Henry Winslow (1874-1953) Leda and the Swantempera on canvas laid to board52 x 77cmProvenance:Collection of the late Sir Georg and Lady Solti Exhibited:Bournemouth, The Russell Art Gallery, Exhibition of Contemporary Tempera, 22 January - 19 March 1949A reasonable amount of dust trapped beneath the glass, this could be easily remedied by taking the work out of the frame and cleaning the internal glass. The outer edges along the left and right-hand sides show some damage to the canvas, including some tears and minute losses. There are a number of small abrasions to the canvas, most notable the white blemish in the wing of the swan, to the left hand side there is a more subtle abrasion and likewise on the back and buttocks of leda there is a small abrasion with minute loss of media. Otherwise in nice, presentable condition.
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Kadhim Hayder (Iraq, 1932-1985)Al Qamar oil on canvas, framedsigned 'K HAIDAR' and dated '1966' on the stretcher, executed in 1966104 x 134cm (40 15/16 x 52 3/4in).Footnotes:Al-QamarA monumental 1966 composition from Kadhim Hayder's Epic of the Martyr series formerly in the collection of the Iraqi Ambassador to Lebanon H.E Nathir Umari'The Hour has drawn near, and the moon was split in two.' Surah Al-Qamar'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiProvenance:Property from the collection of H.E Nathir Umari, Iraqi Ambassador to Lebanon (1963-1966), acquired directly from the artist, circa 1966, thence by descent Exhibited:Kadhim Hayder, Gallery One, Beirut, 1966 This monumental painting from Kadhim Hayder's Martyrs Epic series is a powerful depiction of the climax of the cycle, the moment of Imam Hussein's death. Painted in 1966, 'Al Qamar' (The Moon) is a poignant and emotionally charged work that showcases the artist's masterful use of religious allegory and cultural mythology.The painting comes to market with an impressive provenance, having belonged to Nathir Umari, a prominent Iraqi diplomat who served amongst other postings as ambassador to Lebanon, the United States, and France throughout the 1960's. Umari was also a senior representative for Iraq at the United Nations. The painting was acquired by Umari in Beirut during his ambassadorshipThe title of the painting, 'Al Qamar' (The Moon), has significant symbolic meaning in Islamic culture and literature. The moon is mentioned numerous times in the Quran, and is often used as a metaphor for the light of God, purity, and guidance. In this painting, the red moon serves as a symbol both of mourning and of the light that Imam Hussein brought to the world through his sacrifice.What makes this painting particularly special is that it was not originally part of the Martyrs Epic series, but was painted a year after the exhibition. It shows the artist's fondness for this particular scene, and his desire to explore it further. In this respect 'Al Qamar' shares a striking similarity ot the painting from the series that is now in the Barjeel Art Foundation, which adds to its significance and rarity.This remarkable painting is a testament to Kadhim Hayder's importance in the history of Iraqi art, and his enduring legacy as an artist who captured the essence of one of the most important events in Islamic history..Saleem Al Bahloly: The Epic of the Martyr:'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics. The above text has been abridged.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
Dia Azzawi (Iraq, born 1939)Red Composition oil on canvas, framedsigned 'Dia Azzawi', and dated '1970' (lower left and on the verso), executed in 1970 125 x 125cm (49 3/16 x 49 3/16in).Footnotes:'Red Composition'A seminal 1970 masterpiece by Dia Azzawi and one of the first large scale works in his mature styleProvenance:Property from a private collection, Beirut'This is part of our 'identity problem': what to do with calligraphy? How do we use it to create something which is related to our history? I was very much influenced by a different part of Iraqi history, mainly by Sumerian art, and this combination with Arabic calligraphy, gave me the ability to create new kinds of abstract imagery'- Dia AzzawiBonhams are proud to present 'Red Composition' , a seminal 1970 masterpiece by the renowned Iraqi artist, Dia Azzawi, painted in the immediate aftermath of his establishment of the 'New Vision Group'. This large and important painting is a landmark work in Azzawi's illustrious career, it is one of the earliest works in the artists mature painterly style and signature palette as well as the first work where the artist introduces a blend of Arabic and Ancient Mesopotamian letterforms. Painted in 1970, 'Red Composition' represents a pivotal point in Azzawi's artistic journey. As he transitioned from the darker palette and more figurative works of the 1960s to a warmer, more vibrant approach, this painting served as a catalyst for his exploration of letterforms and abstract figural references.In the present work, Dia Al-Azzawi draws from ancient cuneiform, humanity's first script along with Egyptian hieroglyphs. This script features 'figurative' pictograms that symbolize objects and 'abstract' signs made up of lines in the shape of 'corners' or 'nails,' which transcribe a sound or syllable. Incisions, signs, pictograms, and symbols form the core vocabulary of Azzawi's formal language, which he liberates from their literal meanings to create a visual poetic equivalent. He deftly captures the sensitive resonance of Sumerian epic extracts within himself, expressing it through colour and semi figural outlines. Executed on a grand scale, 'Red Composition' demands the viewer's attention with its bold use of colour and dynamic composition. The piece's fiery red hues are balanced with black lines and forms that weave throughout the canvas, evoking a sense of movement and depth.It is no surprise that 'Red Composition' is recognized by the own artist an important piece in his oeuvre, representing a turning point in his artistic evolution. This painting truly embodies the essence of Azzawi's mature style.Azzawi started his artistic career in 1964, after graduating from the Institute of Fine Arts in Baghdad and completing a degree in archaeology from Baghdad University in 1962. His studies of ancient civilizations and Iraqi heritage had a profound impact on his art, and a key objective in the early formation of his artistic style was to link the visual culture of the past to the present.In 1969, Azzawi formed the New Vision Group (al-Ru'yya al-Jadidah), uniting fellow artists ideologically and culturally as opposed to stylistically. The group's manifesto, Towards a New Vision, highlighted an association between art and revolution, and sought to transcend the notion of a 'local style'—coined by the Baghdad Modern Art Group—by broadening the parameters of local culture to include the entire Arab world.With exhibitions of his work held worldwide, including a landmark retrospective in 2017 at Qatar's MATHAF, his art features in the collections of some of the world's most prestigious museums and institutions. He is also regarded, in the tumultuous post-conflict climate of 2000s Iraq, considered to be the ultimate authority on modernist and contemporary art from the region.