We found 596772 price guide item(s) matching your search
There are 596772 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
596772 item(s)/page
Lot 134
ANTHONY TROLLOPE: THE LAST CHRONICAL OF BARSET ill George H Thomas, London, Smith Elder, 1967 first edition, 2 vols, contemporary half calf, marble boards worn, morocco gilt spine labels, some greasy staining to the end + CAN YOU FORGIVE HER, London, Chapman & Hall 164, first edition, 2 vols, contemporary half carf, marble boards worn (4)
Lot 16
THE NIGERIAN TEACHER (LATER NIGERIA), volume 1, No 1, 1933 - No 17, 1939, bound in 4 volumes, numerous illustrations from photographs throughout, uniform decorative native leather binding, manuscript pencil note to first volume front free end paper "This set of Nigerian Teacher/Nigeria was probably bound in Sokoto goatskin by Musa Saccoh, a native of Sierra Leone and a third generation leather worker who moved to Lagos, Nigeria in the early 1930's and was employed by the CMS Bookshop, Lagos, the binding was probably carried out by him in 1938/39", together with another bound volume containing the same title, Nos 9-12, 1937, contemporary plain cloth gilt (5)
Lot 67
CHARLES A GOODRICH: A HISTORY OF THE UNITED STATES OF AMERICA ..., Hartford H F Sumner, 1833, contempory calf, v worn, top board near detached + ROY S BLOSS: PONY EXPRESS - THE GREAT GAMBLE, Berkeley, California, Howell-North 1959, original cloth, d/w + FREDERIC REMINGTON: FREDERICK REMINGTON'S OWN WEST, Ed Harold McCracken, New York, The Dial Press, 1960, original cloth, d/w + RICHARD MCLANATHAN: THE AMERICAN TRADITION IN THE ARTS, London, Studio Vista 1968, first edition, original cloth, d/w + Six others, North American interest (10)
Lot 68
PRIDEAUX JOHN SELBY: ILLUSTRATIONS OF BRITISH ORNITHOLOGY, Edinburgh W H Lizars, 1833, vol 2 Water Birds, contempary half calf worn + ARTHUR CLEVELAND BENT: LIFE HISTORIES OF NORTH AMERICAN GULLS AND TURNS, Washington Government Printing Office, 1921, modern cloth, ex-library + ELLIOTT COUES: HANDBOOK OF FIELD AND GENERAL ORNITHOLOGY... London, MacMillan 1890, original blind stamped cloth worn + LINDA GARDINER: RARE VANISHING AND LOST BRITISH BIRDS COMPILED FROM NOTES BY W H HUDSON, London and Toronto J M Dent, 1923, first edition, original cloth + four others, ornithology interest (8)
Lot 98
GEOFFREY WILLANS: 3 titles: DOWN WITH SKOOL, ill Ronald Searle, London, Max Parrish, 1953, 1st edition, original cloth gilt, dust wrapper; WHIZZ FOR ATOMMS, ill Ronald Searle, London, Max Parrish, 1956, 1st edition, original cloth, dust wrapper: MY UNCLE HARRY, ill Ronald Searle, (dust wrapper), London, Max Parrish, 1957, 1st edition, original cloth, dust wrapper + TIMOTHY SHY & RONALD SEARLE: THE TERROR OF ST TRINIANS, London, Max Parrish, 1952, probably 2nd or 3rd impression as something scratched out below "first published 1952" verso of title page, original cloth gilt, dust wrapper + RONALD SEARLE: THE RAKE'S PROGRESS, Earl Perpetua Books, 1955, 2nd impression before publication, 4to, original cloth gilt, dust wrapper (5)
Lot 1
NICK SMITH,INSTAGRAM PSYCOLOURGY 2021,Print on canson rag photographique 310 gsm,50cm x 50cm,From an edition of 317Glasgow born artist, Nick Smith produces striking versions of iconic artworks, with the exclusive use of colour swatches. Smith Graduated from Coventry University with a First Class Masters Degree in Product Design, facilitating his successful career in commercial interior design for 10 years, where his medium of custom colour swatches evolved. He breathes new life into each image; highlighting the vast complexities and subtleties of tone in each historic piece, whilst making a stark commentary on the unforgiving culture of modern digitalisation. Having had his first solo exhibition in 2015, Nick is continuing year-by-year to grow as an artist and wow us with beautifully matched colour chips to iconic artworks combined with well chosen, often provocative, words.Condition is very good overall. The picture comes with a certificate of authenticity.
Lot 11
CARTOONNEROS,KEITH HARING,Spray paint stencil on paper,32cm x 47cm,OriginalCartoonneros was born in 1980 in Buenos Aires City, Argentina. At the age of 5, his family moved to Ushuaia -the southernmost city in the world- where he developed his love for art. He spent the cold winters of this extreme of Patagonia climate (with temperatures below -20ºC) drawing and painting as he grew up. In this city, he got a degree in Fine Arts and made his first murals and street art interventions. In 2000, he returned to Buenos Aires City, where he continued painting while studying Psychology and Music (his other passions).
Lot 163
BILLY CONNOLLY,YO-YO MAN,Giclee on paper, signed and numbered,57cm x 77cm,Edition of 295It was on a rainy day in 2007 that Billy Connolly first put pen to paper. Taking refuge from the grey drizzle of Montreal, Canada, he entered an art shop with a twinkling curiosity and left with an armful of supplies and the urge to create. Back in his hotel room, his felt-tips and sketchbook formed a portal for his imagination, and over the next five years his drawings evolved into his debut fine art collection, Born On A Rainy Day, which launched in 2012. Billy's art has been likened to the cave paintings of the Aurignacian period (40,000-25,000 BC), which are characterised by their linear, one-dimensional approach. Charmingly simplistic, his faceless figures possess an extraordinary self-awareness and humanity. Devoid of emotion or expression, their anonymity opens them up to individual interpretation, creating a unique bond with the viewer.
Lot 165
MUL,$TAY LUCKY,Five colour hand pulled screenprint on Somerset paper and finished with UV and metallic inks, embossed, signed and marked AP,50cm x 50cm,Artist ProofBased in Newcastle upon Tyne Mul, AKA Alex Mulholland, is an artist, illustrator and graphic designer. Having studied Graphic Design at Northumbria University, Alex graduated with a First Class Honours specialising in Illustration and Typography. Currently working freelance, Alex has worked on a diverse range of projects for an ever growing list of clients.
