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Lot 267B
A Lot of antique and vintage art glass to include an antique Bohemian facet cut paperweight, Antique heavy glass sphere table lamp, Art Deco Czech frosted glass dove bookends, Various JOY De Jean Patou perfume bottles, Vaseline glass vase, Lepanto Gonzalez Byass Brandy 1970s decanter, Owl paperweight and old clear glass vase.
Lot 137
Late 19th century Venetian glass Chatelaine scent bottle, 19th century Continental cranberry glass scent bottle with gilt metal cage work body and lid with internal glass stopper, silver overlay shaped scent bottle with screw top crown moulded lid, Victorian blue glass scent bottle with gilded decoration, ruby flash cut scent bottle and another with blue striped glass body (6) Condition Report Click here for further images, condition, auction times & delivery costs
Lot 140
Collection of early 20th century and later scent bottles and atomizers incl. a gilt metal cage work scent bottle, Caithness atomizer, Bohemian cut glass bottle with elongated stopper, two Dutch porcelain figural bottles and others (20) Condition Report Click here for further images, condition, auction times & delivery costs
Lot 99
Caverswall urn shaped vase and cover hand painted with floral sprays, two miniature Spode cups and saucers, Hummel figure, cut glass goblets and tumblers, small Leedsware box and cover, commemorative ware, late Victorian silver bookmark modelled as a sword and miscellanea in three boxes Condition Report Click here for further images, condition, auction times & delivery costs
Lot 32
Monir Farmanfarmaian (Iran, 1924-2019)The Magnified Sacred mirror and reverse-glass painting on woodexecuted in 2004diameter: 100cmFootnotes:A MAJOR MIRROR-WORK BY MONIR FARMANFARMAIAN FROM THE GEOMETRIC INSTALLATIONS SERIES'The harmonious division of a circle is a symbolic way of expressing the Tawhid, the Divine Unity as the source and culmination of all diversity'- Monir Farmanfarmaian, Mosaics of Mirrors 'This nonagon [The Magnified Sacred] represents the nine elements of the body: brain, bones, nerves, veins, blood, flesh, skin, nails and hair'- Monir Farmanfarmaian'For her 2006 exhibition in Tehran, Monir has conceived installations of large panels in different colours - with [the red nonagon] in a traditional color of passion and fire. The panels symbolize every aspect of the universe and characterize the timeless and infinite quality o Islamic geometric concepts'- Rose Issa Provenance:Property from a distinguished private collection, LebanonAcquire directly by the above from Rose Issa Projects, 2006Literature:London, Rose Issa Projects, Monir Shahroudy Farmanfarmaian: Mosaics Of Mirror, 2006, illustrated on page 38Exhibited:Monir Farmanfarmaian, Major Retrospective, Niavaran Cultural Centre, Tehran, 2006Monir Farmanfarmaian, Mosaics of Mirror, 2006, Rose Issa Gallery, LondonRadiant, enigmatic and complex, 'The Magnified Sacred' is one of the finest, and perhaps most technically intricate examples of Monir Farmanfarmaian's iconic mirror-work to come to market. Exhibited as part of an enormous series of 'Geometric Installations' executed between 2003-5 and exhibited at her major retrospective in Niavaran Palace Tehran in 2006, The Magnified Sacred is from one of Farmanfarmaian's most ambitious bodies of workMarrying craft, geometry and spiritual symbolism, Monir's composition extracts the centuries old Iranian tradition of mirrored paneling from its architectural setting, elevating it to an art form in its own right. Informed by a deep understanding of numerology and symbolism, Monir's work sheds light on the significance of shapes and signs within the typology of classical Islamic art, in an aesthetic framework that is captivating and intricate. Large in scale, sculptural in presence, and exhibiting an endless array of reflective variations, The Magnified Sacred is one of the most tightly composed and intricate examples of Monir's work.The shapes and patterns which Monir' employs in her compositions are clearly and intentionally derived from the geometric and numerological formulae present in Islamic and Iranian architecture. Whilst decoratively complex, the use of geometric patterns and tessellations points to a far deeper conceptual agenda, 'the proliferation of arabesque abstract decoration enhances a quality that could only be attributed to God, namely, His irrational infinity,' scholar Wijdan Ali observes in The Arab Contribution to Islamic Art (the American University in Cairo Press, 1999). 