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Charles Hossein Zenderoudi (Iran, born 1937)Untitled (Talismanic Charts) gouache on paper, framedsigned 'Zenderoudi' and dated '78' (lower right), executed in 197863.5 x 84cm (25 x 33 1/16in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the Artist by the above'I use calligraphy as a pictorial means, and not solely as a traditional writing system. My goal is to reach a plastic interpretation of the written word. This is how I see the progress of contemporary art in the Islamic world.' We are proud to present two remarkable 1970's calligraphic works on paper by Charles Hossein Zenderoudi from his artistic prime. Inspired by ancient Iranian talismans and written offerings at shrines, these pieces are reminiscent of Sufi charts, numeral tables, and codes. The artist's calligraphy is a masterful display of his skill, capturing the essence of these ancient art forms while infusing them with his signature style.The vibrant colors used in the works are a hallmark of Zenderoudi's artistic prowess. His unique approach to color and form is showcased in every stroke of the pen, making these pieces truly remarkable.Zenderoudi's work has been exhibited in galleries and museums around the world, cementing his place as one of the most influential artists of his time. These works on paper are not only visually stunning but also offer a glimpse into the artist's cultural heritage and spiritual traditions.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Fahr El-Nissa Zeid (Turkey, 1900-1991)Lavender oil on canvasexecuted circa 1950s72 x 58cm (28 3/8 x 22 13/16in).Footnotes:LavenderA rare and exquisite painting by Fahrelnissa Zeid from her kaleidoscopic periodProvenance:Property from the private collection, LondonProperty from the collection Fahr-El Nissa Zeid's personal assistant, Raymond Williams, EnglandGifted directly from the artist to the above owner, circa 1970s'This work is a rare specimen of Fahrelnissa Zeid's kaleidoscopic high period, a body of work that she widely exhibited in solo shows in private galleries in New York, London, Paris, and Zurich throughout the 1950s, as well as at the abstract art international exhibitions of the Salon des Réalités Nouvelles in Paris' - Adila Laidi-Hanieh'Overabundance.' by Adila Laïdi-Hanieh, PhD.Fahrelnissa Zeid deployed colour, line, the sublime, and the infinitesimal in a five-decade-long career producing an extraordinary and timeless body of work. After exploring expressionist figuration during the War in Istanbul, she settled into abstraction from 1948 to 1968, and developed, then grew out of several styles in sequence. The work on offer here belongs to her second abstract phase, of mainly monumental chromoluminarist compositions, into which she transitioned in the early 1950s after she gained in assurance with abstraction, creating her well-known kinetic vortexes. This is a rare specimen to come for sale for a few reasons: Most works in that unique style have already been acquired in the span of three decades by important institutional and private collections, and because of its relatively medium size. Chromatically this painting is also unique given its dominance by pink, fuchsia and purple, while Zeid usually favoured primary colours. Still, this work concentrates Fahrelnissa Zeid's high period style and gesture. The dynamic and kinetic swarming is reined in by an invisible base, and constituted by only four colours that jostle for space with white on the pictorial plane. Her energy allowed her to work rapidly and create complex abstractions that contemporary artists now execute via computer generated patterns projected onto canvases. Fahrelnissa Zeid created alone: First freely drawing a meandering pattern by charcoal on the canvas, then filling it with paint over hours or days of focused uninterrupted work. Her sharp rapid thrusting line turns then returns, criss-crosses, and swarms the canvas, projecting her inner visions and inner states. In the interstices of the lines are ellipses of depth and light that create movement and flight. Yet Fahrelnissa Zeid is not only a linear painter, and this small work affords its viewers the treat of glimpsing her characteristic impasto and brush strokes. This work is a rare specimen of Fahrelnissa Zeid's kaleidoscopic high period, a body of work that she widely exhibited in solo shows in private galleries in New York, London, Paris, and Zurich throughout the 1950s, as well as at the abstract art international exhibitions of the Salon des Réalités Nouvelles in Paris. This success led her to be invited by the ICA in 1954, to showcase the latest artistic developments of the Nouvelle Ecole de Paris art movement to London audiences, making her the first woman artist to exhibit solo at that prestigious modernist hub. What drove Fahrelnissa Zeid to work and paint prolifically? Art was for her a way out of her selfhood, like an 'overabundance' that 'starts where living does not suffice to express life'. She said that one does not paint to 'make art,' because 'there is no art, no works of art. There is the joy of living, the joy of creating, because one is not enough to oneself.'For further information on this lot please visit Bonhams.com
Adam Henein (Egypt, 1929-2020)Le Repos bronze with brown patinasigned 'A. HENEIN' (under left arm), the present work is an artist proof, from an edition of eight, executed in 197123 x 65 x 30cmFootnotes:Provenance:Property from a private collection, Gizainitially acquired directly from the Artist in 1972Illustrated:S. Wright, Adam Henein, Milan 2005 (illustrated, p. 61)Exhibition catalogue, ARTSPACE Grand Opening Group Exhibition, Artspace DIFC, Dubai, 2008 (another from the edition illustrated in colour, unpaged).S. Eigner, Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran, London 2010 (another from the edition illustrated in colour, p. 289)Note:This work is accompanied by a certificate of authenticity issued by the Artist in 2020.This present sculpture by Adam Henein was executed in 1955 and reflects his sensitivity and artistic complexity even as a young man. During Henein's travels around the region of Luxor, Henein created this work, which combines elements of Pharaonic art with European Modernism. The sculpture depicts an Egyptian man resting in a traditional 'galabiya,' and its rough execution and sharp edges capture the fleeting motion of light, reminiscent of archaeological fragments from Egypt's rich cultural heritage.Henein's sculptures are deeply rooted in his heritage, as he juxtaposes the life of a sculptor with that of a peasant. The sculpture portrays a laid back labourer resting after a long day of work, while Henein himself continues to hammer away at the bronze to create the image of the relaxed worker. Despite giving the sculpture a modernist twist, Henein still manages to delve into Egypt's elaborate history. Through his use of simple, minimalistic lines, he captures a palpable mythic essence while retaining simplicity. Le repos is an exceptional early work by Henein, showcasing the artist's acclaimed career and holding great mystery in the absence of detail.'Le Repos' refers to a state of rest or relaxation; it is a term that has been used to describe many significant paintings throughout art history. There is no singular artwork or style that is definitively referred to as Le Repos, however, one notable Le Repos painting is by French Impressionist artist Pierre-Auguste Renoir. This painting, executed in 1870, depicts a young woman in a state of peaceful repose on a sofa with a book in her lap. This work is significant for its elegant portrayal of the reclining female form and how it beautifully captures a fleeting moment of everyday life. Renoir's soft, sensual brushstrokes and warm, earthy tones emphasize her beauty and femininity. This painting heavily influenced countless artists in the decades that followed, is considered one of Renoir's masterpieces and is housed in the Musée d'Orsay in Paris.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