Lot 167
CHRIS LEVINE,COMPASSION, 2016, Giclée Print, signed and dated, 43cm x 23cm,Edition of 500Chris Levine is a light artist who works across many mediums in pursuit of an expanded state of perception and awareness through image and form. Levine’s work considers light not just as a core aspect of art, but of human experience more widely and a spiritual, meditative and philosophical edge permeates his work. Levine is perhaps best known for producing what is already being described as one of the most iconic images of the twenty-first century, Lightness of Being. He has recently completed another historic portrait to commemorate the Dalai Lama’s 80th birthday. He is only the second artist to take a formal portrait of His Holiness, the previous being Annie Leibovitz.
Lot 185
STEN AND OLI,ANGRY CAN, mixed media in a wooden box, recycled spraycan, spray paint and magic sculpt, signed verso.15cm x 20cm,OriginalThe art that stenandoli is interested in and realizes, is a kind of fantasy world for everyone. True to the motto that nobody is too old for fairy tales. It all started with stencils, but it soon became clear that more could be done. Inspired by comics or animated films, the first creeps were created in the late 90s. They are painted using different kinds of techniques, because the last thing that stenandoli want is to be predictable and boring. They represent stenandoli’s look at society and the reflection of that on the feelings and thoughts of themself. Sometimes melancholy, peppered with a pinch of humor, sometimes colorful and sometimes naked. The small, but also large creations can now be found in over 30 cities around the globe, such as: London, Paris, Amsterdam, Rotterdam, New York, Barcelona, Berlin, Zurich, Lisbon, Sydney, Melbourne, Perth, Adelaide…
Lot 189
JOSH ROWELL,VF#17, 2021,Digital Print on Hahnemuhle paper with varnish overlay, signed,62cm x 80cm,Edition of 30Born in 1990 in Kent, England, Josh Rowell graduated from Kingston Art School in 2013, where he received a first class BFA with honours. Following a course in Art Criticism at Central Saint Martins college, Rowell returned to Kingston Art School for an MFA in 2015, where he was awarded a first- class distinction. His works have been exhibited in London, New York, Miami, Seattle, Basel, Hong Kong and Mexico and his works are part of public collections including the Uffizi Gallery in Florence, the Gregorian Foundation in Washington, London Kingston University's contemporary art collection, and the Matilda collection in San Miguel De Allende.Condition is good overall.
Lot 201
CALUM STEVENSON,FUN IN THE STREETS, Giclee print on 308gsm paper, signed, titled and numbered 1/1,42cm x 54cmCalum Stevenson (b. 1997, Falkirk, Scotland) graduated with a BA(Hons) in Fine Arts from Duncan of Jordanstone College of Art & Design in 2019. Stevenson went on to graduate from Glasgow School of Art with a MA in Fine Art Practice in 2020. In 2021, Stevenson became the youngest and first ever Scottish artist to win Sky Portrait Artist of the Year, a national televised competition. He was commissioned by the Scottish National Portrait Gallery to paint Nicola Benedetti, one of the most sought-after violinists of her generation. Stevenson’s work is now part of the permanent collection on display in Edinburgh. Stevenson’s work has been featured in numerous exhibitions and has been added to many private collections.
Lot 202
CALUM STEVENSON,NICOLA BENEDETTI PRELIMINARY DRAWING, Pencil on paper, signed and dated, 42cm x 30cm,OriginalCalum Stevenson (b. 1997, Falkirk, Scotland) graduated with a BA(Hons) in Fine Arts from Duncan of Jordanstone College of Art & Design in 2019. Stevenson went on to graduate from Glasgow School of Art with a MA in Fine Art Practice in 2020. In 2021, Stevenson became the youngest and first ever Scottish artist to win Sky Portrait Artist of the Year, a national televised competition. He was commissioned by the Scottish National Portrait Gallery to paint Nicola Benedetti, one of the most sought-after violinists of her generation. Stevenson’s work is now part of the permanent collection on display in Edinburgh. Stevenson’s work has been featured in numerous exhibitions and has been added to many private collections.
Lot 30
BACKGROUND BOB,Acrylic paint on cardboard,27.5cm x 37cm,Signed verso,OriginalLot includes a copy of the 2nd Background Bob book.Background Bob is the alter ego of 12 year old Noah. Described as a cheeky lad with cerebral palsy his background paintings have become hugely popular. Initially starting as a project during the first covid lockdown, the idea and the project took off. Noah would paint the backgrounds and artists would collaborate by painting on top. Soon capturing the imagination the result is that more than 200 artists took part.
Lot 32
SICKBOY,TOGETHERNESS,Acrylic and spray paint on anodised aluminium, signed verso,50cm x 70cm,OriginalSickboy is the name of a street artist from Bristol, UK, known for his temple logo and his 'Save the Youth' slogan. He moved to London in 2007 and his street art became prevalent particularly in the East End boroughs of Shoreditch and Tower Hamlets. It is claimed Sickboy was one of the first UK graffiti artists to use a logo instead of a 'tag'. Sickboy originally trained in fine art and, as well as painting graffiti on the street, he also paints on canvas and exhibits conventionally in art galleries. He has been painting street art since circa 1995.
Lot 63
Banksy Di Faced Tenner,Offset lithograph in colours on paper,14.4cm x 7.6cmStevie P, former Director of Pictures on Walls. (POW). The first ever Banksy piece acquired by the British Museum (in 2019). Back in 2004 he made a whole briefcase full, and Banksy made them rain at the Reading and Notting Hill festivals.Condition is great.