'The pattern of the arabesque, without a beginning or an end, portrays this sense of infinity, and is the best means to describe in art the doctrine of tawhid, or Divine Unity.'Exhibited and published in her major Monograph, The Magnified Sacred is a sublime example from an artist who has elevated her countries vernacular craft into a universal aesthetic, and in doing so, has become one of the most internationally acclaimed figures to emerge from Iran within the past century. Monir Farmanfarmian: A LifeBorn in Qazvin, Iran in 1924, Farmanfarmaian begun her studies at the Faculty of Fine Arts in Tehran before embarking to New York, where she attended Parson, The New School for Design and Cornell University, and worked as a fashion illustrator. It was in New York that Monir' mixed with the cities emerging cultural avant-garde, collaborating with artists such as Andy Warhol on illustrations for the Bonwit Teller department store. It was only after moving back to Tehran that Monir developed her signature style. Influenced by the arts and crafts of her native country, Farmanfarmaian fashioned an artform out of mirror-mosaic work drawing on traditional techniques of reverse-glass painting, inlaid carving, Islamic geometry, and architectural design. To create her reliefs and sculptures, Farmanfarmaian commissioned craftsmen to draft her early designs, then cut mirrors to fit the required shape, which were set in geometrical patterns, and mixed with plaster to produce new compositions into which the artist incorporated colored glass.Monir Farmanfarmaian received international acclaim in 1958, when she was presented a gold medal for her work in the Iranian Pavilion at the Venice Biennale, this was followed by exhibitions in Tehran, Paris and New York. She has recently become the focus of significant institutional interest, having held important exhibitions worldwide including the Gwangju Biennale, South Korea (2016); a major career retrospective at the Solomon R. Guggenheim Museum, New York, NY (2015) and at the Fundação Serralves–Museu de Arte Contemporânea, Porto, Portugal (2014).She is the subject of a substantial monograph, Monir Shahroudy Farmanfarmaian: Cosmic Geometry, edited by Hans Ulrich Obrist; and has authored an autobiography, A Mirror Garden (Knopf, 2007). Farmanfarmaian's work is placed in some of the most important institutions around the world, including: Solomon R. Guggenheim Museum, New York, NY; Tate Modern, London, U.K.; Museum of Fine Arts, Boston, MA; and Metropolitan Museum of Art, New York, NY.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 132
A group of Bohemian cut-glass for the Ottoman market 19th Centurycomprising three decanters, a bottle, six saucers, five beakers and a dish, each of clear glass decorated in polychrome and gilt with floral and folitate motifs the largest decanter 45.5 cm. high(16)This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 92
A pair of Bohemian opaline glass lamps depicting Nasr al-Din Shah Qajar (reg. 1848-1896) late 19th Centuryeach of blue glass with baluster supports on splayed feet with domed drip trays and flaring tops, with removable clear glass shades, the drip trays with pendant cut glass shards of varying sizes, decorated in polychrome enamels with floral and foliate designs, the shades with two transfer-printed portrait medallions depicting the Shah each 55 cm. high(2)For further information on this lot please visit Bonhams.com
Lot 269
Ceramics & glass - collectors plates including a Miners plate, Royal Albert, Spode etc.; an Aynsley Howard Spray vase; a Boston Tea Parties 1773 - 1774, Davis Newman & Co, teapot, milk jug and sugar bowl; other tea pots; a Minton Haddon Hall pattern cake stand; a Grimwades part tea service decorated with Herons & Flamingos; cut glass whisky tumblers etc. (2 boxes)
Lot 348
An Edwardian oak and brass bound three bottle tantalus and cigar box, the mirrored back tantalus containing three cut glass decanters and stoppers, fronted by a box with two hinged lids opening to reveal a fitted compartment, above a frieze drawer, on a plinth base, with key, 32cm H, 36cm W, 27cm D.
Lot 391
A Victorian cut glass and silver three piece condiment set, with holder, William Davenport, Birmingham 1876, together with a Edward VII silver mustard pot, with blue glass liner, Sheffield 1904, a George V silver salt with blue glass liner, Birmingham 1919, and a George VI pepperette, Birmingham 1938, 5.07oz weighable silver.
Lot 392
A George V silver and tortoiseshell hinged circular box and cover, with silver pique decoration, Birmingham 1913, 9cm Dia,, a cut glass and plique-a-jour enamel dressing table box and cover, set in white metal, 7cm Dia., and an Edward VII silver backed clothes brush, embossed with Art Nouveau flowers, Chester 1905. (3)
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