Adam Henein (Egypt, 1929-2020)Donkey bronzesigned 'A.HENEIN' and numbered 'I. IIX', number 1 from an edition of 8, executed in 196479 x 116cm (31 1/8 x 45 11/16in).Footnotes:Adam Henein 'Donkey' The first appearance of an iconic 1960's 'Donkey' sculpture from the artistProvenance:Property from a distinguished private collection, BeirutAcquired directly from the artist by the present owner, circa early 2000sExhibited:Farouk Hosny and Adam Henein, Heirs to an Ancient Tradition, Metropolitan Museum of Art, 1999Institut Du Monde Arabe, Three Contemporary Sculptors, Paris, 1991 Egyptian Academy, Rome, 1980*others from the editionPublished:Mona Khazindar (ed.), Adam Henein, Turin, 2005Farouk Hosny and Adam Henein, Heirs to an Ancient Tradition, Metropolitan Museum of Art, 1999'See, your king comes to you, gentle and riding on a donkey, on a colt, the foal of a donkey'.- Zechariah 9:9'When he wanted an architect to build him a simple home, Henein paid for it with a sculpture of a donkey'- Mona KhazindarBonham's are proud to present one of the most emblematic and iconic Adam Henein sculptures ever to come to market. The first example of this subject matter ever to come to auction, 'Donkey' is a large, highly symbolic and deeply significant example of Henein's work. Henein grew up in a rural village in Egypt and had a strong connection with the landscape and animals of his homeland. He was fascinated by the donkey, which is a common and beloved animal in Egypt, and found it to be a symbol of resilience and endurance.For Henein, the donkey represented the dignity and beauty of the simple life and the connection between human beings and nature. He was drawn to the donkey's expressive face and its ability to convey a sense of emotion and character through its body language. In addition to his personal connection to the donkey, Henein was also influenced by the ancient Egyptian tradition of animal worship and the importance of animals in Egyptian mythology. Through his sculptures of donkeys, Henein aimed to capture the essence of this ancient tradition and convey the timeless beauty and majesty of these humble creatures.In ancient Egyptian culture, the donkey was an important animal for both practical and symbolic reasons. As a beast of burden, donkeys were used for carrying goods, such as grain, pottery, and other items, both within cities and for long-distance trade. They were also used for transportation of people, particularly the wealthy and powerful.The donkey's significance went beyond its practical use, however. It was also considered a symbol of Egypt's agricultural and economic system, which was heavily dependent on the cultivation of crops and the transportation of goods. Donkeys were often depicted in Egyptian art, appearing in tomb paintings, reliefs, and other artefacts. They were also used in religious ceremonies, particularly in the worship of the god Seth, who was associated with the desert and the donkey.In addition, donkeys had a certain cultural cachet in ancient Egyptian society. They were prized for their loyalty, endurance, and hardiness, and were often given as gifts to foreign dignitaries. Even today, the donkey remains a symbol of Egypt's rural and agricultural heritage and continues to be an important animal in many parts of the country.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
Hussein Madi (Lebanese, born 1938)Untitled acrylic on canvassigned 'MADI' and dated '76' lower left and on the verso, executed in 1976101 x 120cm (39 3/4 x 47 1/4in).Footnotes:A rare and important 1970's abstracted letterform composition by Hussein Madi Provenance:Property from a private collection, BeirutHussein Madi's stunning large-scale composition is a masterful exploration of the abstract potential of traditional Arabic letterforms. The painting, created in the 1970s, features angular depictions of the word 'Allah' rendered in bright, vibrant greens and reds. Madi's interpretation of the letterform is a radical departure from the traditional, ornate calligraphy that has been practiced for centuries, and instead reduces the letterform into abstract shapes and signs used purely for artistic value.The painting features the word 'Allah' adapted into a crisscross pattern drawn with thin lines, with the letters almost rendered illegible. However, legibility is not important in this work; instead, Madi's focus is on the architecture of the letterform and how it can be manipulated for artistic expression. The result is a mesmerizing and powerful work of art that challenges traditional ideas of representation and invites viewers to contemplate the interplay between form and meaning.Hussein Madi is a Lebanese artist born in 1938 who is known for his innovative and experimental approach to calligraphy. He received his education at the LEbanese Institute of Fine Arts and Rome and has exhibited his work extensively throughout the Middle East, Europe, and the United States. Madi's work often incorporates elements of geometric abstraction, and he has been praised for his ability to seamlessly merge traditional and contemporary artistic techniques.Madi's painting is a testament to his ability to push the boundaries of traditional modes of representation while still maintaining a deep respect for the art form's history and cultural significance.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