Lot 76
HIJACK,YOU'RE NEVER TO YOUNG TO DREAM BIG,Hand finished screenprint on paper, signed to front and stamped verso,46cm x 46cm,1 of 1Born and raised in Los Angeles, Hijack is a contemporary artist who combines fine art and street art to create visual commentaries inspired by social and political issues. His work ranges from one color stencils to large-scale murals executed with painstaking realism. The son of ‘Exit Through the Gift Shop’ star Mr. Brainwash, Hijack, grew up in a world surrounded and inspired by renowned street artists such as Invader, Banksy, and Shepard Fairey. He was able to observe first hand the creative processes of some of the world’s most prolific and successful street artists. He learned how to set up his own studio, how to approach a large-scale mural, and even how to stealthily--albeit illegally--put up stencil art.Condition is good overall
Lot 83
GOIN,THE MOONCHILD,2 Colours screenprint (Gold / Black) on Somerset satin white 300 g/m² paper, sgned and marked AP,18cm x 24cm,Artist ProofGoin has been a rebel calling out injustice since his first works in the late 90's. Rather than take his lead from newspaper headlines, he seizes on subjects he finds intolerable and transforms them in to images, with an eye for the best visual punch-line. In his work Moonchild he depicts a child wearing an astronauts helmet holding a flag that shows a heart surrounded by a planetary ring. I wonder if the child has just landed from another planet bringing us hope, or is it asking for help from outer space to leave this planet by waving a flag of surrender in a quest for love? Is the child representative for all those younger generations fighting for their future.
Lot 534
A substantial selection of British Royal Memorabilia: Included are four signed Christmas cards from HM Queen Elizabeth II and Prince Philip, each with gilt-embossed Royal ciphers and a photograph of the couple from 2016-2019, a piece of Diamond Wedding Anniversary cake in original presentation wraps, a boxed QEII ER Christmas 2016 silver plated holder, a boxed silver-plated Highgrove candle, a cased pair of cufflinks, bearing the ER monogram, a wedding cake sample box from the 1986 Royal wedding, boxed Dege Skinner Saville Row tie, box with ER monogram and dated 2nd June 2013, Queen Mother First Day Cover(1980) and assorted pin badges, cufflinks, Police badges ad other related souvenirs. All proceeds from the sale of these items are going to the Alzheimers Dementia Support (ADS) charity.
Lot 100
Teng-Hiok Chiu (Chou Ting-Hsu) (Chinese 1903-1972) Railroad Through Fields, 1926 signed and dated (lower left), oil on boardDimensions:24.5cm x 33cm (9 5/8in x 13in), unframedProvenance:It has been suggested that this work could be A Farm in Wiltshire, which was exhibited in the First Exhibition of the New Kingston Group in June 1930.
![§ Chana Orloff (Ukranian / French 1888-1968) Jeune Fille A La Natte [Young Girl With a Braid], 1951 signed and dated 'Ch. Orl](https://cdn.globalauctionplatform.com/84b3284f-8a63-4067-9f7a-af23009ac9df/2934e13b-6a18-4007-a019-af3b00b934f2/468x382.jpg)
Lot 119
§ Chana Orloff (Ukranian / French 1888-1968) Jeune Fille A La Natte [Young Girl With a Braid], 1951 signed and dated 'Ch. Orloff 51', 'Susse Fondeur Paris' foundry mark, patinated bronzeDimensions:45cm high, 27.5cm wide (17 3/4in high, 10 3/4in wide)Provenance:Provenance:Christie's, New York, Fine 20th-Century Decorative Art, 22 March 1986, Lot 54;Private Collection.Note: Literature:Felix Marcilhac, Chana Orloff, Paris, 1991, no.322. " At first I am attracted by the plastic decorative side, if you prefer, and the character... I would like my works to be as alive as life... " (Chana Orloff - E.des Courières in Chana Orloff, Editions of the NRF, Gallimard. 1927) Born in Ukraine in 1888, Chana Orloff settled in Paris in 1910 becoming a naturalised citizen in 1926. She was associated with the Fauves and Cubists early in her career, and was a greatly admired and successful member of the École de Paris artists during the 1920s and 1930s. Alongside the likes of Amedeo Modigliani, Pablo Picasso, Jean Cocteau and Marc Chagall, she exhibited regularly in all the major Salons and exhibitions in Paris. She worked in a wide variety of media, sculpting primarily genre subjects and portraits of which the present model is a graceful example.
Lot 32
Marcel Breuer (Hungarian 1902-1981) for Thonet 'B3' Club Chair, designed 1925-7 and 'B33' Side Chair tubular steel frames, slung with Tygan, 1930s productionDimensions:Club Chair: 75.5cm high, 74cm wide (29 3/4in high, 29in wide); Side Chair: 78.7cm high, 47cm wide (31in high, 18 1/2in wide)Provenance:Provenance:Collection of Zeev Aram, London since the 1960s.Note: “I thought that this out of all my work would bring me the most criticism. It is my most extreme work both in its outward appearance and in the use of materials; it is the least artistic, the most logical, the least ‘cosy’ and the most mechanical”. (Marcel Breuer) Marcel Breuer first developed the design for the ‘B3’ or ‘Wassily’ Chair in 1925, taking ‘the pipe dimensions…from my bicycle. I didn’t know where else to get it or how to figure it out’. Over a period Breuer developed the chair from the original version which connected the side legs in a sled or runner arrangement, to the later version where the uprights are connected in an uninterrupted design. By the 1930s Thonet modified Breuer's design without his permission, as they held copyright, by altering the frame at the front edge of the seat and adding a floor stretcher to stabilise the form.
