in Peshawar, Gulgee enrolled at the prestigious National College of Arts, where he honed his skills under the guidance of renowned artists such as Shakir Ali and Ustad Haji Sharif.Gulgee's artistic prowess soon caught the attention of the art world, and he quickly gained recognition for his innovative approach to traditional Islamic calligraphy. His bold and dynamic interpretations of Arabic script, as seen in Untitled (Calligraphic) pushed the boundaries of the art form, earning him widespread acclaim both at home and abroad.In Untitled (Calligraphic) he has employed a subdued colour palette of oranges, reds, browns and blacks which evokes a sense of warmth and earthiness. Filling the entire composition, Gulgee's meticulous attention to detail is evident in the precise arrangement of the strokes as well as the subtle variations in line thickness and spacing that give the composition a sense of depth and dimension. Luminous and captivating, it is unsurprising that his works are a favourite among collectors and adorn the walls of palaces, museums, and private collections around the world.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art Online, London, 26th July - 6th August 2024, lot 54.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
Lot 15
Sadequain (1930-1987)Untitled (Figures in a forest) signed and dated 'Sadequain 19/3/62' lower rightpen on paper32.5 x 56.1cm (12 13/16 x 22 1/16in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired in the 1960s-1970s;Thence by descent.'Sadequain's great contribution to modern art in Pakistan was that he amplified it with the living cultural resources of his broad and deep tradition in his own style and according to his conscience as no other artist could do.' Akbar Naqvi, Image and Identity: Fifty years of painting and sculpture in Pakistan, Pakistan, 1998, p. 403.After winning the Pakistan National prize for painting in 1960, Sadequain was invited by the French Committee of the International Association of Plastic Arts to visit Paris. Already a celebrated artist in Pakistan, the next few years in Paris catapulted Sadequain onto the international stage. In 1961 he was awarded the 'Laureate Bienniale de Paris' at the Paris Biennale and the scholarship prize enabled him to remain in Paris.The two lots offered in this auction were painted during his time in Paris, and illustrate the distinguished calligraphic cubist style that Sadequain invented. Influenced by the sculptures of Picasso and the Spanish arabesque of González, these heavily stylized, statuesque and monumental figures are depicted in broad sweeping lines, bearing the influence of the École de Paris. Responsible for the resurrection of Islamic calligraphy, he transformed the art of calligraphy into these eye-catching expressionist paintings. He married this with the scratched surface, which gives these works volume and amplifies their flatness. Resembling a cobweb, there is an intricacy and detail to these works which defies their appearance of simplicity.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 11.For further information on this lot please visit Bonhams.com
Lot 36
Ismail Gulgee (1926-2007)Untitled (Calligraphic) signed and dated 'Gulgee 98' lower rightoil on ceramic tile, framed30.5 x 30.5cm (12 x 12in).Footnotes:ProvenanceProperty from a private collection, Pakistan.Acquired from the artist.Renowned for his versatility and innovation, Gulgee's foray into ceramic art represents a captivating departure from his more traditional works in painting and calligraphy. He has masterfully used oils in rich hues of blues, reds, whites, yellows, oranges and blacks to create an aesthetically unique work. The subtle variations in texture add further dimension to the piece, inviting viewers to explore the tile's tactile qualities. Beyond its aesthetic beauty, Gulgee's ceramic tile also carries deeper symbolic significance, serving as a testament to the artist's reverence for tradition and his commitment to preserving and celebrating the cultural heritage of his homeland.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, London, 5th June 2024, lot 53.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
Lot 9
LIU YONG (1719-1804)Calligraphy in Cursive ScriptInk on gold paper, hanging scroll Inscribed and signed Shian, with two artist's seals and three collector's seals. 71.5 x 28 cm (28 1/8 x 11 in)Footnotes:PROPERTY FROM A GERMAN FAMILY COLLECTION德國家族珍藏劉墉 草書 節臨《論草書帖》水墨金箋 立軸款識：張顛俗子，變亂古法，驚諸凡夫，自有識者。懷素少加平淡。石菴。鈐印：劉墉、石菴鑒藏印：少癸珍藏、陶葊藏書畫印、三山楊氏雪淑珍藏Provenance:Collected in China between 1894 and 1922, then handed down in the family by descent.來源於1894年至1922年間得自中國，後經家族流傳至今For further information on this lot please visit Bonhams.com
Lot 127
Five various artworks to include a photographic print after Harald Slott-Møller (1864-1937), a Japanese 21st century ink brush calligraphy titled 'Mariano' by Ai Kawauchi with a certificate of authenticity, a printed reproduction portrait after Werner Berges (1941-2017), a signed acrylic on canvas by Paul Hibbert, and a novelty tourist map of St. Ives. H.64 W.52cm (largest)
Loading...-
14177 item(s)/page