Azza Al Qubaisi (United Arab Emirates, born 1978)Metaphor 5 mild steelexecuted in 202137 x 25 x 25cmFootnotes:Azza Al Qubaisi is a well-known artist, designer, and entrepreneur who has gained recognition as both an accomplished sculptor and jewellery designer. Her work showcases her prolific creativity, with pieces ranging from jewelry to sculptures made from materials such as gold, silver, wood, rubber tires, palm trees, and oudh incense. Al Qubaisi is a strong advocate for sustainability and has dedicated her work to promote a sustainable future for her country. Her works often use simple materials that were part of Emirati families' daily lives in the pre-oil period. Her pieces reflect the natural landscape and cultural references of the region, incorporating shapes, patterns, and textures inspired by the desert and ancient traditional techniques.Al Qubaisi's journey as an artist is deeply rooted in her Emirati heritage. She was born in Abu Dhabi and educated in London, where she earned a BA in Silversmithing, Jewelry Design, and Allied Crafts from the London Guildhall, and an MA in Cultural and Creative Industries from HCT-CERT. Her work has been showcased in group and solo exhibitions both locally and internationally. Al Qubaisi represented the UAE in the 'A 1001 Steps Festival' in Helsinki, Finland, in 2004, and was the first artist to exhibit in DIFC in 2005. Her work has also been exhibited in 'Language of the Desert' in Abu Dhabi, 'Three Generations' by ADMAF, and the UAE National Day Exhibition at Expo Milan 2015, among others. Al Qubaisi has been featured in several publications, and her wearable art from Life series and Bareeq Al Oudh series are published in '500 Earrings: New Directions in Contemporary Jewelry: 2007' by Lark Books.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
Shakir Hassan Al Said (Iraq, 1925-2004)Female Portrait oil on board, framedsigned 'Shakir' and dated '1954' (upper left), executed in 195438 x 39.5cm (14 15/16 x 15 9/16in).Footnotes:Provenance:Property from the Artist's EstateExhibited:Baghdad, Institute of Fine Arts, Group Show, 19621951 marked the point when Iraq's two most prominent artists, Jewad Selim and his student Shakir Hassan Al-Said, formed the countries first bona fide modern art movement; The Baghdad Group of Modern Art, through its manifesto, membership, and numerous exhibitions would come to signify a 'golden age' in Iraqi modernism.Shakir Hassan Al-Said is often regarded as the theoretical dynamo of the movement; more vocal and prolific in his written output than Selim, Jabra Ibrahim Jabra comments that 'no Iraqi artist has written about art in general, and about the artists reflections on his own work in particular, as much as Shaker Hassan Al Said'.The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of twentieth century Iraq. Mesopotamian iconography and Islamo-Arabic cultural motifs were combined with popular modern folk imagery; the high flown formal rigidity of ancient rock reliefs met the convoluted urban landscape of modern Baghdad, populated with the humorous and extravagant characters of daily life, all coming together to form a unique amalgamated aesthetic that reflected the evolving patchwork of Iraqi culture at the time..For further information on this lot please visit Bonhams.com
Ismael Fattah (Iraq, 1934-2004)Face oil on canvas, framedsigned 'Ismael Fattah' and dated '2000', executed in 2000100 x 80cm (39 3/8 x 31 1/2in).Footnotes:Provenance:Property from a private collection, LondonBonhams, A Century of Iraqi Art Part II and Modern and Contemporary Middle Eastern Art auction, 7 Oct 2015For further information on this lot please visit Bonhams.com
Davidson, George, a Group of 5 Vintage Photogravures, Davidson, George, a group of 5 vintage photogravures, each signed in pencil by the photographer, all printed on Japanese paper, with original window-mounts, each signed by the author ‘G. Davison’ in pencil in lower right corner, to include; captioned on the mount ‘The Village under the south downs’ inscribed in pencil ‘With Mr & Mrs Davidsons’ Greetings, Christmas and New Year 1903/4 captioned on the mount ‘Molesey Lock’ inscribed in pencil ‘With Mr & Mrs Davidsons’ Christmas Greetings 1905 captioned on mount ‘Harlich Castle’ inscribed in pencil ‘With Mr & Mrs Davidsons’ Greetings, Christmas and New Year 1907/8 One indistinctly labeled to the bottom left ‘?? Yeomen ?? Berkshire’, missing window-mount And, another of a tree with no title All held in contemporary envelope addressed to Mr & Mrs. C. L. MayEast Molesey, envelope tatty images approximately 16cm x 11.5cm, sheet size 38 x 28cm George Davison (1855-1930) was a British photographer who played a significant role in promoting naturalism and pictorial photography during the late 19th and early 20th centuries. Davison's work was known for its soft-focus, dreamy quality, and he often used natural settings as his subjects. One of Davison's most notable contributions to photography was his use of the photogravure process, which allowed photographers to create high-quality prints with remarkable detail and tonality. Davison was a master of this technique, and his photogravures were highly sought after by collectors and enthusiasts alike. Davison was also a key figure in the formation of the Linked Ring, a group of photographers dedicated to advancing the art of photography and promoting it as a fine art form. Through his work and advocacy, Davison helped establish photography as a legitimate art form, and his legacy continues to influence photographers and artists today.
Mila Fürstová (Czech, born 1975): 'True Love I' Artwork From Coldplay's 'Ghost Stories' Album, 2014 , numbered A/P, hand-printed etching with ink and paint on heart-shaped paper, inscribed in ink For Marianne & Mike with love titled True Love and signed and dated 2014 by the artist, on raised mount, framed and glazed, artwork 46 x 40.5cm (18 x 16in). Footnotes: Provenance: Gifted to the vendor by the artist. Lyrically, 'True Love' talks about heartache and how the protagonist can't bear the pain of losing his lover. The song's lyrics were addressed to be about Chris Martin's divorce from his wife Gwyneth Paltrow, a recurrent theme on the whole album. Martin has claimed that 'True Love' is the band's favourite track it has ever written. Fürstová, whose work has been described as 'dazzling images [that] are both contemporary and personal, searching in the surreality of dreams, tales and fables that can map the framework of our consciousness', and has won numerous awards, including the Royal College of Art Society Award in 2001 and becoming the youngest academician at the Royal West of England Academy in 2009, was invited by Coldplay to etch artwork for their new album in January 2013. She described the collaboration between her and the band as 'a most inspiring journey and a truly humbling experience to cooperate with such talented people'. This lot is subject to the following lot symbols: AR AR Goods subject to Artists Resale Right Additional Premium. For further information on this lot please visit Bonhams.com
† PETER LAYTON (born 1937); a contemporary Art Glass vase of ovoid form, internally decorated with stylised motifs, signed, height 22cm.Condition Report: Numerous scratches to the body, light surface wear, bruise to the top of the vase, and a deep scratch beside, a couple of smaller marks to the body.
† PRUE COOPER; two contemporary slipware dishes, the first titled 'Still I love thee as thou art, ancient person of my heart?', decorated with two figures, length 36.5cm, with a circular slipware dish decorated with a house and titled 'A little house whose humble roof is weatherproof, under the spars of which I lie both warm & dry', diameter 36cm (2).Condition Report: Both structually ok, the example decorated with the house with some light glaze scratches to the centre, the other Slipware dish with remnance to the back of a circular wall hanging adhesive pad.