Lot 341
§ Panamarenko (Belgian 1940- 2019) Champ Magnetique "A" (Magnetic Field "A"), 1988 signed and inscribed 'enig A van A tot J. Panamarenko' (on a label affixed to the underside), printed paper laid down on wooden board, polyurethane G4, aluminium, metal, four flat coils and electric cable on a metal standDimensions:127cm high x 66cm wide x 60cm deep (50in high x 26in wide x 25 5/8in deep)Provenance:Provenance: Galerie Isy Brachot, Paris;Gimpel Fils, London.Note: Exhibited:Gimpel Fils, London, Panamarenko, July - August 1993 (illustrated in catalogue);Gimpel Fils, London, Collectors Choice, 21 January - 4 March 2017. Literature: Theys, Hans, Panamarenko: A Book by Hans Theys, Brussels, 1992, no.102, p.107;Panamarenko, Galerie Isy Brachot, Paris, 1989, p.21 (illustrated); Henri van Herwegen, known by the name Panamarenko, became renowned as a painter, performance artist and sculptor whose fascination with science and technology led him to create aircraft and flying objects both semi-functional and fantastical. Martha Schwendener wrote ‘to understand Panamarenko’s work, you have to understand that lift off is only one of many possible measures of success.’ (Artforum review, December 2001) Born to a family of boat mechanics in Antwerp in 1940, Panamarenko studied at the city’s Royal Academy of Fine Arts from 1955 to 1960. He soon became interested in aeroplanes and human-powered flight and this was reflected in the name he chose which is purportedly an acronym for ‘Pan American Airlines and Company’. Projects stemmed from his first major work Das Flugzeug in 1967, to a Zepplin named The Aeromodeller (1969-71) and Archiaeopterix III (1990), a mechanical chicken intended to look like a pre-historic flying dinosaur. Champ Magnetique is part of a group of works that focuses on the kinetic force of a mechanical movement and magnetic forces, with the intention of animating the metallic disc, awaiting levitation, playing with ideas of spacecraft using electromagnetic energy. Panamarenko continued these ideas with a prototype for a seven metre in diameter flying saucer Bing of the Ferro Lusto X (1997). Designed to capture then recycle magnetic fluids, which in turn created sideways and upward movement, it offered the viewer the hypothetical knowledge of possible escape.
Lot 352
Jack Goldstein (Canadian 1945-2003) Untitled acrylic on canvasDimensions:213cm x 274cm (83 7/8in x 107 7/8in)Provenance:Provenance:Private Collection, London, since 1992.Note: Described by David Pagel in The Times as ‘a master at capturing some of the mystery that lurks just beneath reality’s surface’, Jack Goldstein remains one of the most prominent figures in conceptual art and was heralded for his role in the re-birth of painting in the late twentieth century. Born in Montreal in 1945, he relocated to California with his family as a child. Goldstein received his training at the Chouinard Art Institute and as a member of the inaugural class of the California Institute of Arts, worked under the celebrated conceptual artist John Baldessari. After initial conceptual performance works in the early 1970s, he became involved in the Pictures Group. Taking their name from their 1977 exhibition Pictures at New York’s Artists Space gallery, the group including well-known figures such as Cindy Sherman and Robert Longo, strove to re-establish the genre of painting, with shared themes such as an interest in representational imagery and references to mass media. During the exhibition critic Douglas Crimp described Goldstein as the most prominent and most paradigmatic appropriation artist. In direct reaction to this classification Goldstein decided to start painting, continuing this for the rest of his life to the extent that many remember Goldstein primarily as a painter, rather than for his other achievements as film-maker, performance artist, musician and photographer. With their psychedelic imagery and supernova like epicentres, the current works reflect Goldstein’s interest in documentary and archival painting developed as he sought to capture ‘the spectacular instant’ that had predominately been the domain of photography. Each painting is quiet yet explosive, instantly impactful yet pensive, distinctly contemporary yet unequivocally intertwined with history. Often struggling with the notions of experience and presence, he was one of the first artists who sought others to carry out the physical production of his work. This desire to remove himself from his practice perhaps echoes his nihilistic explorations of the emptiness and purpose of postmodern society via authorship and documentation. Critic Ronald Jones notably described Goldstein’s painting practice in 1987 explaining ‘Time and again he portrays the spectacular instant, its gorgeous effects: intimidating thunderstorms, majestic views of interstellar space, the staggering effects of computer imaging, the utter silence of night flying. Before his pictures it is natural to remember the vivid and poignant scenes of J.W.M. Turner and Frederic E. Church, or James McNeill Whistler’s Nocturne in Black and Gold: The Falling Rocket. It is natural, but rarely useful. Goldstein portrays the drama of split-second timing, the precipitous vision of the photograph and the video screen. It is his way to leave us without recourse to the narratives so necessary to the meaning of earlier art. Goldstein’s art suspends time and our gaze precisely at the point where origins and endings blur beyond recognition’ (R. Jones, Jack Goldstein: Recent Work, 1986-1987, New York, 1987, n.p.).
Lot 353
Jack Goldstein (Canadian 1945-2003) Untitled, 1988 signed, dated and inscribed 'A/C' (to reverse), acrylic on canvasDimensions:213.5cm x 243.5cm (84in x 95 7/8in)Provenance:Provenance:Private Collection, London, since 1992.Note: Described by David Pagel in The Times as ‘a master at capturing some of the mystery that lurks just beneath reality’s surface’, Jack Goldstein remains one of the most prominent figures in conceptual art and was heralded for his role in the re-birth of painting in the late twentieth century. Born in Montreal in 1945, he relocated to California with his family as a child. Goldstein received his training at the Chouinard Art Institute and as a member of the inaugural class of the California Institute of Arts, worked under the celebrated conceptual artist John Baldessari. After initial conceptual performance works in the early 1970s, he became involved in the Pictures Group. Taking their name from their 1977 exhibition Pictures at New York’s Artists Space gallery, the group including well-known figures such as Cindy Sherman and Robert Longo, strove to re-establish the genre of painting, with shared themes such as an interest in representational imagery and references to mass media. During the exhibition critic Douglas Crimp described Goldstein as the most prominent and most paradigmatic appropriation artist. In direct reaction to this classification Goldstein decided to start painting, continuing this for the rest of his life to the extent that many remember Goldstein primarily as a painter, rather than for his other achievements as film-maker, performance artist, musician and photographer. With their psychedelic imagery and supernova like epicentres, the current works reflect Goldstein’s interest in documentary and archival painting developed as he sought to capture ‘the spectacular instant’ that had predominately been the domain of photography. Each painting is quiet yet explosive, instantly impactful yet pensive, distinctly contemporary yet unequivocally intertwined with history. Often struggling with the notions of experience and presence, he was one of the first artists who sought others to carry out the physical production of his work. This desire to remove himself from his practice perhaps echoes his nihilistic explorations of the emptiness and purpose of postmodern society via authorship and documentation. Critic Ronald Jones notably described Goldstein’s painting practice in 1987 explaining ‘Time and again he portrays the spectacular instant, its gorgeous effects: intimidating thunderstorms, majestic views of interstellar space, the staggering effects of computer imaging, the utter silence of night flying. Before his pictures it is natural to remember the vivid and poignant scenes of J.W.M. Turner and Frederic E. Church, or James McNeill Whistler’s Nocturne in Black and Gold: The Falling Rocket. It is natural, but rarely useful. Goldstein portrays the drama of split-second timing, the precipitous vision of the photograph and the video screen. It is his way to leave us without recourse to the narratives so necessary to the meaning of earlier art. Goldstein’s art suspends time and our gaze precisely at the point where origins and endings blur beyond recognition’ (R. Jones, Jack Goldstein: Recent Work, 1986-1987, New York, 1987, n.p.).