An illuminated Qur'an, copied by 'Abd al-Jalil ibn Mustafa ibn Isma'il bin 'Abd al-Ghani al-Nabulsi Ottoman Empire, Syria, probably Damascus, dated Sunday, the last day (salkh) of dh'il-qa'dah 1242/24th June 1827Arabic manuscript on paper, 318 leaves, 15 lines to the page written in naskhi script in black ink with diacritics and vowel points in black and red, red dots markings verse-endings, inner margins ruled in red, one illuminated double-page frontispiece in colours and gold, sura headings in naskhi script in red, juz and hizb divisions marked with marginal notes in red, catchwords, contemporary gold-tooled red leather binding with central medallions, with flap with cartouche containing stamped text, Qur'an, sura LVI, al-waqi'ah, verses 79-80 153 x 104 mm.Footnotes:ProvenanceBonhams, Islamic and Indian Art, 21st April 1999, lot 577.Private UK collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
A Safavid illuminated miniature Qur'an in a metal case, copied by Asad 'Ibadi al-Sanziwari Persia, dated Thursday 25th Shawwal 991/Thursday 10th November 1583Arabic manuscript on thin polished paper, octagonal, 280 leaves, 15 lines to the page written in fine naskhi script in black ink with diacritics and vowel points in black, gold dots marking verse-endings, circular inner margins in blue and gold, catchwords, sura headings marked with gold ruled lines, circular illuminated opening leaf with centre cut out, two leaves just after beginning misbound upside down, contemporary dark red goat-skin binding with small tooled floral motifs, in a Qajar silver octagonal case with loops for securing bands, in modern cloth-covered slipcase of the Newberry Library, Chicago 45 x 46 mm.; case 51 x 49 mm.; slipcase 154 x 123 mm.Footnotes:ProvenanceEdward E. Ayer (1841-1927).Bequeathed by the above to the Newberry Library, Chicago, December 1920 (label pasted to endleaf, Or. MS. 214).Probably deaccessioned from the Library in 1994.Bonhams, Islamic and Indian Art, 16th October 2003, lot 164.Private UK collection.See Sotheby's, Arts of the Islamic World, 15th October 1998, lot 27; and more recently, 26th October 2022, lot 19, for other examples of miniature Qur'ans formerly in Ayer's possession and subsequently in the Newberry Library.Edward E. Ayer was a Chicago business magnate who made his money in railways. In 1911 he donated part of his collection (which was mostly of Western mediaeval manuscripts, though there were also seventeen thousand items relating to Native American and colonial American history) to the Newberry Library, also giving it an endowment, and sitting on the first Board of Trustees. In 1920 he sold the remainder of his collection to the Library.The scribe is unrecorded.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Late 1st century B.C.-early 1st century A.D. Obv: blundered legend with profile bust right. Rev: blundered legend within wreath. 7.73 grams. Acquired on the German art market around 2000. From the collection of a Surrey, UK, gentleman. A contemporary copy or fake coin produced by a local workshop imitating a bronze official issue of the emperor Augustus. Barbarian fakes manufactured during the ancient Roman timeline, although inexpensive at auction, present a fascinating area to research for those collecting on a budget. TimeLine Auctions normally has a small quantity of contemporary imitations on offer for those interested in this captivating area of numismatics. [No Reserve]
Georg Baselitz Adler. München. Galerie Heiner Friedrich 1975. - Eine der bedeutenden Folgen aus dem frühen Werk des Künstlers - 1 von 30 Exemplaren - Komplett ungemein selten. - 'Intent and uncompromising, Georg Baselitz has gone his own way within contemporary art.' (Andreas Franzke) 'Der Maler, Zeichner, Radierer und Holzschneider Baselitz begeht neue Wege und steht doch zugleich bewußt in der europäischen Maltradition, bedient sich also konventioneller Mittel und sogar Motive, an deren 'Wörtlichkeit' er - zur ersten Verwunderung des Betrachters - nicht haften bleibt.' (Horst Keller, im Vorwort zum Baselitzkatalog Köln 1976) 1 von 30 numerierten Exemplaren. - Die komplette Original-Mappe mit 4 Blatt Radierungen, 3 Blatt Holzstichen mit Strichätzungen und 4 Blatt Holzschnitten, alle übermalt, sowie 2 Holzschnitten für den Umschlag. Graphikblätter in verschiedenen Formaten, jeweils Drucke der Auflage Ende 1974, jedes Blatt unten rechts vom Künstler in Bleistift signiert und datiert 'Baselitz 74', unten links als eines der 30 Exemplare der Auflage arabisch numeriert (Nr. 14). Druck der Radierungen von R. Spiegel, Druck der Holzstiche und Strichätzungen im Atelier Steinmetz, Druck der Holzschnitte vom Künstler selbst. Herausgegeben im Februar 1975 von der Edition der Galerie Heiner Friedrich in München. Die Graphiken im einzelnen: Umschlag: Zwei Holzschnitte. Jeweils 71 : 51 cm. Blau/Schwarz auf Finnenpappe. Blatt 1: Ohne Titel 1974. Radierung, Aquatinta und Kaltnadel, Blau auf Similijapan, Plattenformat 13,7 : 10,1 cm, auf Rives Bütten im Format 70 : 50 cm aufgewalzt. Blatt 2: Ohne Titel 1974. Radierung, Ätzung auf Kupfer, Blau auf Similijapan, Plattenformat 33 : 24,6 cm, auf Rives Bütten im Format 70 : 50 cm aufgewalzt. Blatt 3: Ohne Titel 1974. Radierung und Kaltnadel auf Kupfer, Blau auf Similijapan, Plattenformat 18,6 : 13,5,1 cm, auf Rives Bütten im Format 70 : 50 cm aufgewalzt. Blatt 4: Ohne Titel 1974. Radierung und Kaltnadel auf Kupfer, Blau auf Similijapan, Plattenformat 33 : 24,8 cm, auf Rives Bütten im Format 70 : 50 cm aufgewalzt. Blatt 5: Ohne Titel 1974. Holzstich und Strichätzung. Blau/Schwarz auf Similijapan, Papierformat 28,4 : 18,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 6: Ohne Titel 1974. Holzschnitt und Fingermalerei, Blau/Rot auf Similijapan, Papierformat 28,4 : 18,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 7: Ohne Titel 1974. Holzstich und Strichätzung. Blau/Schwarz auf Ingres, Papierformat 28,4 : 18,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 8: Ohne Titel 1974. Holzschnitt und Fingermalerei, Blau auf Similijapan, Papierformat 28,4 : 18,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 9: Ohne Titel 1974. Holzschnitt, übermalt, Blau, Rot und Schwarz auf Similijapan, Papierformat 28,5 : 18,6 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 10: Ohne Titel 1974. Holzstich und Strichätzung, Holzstich und Strichätzung, Blau/Schwarz auf Ingres, Papierformat 28,4 : 18,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. Blatt 11: Ohne Titel 1974. Holzschnitt, übermalt. Blau/Rot auf Umdruckpapier, Papierformat 45,7 : 35,5 cm, auf Fotokarton im Format 70 : 50 cm aufgelegt. EINBAND: Titelblatt und lose Graphiken in Orig.-Kartonmappe mit 2 weiteren Orig.-Holzschnitten in Blau. 71 : 51 cm. - ILLUSTRATION: Folge von 11 signierten Orig.-Graphiken. - PROVENIENZ: Privatsammlung Berlin. LITERATUR: Jahn 170-181. - Gohr 188. - Franzke S. 262. - Baselitz-Katalog Kestner-Ges 1987, S. 236. - One of the important series from the artist's earlier work. 1 of 30 copies, completely scarce. - Series of 11 signed orig. prints. - The photo boards somewhat browned and with light margins, 1 board with 4 small brown spots, some minor traces of mounting on verso; cover edges somewhat rubbed. Altogether very nice and well preserved set, the prints in fresh colors and clean. - From a private Berlin collection. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.