Lot 41
Gerald Summers (British 1899-1967) for Makers of Simple Furniture NESTING TABLES, CIRCA 1935 birch plywoodDimensions:The largest: 44.5cm high, 61.4cm wide, 35.5cm deep (17 3/8in high, 24 1/4in wide, 14in deep)Provenance:Provenance: Purchased new by C. Handisyde Architect & author and thence by descent;Private Collection, U.K. where acquired by the current vendor.Cecil Handisyde (b.1908) was one of a team of architects who designed the Lansbury Estate in Tower Hamlets, London; a redevelopment project following the damage suffered during WWII. The first phase of building was undertaken as the 'live architecture' element of the 1951 Festival of Britain exhibition. Handisyde together with D. Rogers Stark were responsible for the design of the Trinity Congregational Church (now Methodist) on East India Dock Road. The church was a strikingly modern light and airy space designed to be versatile and also to continue its role as a community and social centre.
Lot 6
§ Bernard Cohen (British 1933-) Black Base, November 1958 signed, titled and dated (to reverse), emulsion on boardDimensions:122cm x 122cm (48in x 48in)Provenance:Provenance:Marden Hill House, Hertfordshire;Rowntree Clark Gallery, Norfolk.Note: Bernard Cohen, alongside his brother Harold (see lot 283), was part of an exciting generation of artists that emerged from London’s art schools in the late 1950s and early 1960s. Whether abstract (Cohen, Robyn Denny, Richard Smith) or loosely figurative (Hockney, R. B. Kitaj, Allen Jones) these original young British artists were linked by their love of all things American – seeing New York, not Paris (as previous generations had), as the centre of the art world. They had first seen the new American painting up close in 1956, when Abstract Expressionism formed a small but significant part of a Tate Gallery survey as part of 20th Century American art. Three years later, the Tate mounted another exhibition, although this time dominated by abstraction and the work of the New York School. This show, however, was less of a revelation for the likes of Cohen and more a confirmation, as in the intervening years – in works such as Blake Base – he had already created a language of gestural abstraction of his own. What they took, instead, was the ambition and scale of American painting – and in the 60s, Cohen’s work would become vast and more minimal, with Kasmin’s legendary gallery on Bond Street really the only place it could be shown. In 1957 Cohen received a Boise Traveling Scholarship and, together with the French Government Scholarship awarded to him in 1954, he was able to travel and work in France, Spain and Italy. Here he would have come into contact with tachisme – the French version of abstract expressionism, where the brushstroke – or tache – had been liberated from describing anything but itself, or a sense of movement or emotion. However, with his eyes on America, Cohen gives the heavy existentialism of tachisme an open, upbeat twist. Despite its title, Black Base is all about colour, as well as the weight of the paint itself (as the elements seem to hang vertically off the backing). It is a painting perfectly aligned to Clement Greenberg’s dictats – a painting that has no reference outside its own making - and yet in its colour, its informality, it does capture something of what would become Pop, the Technicolor world of 60s London, as it emerges from the black and white of the 50s.
Lot 84
Robert Polhill Bevan (British 1865-1925) Horse Dealers (Ward's Repository No.1), 1919 inscribed by another hand 'Ward's No. 1' (lower left), lithograph on paperDimensions:plate: 27.5cm x 38cm (10 3/4in x 15in); sheet: 44cm x 57cm (17 1/4in x 22 1/2in)Provenance:Provenance:Estate of the Artist and thence by descent to the present owner. Literature:Bevan, R.A., Robert Bevan 1865-1925: A Memoir by his Son, Studio Vista, London 1965, another example from the edition repr. b/w pl.62 (as 'Horse Dealers' and dated 1921);Dry, Graham, Robert Bevan 1865-1925: Catalogue Raisonné of the Lithographs and other Prints, The Curwen Press, London 1965, another example from the edition repr. b/w no.33 (as 'Horse Dealers (Ward's Repository No.1)' and dated 1919). Note: From an un-numbered edition of eighty plus three proofs. This work is also known as Ward's No.1. It is related to the oil painting Horse Dealers (Sale at Ward's Repository No.1) of 1918 which was purchased by Manchester Art Gallery in 1935 (acc.no.1935.157). Ward's Repository off the Edgward Road, London, was the first of the horse sale yards to close.
Lot 94
Harold Gilman (British 1876-1919) and Charles Ginner A.R.A. (British 1878-1952) Paintings and Drawings by Harold Gilman and Charles Ginner in the Collection of Edward Le Bas London: Fairfax Hall, 1965. First edition, one of 105 numbered sets only, comprising title-leaf with (limitation statement verso) and 36 mounted colour prints after paintings by Gilman or Ginner, all loose as issued in original green crushed half morocco portfolio, complete with accompanying text volume (4to, original green crushed quarter morocco, housed in recess to portfolio inside front cover)Dimensions:mount dimensions 55cm x 40.5cm (print dimensions vary)Provenance:Provenance:Robert Alexander and Natalie Bevan, Boxted House, Boxted, Essex.Note: Robert Bevan, Harold Gilman and Charles Ginner were all members of the Camden Town, London and Cumberland Market Groups active in London from 1911. The artist Edward Le Bas (1904-66) became financially independent after his father's death and from the late 1930s was an enthusiastic and generous collector. He became good friends wtih Ginner and was elected to the London Group himself in 1942. This portfolio celebrates the works he acquired by Gilman and Ginner, some of which were included in the exhibition A Painter's Collection, held at the Royal Academy of Arts, London in 1963.