Delivered new to The Earl of Sefton, this stunning R-Type is bodied by E.D. Abbott of Farnham, Surrey in 'Continental' style. Only a handful of such were constructed, and offer stunning styling for a fraction of the cost of the celebrated Fastback Continental.In June 1952, Bentley’s new R-Type was presented to the public and it owed its name to the fact that the VI Series had, by this time, reached the chassis letter ‘R’. The new model continued to utilise the MkVI’s independent front suspension, hydraulic front brakes and six-cylinder, 'F-head' power unit, by now extended to 4,566cc. The standard R-Type was a lively performer, achieving 106mph in silence and reached 50mph from standstill in 10 seconds, despite a curb weight approaching two tonnes.As usual, the R-Type could be ordered in chassis form for bodying by specialist coachbuilders and this manual transmission example was the work of E.D. Abbott of Farnham, Surrey. The stylish, streamlined Continental-style fastback coupé coachwork, designed by Abbott's stylist Peter Woodgate, had been intended for the superseded MkVI chassis and bore more than a passing resemblance to H J Mulliner's contemporary Bentley Continental. After two prototypes had been completed, Abbott bodied 14 'production' cars, that offered here being the first. Of the remaining 13, one was fitted with automatic transmission and one was built with left-hand drive.We understand that B393SP, was sold new to The Earl of Sefton bodied in ‘Continental’ style by Abbott, as a two-door coupé in Ascot Grey.OYE 700 is accompanied by a fascinating history file which contains a list of previous owners which confirm that the car’s first owner was indeed the Rt. Hon. Earl of Sefton at Croxteth Hall. In 1968 it became the property of Richard Clover from Worcester and ten years later, it was registered to the Midland Record Company (Peter John Riley). Jeremy Pemberton of Yellowhammer PLC. acquired the Bentley in 1990 before selling it in 2004 to specialists dealers Frank Dale and Stepsons who, according to invoices in the file, carried out quite a lot of work on the car. A Michael Percival is listed as owning the car in 2004 with Eric Adkins in 2005 prior to Mr and Mrs Silverstone also in 2005. The famous car-collecting dentist, Dr James Hull added it to his Collection in late 2009 and, naturally, it moved to our vendor’s significant Collection around 2012 when Dr Hull sold everything.There are a number of older invoices with the car and it appears that by 1985, whilst in Peter Riley’s custodianship, the Bentley was looking a little sad. A.B.Price, Automobile Engineers of Studley provided an ‘Estimate’ dated 4th February 1985 for “Totally stripping coachwork, rebuilding corroded and damaged panelwork, re-cellulosing the car, replacing wood frame in body structure, completely refitting the interior woodwork and reassembling all fittings etc”. The estimate totalled £14,338. Invoices over the next 18 months totalling over £20,000 from A.B.Price detail the work completed and later invoices over the years from Frank Dale & Stepsons and Hillier Hill detail subsequent maintenance and repairs with the most recent one dated 8th October 2011 recording the odometer reading of 50,572 miles.The history file also contains a number of old V5s, a dozen older MOTs, lots of correspondence, the original ‘buff’ logbook, its R Type Bentley Handbook, an article by Bill Medcalf entitled 'R-Type Continentals' and a booklet called ‘Twenty Years of Crewe Bentleys’ . Additionally there is also a letter from Bentley confirming that they would like OYE 700 to be displayed at the factory as part of ‘The Bentley Experience’.The current indicated mileage is 50,893 meaning that the car has only covered just over 300 miles in the last dozen years, however, having been in two prominent collections this is not surprising. It has been looked after undoubtedly, and presents supremely with gleaming paintwork and a gently patinated interior with beige leather, excellent veneers and an unmarked Mulliner headlining. The engine bay is very tidy however as the car hasn't been used for a number of years. Some level of recommissioning is to be expected.This was the first of the Abbott-bodied cars and one can only imagine the sort of attention the 'swoopy' Continental bodywork would have generated back in 1954, matched only by the sort of admiration it would garner in 2023. We encourage you to view this remarkable piece of automotive art in the metal and appreciate the sheer quality on offer. SpecificationMake: BENTLEYModel: R-TYPEYear: 1954Chassis Number: B393SPRegistration Number: OYE 700Transmission: ManualEngine Number: B446SDrive Side: Right-hand DriveMake: RHDInterior Colour: BeigeClick here for more details and images
(Local Interest) Six Artworks to Include: Myrtle J. Barter - 'Struggling', ink on paper; Beatriz Aurora (Chile, Contemporary), limited edition print of cat, signed, titled and numbered 78/100 below, 61 x 43 cm; A. R. Pearson - Cromford, Derbyshire, oil on board, signed lower right; June Pearson, three embroideries - June Pearson and Myrtle Barter were both associated with Gloucester Art College (6)
Agriculture.- Mathews (James) Remarks on the cause of the Scarcity and Dearness of Cattle, Swine, Cheese, &c. &c. and of the Articles Tallow Candles, and Soap..., light spotting and soiling at beginning, ink ownership inscription "3/6 S.Pole Esq." to front pastedown, original boards, uncut, ink manuscript notes to upper cover, rebacked, [Goldsmiths' 17602; Kress B.3926], 1799 § Maxwell (Robert) The Practical Husbandman..., first collected edition, with author's signature "to prevent pyrating" to verso of title, folding engraved plate with explanatory leaf of text at end, contemporary speckled calf, gilt, red roan label, [Goldsmiths' 9224; Perkins 1173; Not in Kress], Edinburgh, C.Wright & Co., for the author, 1757 § Trusler (Dr. John) Practical Husbandry, or, the Art of Farming, with a Certainty of Gain..., fourth edition, ex-library copy with stamp to verso of title, near contemporary calf, [Goldsmiths' 17579], for the author, 1799 § Brown (Robert) Treatise on Rural Affairs..., 2 vol., first separate edition, half-titles, 6 engraved plates, light spotting and browning, bookplate of Ernest Ridley Debenham, contemporary tree calf, [Goldsmiths' 20230; Perkins 240], Edinburgh, 1811, all rubbed; and 3 others, agriculture, 8vo & 4to (8)⁂ The first is an interesting study of everyday prices by a market trader/butcher of long standing. While most studies of inflation/prices focus on corn prices (for obvious reasons), James Mathews draws on his much wider experience where "High Street" prices for every day purchases are real challenges for the poor. This is a reissue of the work first published in 1797 with a cancel title-page; both editions are scarce.