Lot 312
A small wool carpet with an image of Princess Soraya, Iran, mid-20th century, of rectangular form, with fringing to edges, 64 x 54cm. Brought up between Europe and Persia, Princess Soraya was born on 22 June 1932 in Isfahan, hailing from an ancient aristocratic and nomadic family of central Persia. Having seen portrait photographs of Soraya, the Shah was captivated by her beauty and requested to meet her. She was first introduced to the Shah in October 1950 and shortly afterwards they were officialy engaged. During her married life, the Princess devoted her time to many charities. Sadly the marriage was overshadowed by a lack of children and thus the dynasty's future was at stake. Consequently the couple decided to part, although still very much in love and Soraya took leave of Iran in February 1958.Please refer to department for condition report
Lot 33
Three miscellaneous antiquitiesVarious PeriodsIncluding an Egyptian Middle Kingdom amethyst scarab, 19mm long; a Neo-Assyrian cream stone scaraboid, inscribed with a deity in profile, circa 7th Century B.C., and an Egyptian Late Period green glazed faience scarab, with delineated wing-case, pierced for attachment, 4.5cm long; and seven rings, tie-pins and cufflinks, including two cufflinks formed out of recumbent jackels, a modern scarab mounted in a tie-pin, a modern scarab mounted in a ring; a translucent stone ring with cursory inscription on the bar-shaped bezel and two other items (10)Provenance:The first three items, stone ring & carnelian bead: American private collection, Illinois, acquired in the 1970s-90s.All other items: English collection 1970s-1990s.Please refer to department for condition report
Lot 358
Sindhu Raga: Illustration to a Ragamala, Northern Deccan, circa 1700, opaque pigments and gold on paper, including wider red border, inscribed above with the Sanskrit text of a verse numbered 1 of Mesakarna’s Ragamala system, and the number 67 on the album page, 31.5 x 25.25cm. Sindhu raga is portrayed here as a violent battle between equal forces of both cavalry and foot-soldiers. On a green ground strewn with flowers in the Popular Mughal manner, extremely violent killings are recorded. Safely behind the horizon is a line of musicians beating drums and blowing trumpets, whose efforts are meant to encourage the fighters.This large now dispersed series with its mixture of Deccani and Rajasthani characteristics come from the northern Deccan but it is difficult to be more precise. Aurangabad, the Mughal headquarters in the Deccan during the assaults on Bijapur and Golconda, is often mentioned in this context as the source of such paintings, but the finest of the mid-seventeenth century sets have now been reclaimed for Mewar (Topsfield 2002, pp. 77, 91-92), while the later material seeming to come from there is more obviously Mughal in character. It seems best to regards this ragamala set as a provincial offshoot from this school of Aurangabad. The Sanskrit verses suggest Hindu patronage, perhaps even Maratha.The painting is from a much larger set of ragamala paintings according to Mesakarna’s system which makes Sindhu raga the first son (hence the number 1 in the inscription) of Sri raga, although the relevant verse is numbered 75. Ragamalas are sets of paintings that illustrate the descriptive verses that have become attached to the main musical modes of Indian music, conceived in the plains as consisting of six main ragas each with five raginis or wives. In the Ragamala sets in the Pahari tradition from the hills and in some sets from the Deccan we find instead a small number of 84 piece sets based on the system of Mesakarna that in addition to the six main ragas and their five wives gives each main raga eight sons. The situation can be complicated further in the Deccan by giving each son a wife of his own. Mesakarna in his text first gives each raga a personality and then describes the music in terms of the sounds of nature or of everyday household activities. According to Mesakarna, the iconography of Sindhu should show a warrior on a horse, here interpreted as a battle, while the sound of the raga is compared to that of a horse (Ebeling, p. 76).BibliographyEbeling, K., Ragamala Painting, Ravi Kumar, Basel, 1973Topsfield, A., Court Painting at Udaipur: Art under the Patronage of the Maharanas of Mewar, Artibus Asiae, Zurich, 2002Zebrowski, M., Deccani Painting, Sotheby Publications, University of California Press, London and Los Angeles, 1983Please refer to department for condition report
Lot 387
The Birth of a Jina, illustration from a Jain manuscript, North Western India, Gujarat, circa 1800-1825, opaque pigments on paper, divided into scenes, 28.6 by 18.7cm.Provenance: Simon Digby CollectionA page from a Jain manuscript showing the birth of a baby Jina. The golden Jina is seen here immediately following its birth. His mother lies on a couch, having been put into a magical sleep by Indra and Indrani. In the upper right register the baby Jina is dressed in a loin cloth by two midwives, whilst being showered with flower petals from an upper balcony. The Jain religion singles out five central events in the life of a Jina. The first event is the Jina's descent into the mother's womb. The next is the birth itself, depicted here in tis painting. The third is renunciation. Jinas are born as princes and raised in luxury, only to turn their backs on worldly wealth in search of spiritual treasures. After a long and arduous career as an ascetic the Jina at last achieves omniscience, the fourth great moment in his career. He spends his remaining years as a wandering monk, teaching the Jain doctrine everywhere he goes. When he knows that his death is near, he seeks out a mountain where he will practice his final meditation, eliminating forever the last traces of the karma that has kept his alive thus so far.Painting illustrating the auspicious events in the lives of the Jinas, based on the Adipurana or kalpasutra, were often done in sets. Two painting from this present series are known to us: one in the Los Angeles County Museum portrays Indra transporting a baby Jina on his elephant; the other, which is illustrated in P.Pal, The peaceful Liberators: Jain Art from India, Los Angeles 1995, no. 108 (colour plate p.50) depicts the lustration ceremony of the baby Jinas on Mount Meru.Please refer to department for condition report
Lot 393
A group of three Pahari school drawings, North India, late 18th century, pencil on paper, the first an unfinished standing portrait of a nobleman wearing a pearl earring, with black devanagari inscription above; the second a drawing of Krishna, Brahma with a sadhu and two visitors, possibly a scene from the Ramayana, mounted on a gold speckled folio; the third a finely drawn composition from the Ramayana of Durga attacking the demons, traced in pencil and red ink, 28.5 x 19cm. (3)Please refer to department for condition report
Lot 420
A miniature copy of the Bhagavat-Gita devotional text, featuring the ten Avatars of Vishnu with special emphasis on the life of Krishna, North India, probably Kashmir, 19th century, Sanskrit in Devanagari script, 222ff., plus six fly leaves, each folio with 5ll. of black script arranged between yellow and red rules, some phrases picked out in red, numerous illustrations , in modern black binding, folio 5.5 x 7.7cm. Provenance: Private UK CollectionThe Bhagavad Gita is a 700-verse Hindu scripture that is part of the epic Mahabharata (chapters 23–40 of book 6 of the Mahabharata called the Bhishma Parva), dated to the second half of the first millennium BCE and is typical of the Hindu synthesis. It is considered to be one of the holy scriptures for Hinduism.Please refer to department for condition report
Lot 434
Sikh Amlikar Rumal (embroidered square shawl) depicting Scenes from the Iskandernama or Book of Alexander the Great, Kashmir, after 1900, Pashmina embroidered with wool, 190 x 190 cm.This elaborately embroidered shawl replicates the famous shawl of Maharaja Gulab Singh (r.1846-57) from Jammu and Kashmir, which is dated 1852 (dates according to the Hindu vs1909 and Islamic calendars AH1268), and is now in the Government Museum and Art Gallery in Chandigarh. The present shawl consists of a deep border with depictions from the life of Iskander, starting with his birth, scenes from his life and finishing with his death. Each section is embroidered with an inscription explaining the scene. The central square around the medallion with inscription depicts Kay-Kavis and Kay Khusrau from the Shahnama. The embroiderer seems not to have been conversant with Persian script and some of the inscriptions are difficult to decipher.These embroidered shawls were introduced into the Kashmir shawl manufacturing process in the late 1820s, as a quicker means of producing a shawl and of avoiding the high taxes imposed on woven goods. Embroidered designs at first imitated woven ones but a new genre arose in about 1830 that incorporated new motifs with human figures and animals, often taken from Persian art and literature. These designs also appeared on Kashmir painted papier-mache furniture. The pictorial embroidered style was initially used to decorate sashes (patkas) and the edging of robes (chogas) but the most elaborate examples were those shawls illustrating themes from Persian mythology and literature as well as a small and important group embroidered with maps of Srinagar and Kashmir dating from the third quarter of 19th century. One such example was recently exhibited at the Victoria & Albert Museum in 'The Fabric of India' show (cat.79 pp.70-71). Ranjit Singh (1780-1839) had earlier commissioned a pair of shawls depicting his own victories which presumably was also embroidered and for which he paid an astronomical advance of 50,000 rupees. According to the traveller, G.T. Vigne, only one of these shawls was completed but this shawl does not appear to have survived.These embroidered pictorial shawls must have been exhibition or presentation pieces rather than shawls to wear. Bibliographyed Crill, R. 'The Fabric of India' Victoria & Albert Museum, 2016Crill, R., Indian Embroidery, 1999, nos 31, 32, 34ed Cohen S., Kashmir Shawls in the Tapi Collection, 2012, pp. 290-299ed Stronge, S., The Arts of the Sikh Kingdoms, 1990, pp. 128-129Please refer to department for condition report
Lot 51
Two black glazed pottery bowls, each on a raised ring base, the tondo decorated with impressed decoration, on the first with a central palmette, surrounded by interlinking palmettes, 18.4cm diam, 6.4cm high, the second with an arrangement of palmettes surrounded by boxes of Greek key pattern linked by swags, all encircled within bands of tooled strokes, 16.5cm diam, 6.5cm high, Magna Graecia, South Italy, circa mid 4th Century B.C. (2)Provenance:Private London collection formed between the 1980s-1990s.some surface wear
Lot 80
A group of 25 Antiquities and Islamic art catalogues and books from Christie's and Sotheby's, comprising of: The William F. Reilly Collection, Christie’s New York Auction Catalogue, Wednesday, 14 October 2009.; Greek, Etruscan and South Italian Vases from Castle Ashby, The property of the Marquess of Northampton, Christie’s London Auction Catalogue, Wednesday, 2 July 1980. ; Ancient Egyptian Glass and Faience from the ‘Pre-neb’ Collection, Part III, The property of A Swiss Private Collector, Christie’s London Auction Catalogue, Wednesday, 8 December 1993. ; Antiquities, Including property from the collection of the Princely House of Liechtenstein, Christie’s London Auction Catalogue, Wednesday, 30 April 2008. ; Antiquities, Including the Plesch Collection of Ancient Glass, Christie’s London Auction Catalogue, Tuesday, 28 April 2009.; Important Antiquities, Christie’s South Kensington Auction Catalogue, Wednesday, 20 October 1999.; Fine Antiquities, Christie’s London Auction Catalogue, Wednesday, 11 June 1997.; The Erlenmeyer Collection of Cretan Seals, Christie’s London Auction Catalogue, Monday, 5 June 1989.; Faces from the Ancient World: A European Private Collection, Christie’s London Auction Catalogue, Wednesday, 20 April 2005.; Fine Antiquities, The Properties of ‘The Earl of Shelburne, Westminster College, Cambridge A European Private Collector, A European Noblewoman, and from various other sources, Christie’s London Auction Catalogue, Wednesday, 5 July 1995. ; The Collection of the Late Henning Throne-Holst, Christie’s London Auction Catalogue, Wednesday, 8 June 1988.; The Erlenmeyer Collection of Ancient Near Eastern Stamp Seals and Amulets, The property of The ErlenmeyerStiftung, Christie’s London Auction Catalogue, Tuesday, 6 June 1989. ; Important Antiquities, Christie’s London Auction Catalogue, Wednesday, 21 April 1999.; Fine Antiquities, The property of MADAME ADDA SHEPPARD & COOPER LTD.; The property from The MARION SCHUSTER COLLECTION and from various sources. Christie’s London Auction Catalogue, Wednesday, 11 December 1996. ; Fine Antiquities, Christie’s London Auction Catalogue, Wednesday, 27 October 2004. ; The ‘Pre-Neb’ Collection (Part I), Highly Important Egyptian Antiquities, Christie’s London Auction Catalogue, Wednesday, 9 December 1992. ; The Northampton Sekhemka, Christie’s London Auction Catalogue, Thursday, 10 July 2014. ; P.H. Newby, Warrior Pharaohs: The Rise and Fall of the Egyptian Empire, First published in 1980 by Guild Publishing.; Modern British and Irish Painting, Watercolours and Drawings, Christie’s London Auction Catalogue, Friday, 5 June 1992. The Property of Odette Gilbert Gallery Ltd., Oxmantown Settlement Trust Alwyne Rickerd, and from various others.; Arts of Islamic World, Sotheby’s London Auction. 22 April 2015.; Sherif El-Sabban, Temple Festival Calendars of Ancient Egypt, Liverpool University Press, 2000. Peter Levi, Atlas of the Greek World.; H. B. Walters, O.B.E., M.A., F.S.A.CORPVS VASORVM ANTIQVORVM, British Museum: Department of Greek and Roman Antiquities, 1927.; H. B. Walters, O.B.E., M.A., F.S.A.CORPVS VASORVM ANTIQVORVM, British Museum: Department of Greek and Roman Antiquities, 1926.; Gordon Childe, What Happened in History.; Joan Grant, Winged Pharaoh: An absorbing, thrilling novel of Ancient Egypt, Publication: A Four-Square Novel. (25)Please refer to department for condition report