NO RESERVE Textiles.- Berthollet (Claude Louis) Essay on the New Method of Bleaching, translated by Robert Kerr, second edition in English, lacking half-title (supplied in facsimile), with folding engraved plate of apparatus, one or two leaves with hole to pagination, old ink inscription "From the Trustees Office..." with recipient's name crossed out on front free endpaper, contemporary sprinkled calf, rubbed, rebacked preserving old roan label, [Duveen 74], Edinburgh, William Creech, 1791; Elements of the Art of Dyeing, translated by Andrew Ure, 2 vol., second edition in English, lacking half-titles, 9 folding engraved plates on machinery, contemporary half calf, rubbed, upper joint of vol.1 split, spines and corners repaired, [Duveen 74], 1824, 12mo & 8vo (3)
A VERY RARE DOUCAI 'CHRYSANTHEMUM' MEDALLION BOWLYongzheng six-character mark and of the period The finely-potted bowl with gently rounded sides rising from a short straight foot, meticulously painted with underglaze blue outlines and overglaze enamels on the exterior with five medallions containing multi-coloured scrolling chrysanthemums, surrounded by tricorn scrolling floral motifs. 11.8cm (4 1/2in) diam.Footnotes:清雍正 鬪彩團菊紋碗 青花「大清雍正年製」楷書款 Provenance: Hans F. Goldstein (1915-1985), and thence by descent來源：Hans F. Goldstein(1915-1985)舊藏，並由後人保存迄今This lot and those offered at Bonhams London in May 2023 form the remaining collection of H. F. Goldstein, an earlier part of which was sold at Bonhams Hong Kong and London in 2015-2016. Hans Goldstein's work during the 1950s took him to all parts of the Far East and this in turn stimulated his interest in Oriental art and in particular Chinese porcelain. His collection developed gradually and initially concentrated on inside-painted snuff bottles. As he became more knowledgeable, he began to collect blue and white porcelain and other Chinese ceramics and works of art. He came to London in the mid-1960s and continued to collect by regularly visiting art dealers and the main auction houses in London.Meticulously decorated with roundels of chrysanthemum flowers separated by lotus sprays, the present bowl is a testament to the Yongzheng emperor's penchant for classic styles of the past. In this instance, the design and colour scheme are based on a Ming dynasty prototype dating to the Chenghua period, which was adapted and reinterpreted in accordance to contemporary taste. See a doucai bowl excavated from the Ming Imperial kilns at Jingdezhen, included in the exhibition A Legacy of Chenghua, The Tsui Museum of Art, Hong Kong, 1993, no.C119. Chenghua polychrome porcelain provided much inspiration to the potters active at the Imperial kilns during the Yongzheng period as these early wares were particularly treasured by the emperor. An official record dated to 1732 lists 57 porcelain designs that were to be produced by the Imperial kilns and mentions Chenghua polychrome porcelain among the most admired wares of the past. While masterpieces of the past were at times sent to Jingdezhen and used as models for direct copying, the most successful Yongzheng wares are contemporary interpretations of classic designs. The present lot is such a creation: chrysanthemum roundels are known on Chenghua porcelain but the addition of the aubergine enamels to highlight some of the petals is characteristic of the Qing period. Compare with a pair of similar doucai bowls, Yongzheng marks and of the period, illustrated in Chinese Porcelain: The S.C.Ko Tianminlou Collection: Part I, Hong Kong, 1987, no.100, and a similar doucai bowl, Yongzheng mark and period, in the Palace Museum, Beijing, illustrated by Beauty of Ceramics: Gems of Doucai, vol.6, Taipei, 1993, pl.102.See three similar doucai 'chrysanthemum' medallion bowls, Yongzheng six-character marks and of the period, which were sold at Sotheby's Hong Kong, 29 April 2022, lot 3515, Sotheby's London, 6 November 2016, lot 152 and Christie's Hong Kong, 28 May 2014, lot 3459.For further information on this lot please visit Bonhams.com
A FINE AND RARE CARVED CELADON-GLAZED 'PEONY' BOWLYongzheng seal mark and of the periodFinely carved in shallow relief with a continuous peony scroll below a narrow band of hooked ribbon scroll, the foot with key-fret and the interior with scrolling peonies around a central medallion with further peony spray, the interior rim with a band of key-fret, covered overall in a pale celadon glaze. 26.7cm (10 1/2in) diam. Footnotes:清雍正 青釉淺浮雕纏枝花卉紋碗青花「大清雍正年製」篆書款Provenance: Sotheby's Hong Kong, 29 November 1976, lot 528A European private collection來源：香港蘇富比，1976年11月29日，拍品編號528歐洲私人收藏Remarkable for their impeccable quality of the glaze, elegant shapes and refined bodies; monochrome porcelains made in the Imperial kilns at Jingdezhen during the Yongzheng reign are ranked among the finest examples of Imperial wares made during the Qing dynasty. The Yongzheng emperor's enthusiasm for ancient art and innovation is clearly displayed by the present bowl. The elegant scrolling flower motif is reminiscent of early 15th century blue and white Imperial porcelain, while the glaze has been made to imitate the celebrated 'Longquan' celadon wares. By combining the two together, the potter has succeeded in creating a contemporary, elegant bowl suitable to the taste of its time. A smaller celadon-glazed bowl of this form and decoration, also with a Yongzheng reign mark and of the period, in the Palace Museum, Beijing, is illustrated in Qingdai yuyao ciqi, vol.1(II), Beijing, 2005, pl.106. See also a similar celadon glazed bowl, Yongzheng seal mark and period, illustrated by R.Krahl, The Anthony de Rothschild Collection of Chinese Ceramics, London, vol.2, 1996, pp.258-259, no.144.A similar bowl, Yongzheng seal mark and of the period, was sold at Sotheby's Hong Kong, 8 April 2011, lot 3007. A related large celadon-glazed bowl with fruits, Yongzheng seal mark and of the period, was sold at Bonhams Hong Kong, 28 May 2019, lot 149.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
A collection of early to mid 20th century silver plated items, to include: trays, dishes, flat wares, long jump trophies, brass wares, early 20th century desk stands, door knockers, North African pots, wine coolers, hand bell, serving tray and contemporary 'Romney' plate fruit bowl (Sheffield), Art Deco
A contemporary Kris Heaton for Neo Art studio glass sculpture of organic ovoid form with three pulled prongs and a central aperture, decorated with mottled iridescent green amethyst and pink spots over a clear crystal ground, engraved signature, retains original paper label to base, height 21cm, together with a similar smaller example by the same hand. (2)
Michael Bigger (American, 1938-2011). Polychrome bronze and glass sculpture titled "Maquette Form #4," depicting a green-blue painted abstract form, 1988. Initialed and dated along the bottom edge of the glass.Bigger's commissions are represented in collections across the United States and Canada. His sculptures have been shown in many galleries and museums including the Whitney Museum of American Art, New York; Muse Gallery, San Antonio; Flanders Contemporary Art, Minneapolis and at Chicago's Navy Pier international Art Exposition.Provenance: from the collection of an important Minnesota institution.Height: 11 in x width: 14 1/2 in x depth: 8 in.Condition: There are no major losses, dents, cracks, or restorations. There are a few small chips along the lower edge of the glass, consistent with display and age. Light dust and dirt collected in the recessed areas of the work. Light wear along the underside with some signs of minor paint losses and rubbing, consistent with age and display.
Jeff Millikan (American, b. 1952). Group of two cibachrome photographs from the artist's "Fish Dream" series, 1984. One titled "Looking For Bing #30" and one untitled and numbered #23 in the series.Provenance: Distinguished corporate collection, Minnesota.Millikan has had numerous solo exhibitions at institutions including the Minneapolis Institute of Arts, the Walker Art Center, the Minnesota Center for Book Arts, the Museum of Contemporary Photography in Chicago and the Lawrence Miller Gallery in New York City. For the past 35 years he has taught at the University of Minnesota as an adjunct professor in the Art department.Fish Dream #30; sight: 15 in x width: 21 1/2 in. Framed; height: 21 1/2 in x width: 28 1/2 in. Fish Dream #23; sight: 14 1/2 in x width: 21 1/2 in. Framed; height: 24 in x width: 30 in.Condition: Both photographs appear to be in good condition. The emulsion appears smooth. There are no visible tears, creases, or restorations. The colors are bold and bright. #30 is framed under plexiglass; some light wear to the frame; not inspected out of frame. #23 is framed under glass; some light wear and scratches to the metal frame; not inspected out of frame.
George Henry RA RSA RSW (British, 1858-1943)Rowans signed and dated 'George Henry/1895' (lower right)oil on canvas91.5 x 69cm (36 x 27 3/16in).Footnotes:ProvenanceThe property of Ms Bette MidlerExhibitedEdinburgh, Royal Scottish Academy, 1896, no. 327.The Glasgow Boys swiftly revolutionised Scottish painting and, in the process, provided a direct conduit between contemporary Continental advances and British Art. Theirs was an original, pioneering vision which did not resort to imitation or pastiche, and of the group George Henry was the most enigmatic figure. His early years were shrouded in mystery, and he studied in Glasgow before beginning to exhibit in the early 1880s. An early alliance with EA Hornel saw them working together in Kirkcudbright, much inspired by the rich seam of Galloway folklore.Rowans sees the mature Henry, not long back from Japan, recalling his collaborations with Hornel on such as The Druids - Bringing Home the Mistletoe (Glasgow Museums). The rich, warm colour emphasises the decorative appeal of the deliberately flattened perspective, while the cropped blue ellipses to the right edge are quite radical design components and call to mind the winding burn in his celebrated Galloway Landscape.The rowan tree is significant in Scottish folklore. Sometimes called the 'Traveller's Tree', it was thought to ensure one never became lost en route. Rowans were planted by doors or gates to ward off witches, while druids' staffs were also made from rowan wood.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
Alan Reynolds (1926-2014)Time and October Landscape, 1953signed and dated in pencil (upper left)ink, watercolour and gouache28 x 38cm. Provenance:James Huntington-Whiteley Modern & Contemporary Art;The collection of Margaret Bailey.The left edge of the paper is rough as shown in the image. No damage or rips to the paper. Colours appear vibrant and bright. Gallery framed and glazed.
TAI XIANGZHOU (b.1968)Cosmos Worlds 1 and 2, 2014Two paintings, ink on paper, each framed. 45cm high x 75cm wide (17 3/4in high x 29 1/2in wide). (2).Footnotes:泰祥洲(1968年生) 天象世界1和2 水墨紙本 鏡框 2014年作Born in 1968 to a scholarly family in the provincial capital of Yinchuan, Ningxia, in north-central China, Tai began his training in Chinese calligraphy at the young age of four. After studying interactive design in Auckland, New Zealand, he led successful careers in digital media and conservation, founding the cultural magazine 'Chinese Heritage'. In 2003, his encounter with the painter Liu Dan pushed him to further explore the techniques of traditional Song and Yuan dynasty paintings. By 2006, Tai had devoted himself to ink painting and had begun to investigate Chinese landscape paintings from the perspective of astrology. Under the mentorship of philosopher Bao Lin, he completed his PhD from Tsinghua University in 2012 with a dissertation entitled 'Phenomena of the Universe-The Concepts and Structure of Chinese Landscape Paintings.' This work was highly admired by renowned art historian Fang Wen, who recommended the book in the preface and recommended for publishing by the Zhonghua Book Company. Attending to the nature of the materials of painting, Tai has researched traditional papermaking techniques and now paints exclusively on paper and silk produced by tenth-century methods. He also only uses ink from the Qianlong era (1736-1795), which is considered to be one of the highest-quality inks. In addition to painting, Tai in 2010 created an interactive and multimedia installation based on classical Chinese cosmology, 'The Gateway of Expedient Means', modelled on medieval revolving repositories of Buddhist sutras and constructed in wood using traditional mortise-and-tenon joinery. He currently lives and works in Beijing. Tai Xiangzhou's works are in the Art Institute of Chicago; the Arthur M.Sackler Museum, Harvard University; the Asian Art Museum of San Francisco; the Brooklyn Museum; Princeton University Art Museum; and Yale University Art Gallery.For related paintings by Tai Xiangzhou, see Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang, Stanford, 2018, pp.44-45.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.For further information on this lot please visit Bonhams.com
LI XUBAI (b.1940)Lush Mountain in Smoky Clouds, 2015Ink and pigment on xuan paper. 178cm long x 97cm wide (70in long x 38 1/4in wide).Footnotes:李虛白（1940年生） 雲煙翠嶂 水墨設色紙本 立軸 2015年作Li Xubai was born in Fuzhou, Fujian Province, 1940. He moved to Hong Kong in 1979, where he has been the editor of art magazines such as 'The World of Collectors' and 'Dragon Roots Art Magazine'. He moved again in 1996, but this time to Canada, where he now lives. Although he began his artistic career by teaching himself Western-style painting, he was interested in Chinese classical literature, poetry and landscape painting since the 1960s. His paintings are influenced by the Song masters of the 12th century, but he maintains his connection with the contemporary world by creating a seemingly flat pictorial space and a pixilated effect that reminds one of digital media. By choosing to paint in a classically derived style, Li Xubai asserts his cultural identity while working in a foreign land. The poems he inscribes on his paintings in traditional literati fashion usually mention his foreign residence, echoing numerous inscriptions by painterly predecessors who wistfully invoked their own political exile. In the present lot for example, Li wrote in the Song dynasty lyric-metre-style. According to the inscription, this painting and the poem were made in Canada at his home.Li's works have been exhibited widely, including at the University Museum and Art Gallery at the University of Hong Kong, Saatchi Gallery in London, and the He Xiangning Art Museum in Shenzhen.Compare with a related painting by Li Xubai, which was sold at Christie's Hong Kong, 29 May 2022, lot 1010.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.For further information on this lot please visit Bonhams.com
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