Lot 84
A very rare early illustration to a mid-13th century obscene poem, Bukhara, Iran, late 16th century, ink and opaque pigments heightened with gold, depicting lovers including a figure in a distinctive black hat, in various coupling positions in a brightly coloured and patterned tile interior, with 2 lines of Persian nasta'liq above and below within cloudbands on a gold ground, and diagonal line of the same above and below, outer border decorated in gold with animals on a floral ground, signature top left, mounted, glazed and framed, painting 26.5 x 17cm. Provenance: Estate of costume designer Anthony Powell (1935-2021)Ostensibly, this single folio was part of a manuscript of the collected works (Kulliyāt) of the renowned Persian poet and mystic, Saʿdī of Shiraz (d. 1292 CE). The painting is partially framed by five couplets that belong to a short narrative poem (masnavī) that is found in the little-studied and unpublished collection of Saʿdī’s obscene works (khabīsāt), which are featured prominently in the earliest manuscripts of the Kulliyāt (see D. Ingenito, Beholding Beauty: Saʿdi of Shiraz and the Aesthetics of Desire in Medieval Persian Poetry). The poem, which comprises seventy couplets, recounts the story of a handsome young man who marries an uncomely and ill-mannered woman. Upon experiencing an erotic fiasco during their first night together, the young man begs his father-in-law to allow him to divorce his wife. The father rejects this request by telling the young man that he would have to spend time in jail in order to pay back his daughter’s dowry. After thinking at length about his miserable condition, the young husband resorts to the uncanny expedient of seducing and sexually subjugating his wife’s entire family and entourage, without discriminating between women and men of any age. Being the only family member who has not been assaulted by the young man, the father consents to the divorce of the couple with no further hesitation. The five couplets quoted in this folio pertain to the central part of the poem, which offers a detailed description of the orgiastic spree undertaken by the young man. As is often the case with Saʿdī’s obscene works, in these lines, explicit descriptions of sexual acts are juxtaposed with delicate similes and metaphors that are drawn from the poet’s inimitable lyric styleThe combination of high and low poetic registers in Saʿdī’s ludic narration in verse is reflected in the stylistic elegance with which the painting portrays scenes of sexual disinhibition. In fact, in this folio (if one takes into account the contents of the entire poem), the visual and literary texts simultaneously stage the lewd and the alluring dimensions of eroticism: intimate body parts are covered and uncovered by fine garments, while mechanical forms of sexual penetration reveal seductive tensions between bodies enraptured by desire. The decorative aspect of pieces of clothing, rugs, curtains, along with the delicate rotation of different limbs, seems to mimic the rhetorical embellishments with which Saʿdī’s lines describe multiple forms of vaginal and anal intercourse. Whereas the poem, line by line, offers a list of the young man’s sexual encounters with the members of his wife’s family in chronological order, the painting portrays all of them simultaneously. The orgiastic aesthetics of the visual representation does not allow onlookers to recognize specific details found in the poem (apart from a candle held by a young man on the bottom right). The young husband, as a serial penetrator, occupies a different timeframe in each section of the painting. While his physical features appear to be always the same, different erotic settings are distinguished by different garments. At the center of the painting, as a bizarre variation of the erotic scenes, the young husband appears to have a darker skin color. Moreover, instead of having sex with a beardless male or female youth, the darker boy seems to be penetrating a bearded man. A man with similar facial features and hair appears on the top right of the painting. One could assume that this adult male is the visual depiction of the young man’s father-in-law who, in the versified plot, fears the sexual intentions of his daughter’s husband after having been made aware of the erotic tumult he has brought to his family.Stylistic features of this painting suggest that it was produced in Shiraz between the 1560s and the 1570s CE (see, for instance, a Gulistān copied in Shiraz in 1575). Visual representations of Saʿdī’s bawdy verses (and, in general, of obscene poetry) are extremely rare before the 17th century. Nonetheless, a manuscript of Saʿdī’s Kulliyāt copied in Shiraz in 1566 (British Library, Add. 24944) presents a painting that is strikingly similar to this one [reproduced by Boone, see attachment] and illustrates exactly the same erotic masnavī. Even though both Lâle Uluç and Joseph Allen Boone misread Saʿdī’s poem as a text on “lovemaking techniques” and its visual representation found in Add. 24944 (f. 333) as a “brothel scene,” these documents attest to the existence of a Saʿdī-centric tradition of erotic iconography that developed in Shiraz during the second half of the 16th centuryWith special thanks for this cataloguing to Domenico Ingenito, Associate Professor of Persian Literature, University of California, Los AngelesFolio stuck down
Lot 125
Two Mamluk book bindings, Egypt or Syria, 14th-15th century, each of rectangular form, the first stamped with a geometric lattice arranged around a central dodecagonal and decagonal star, the ground stamped with small knot motifs; the second smaller one with central roundel with interlacing geometric design on a ground of knots, and outer band of repeating fleur-de-lis motifs, 27 x 17.5cm. and 16 x 22cm. (2) Please refer to department for condition report
Lot 132
Three Nishapur slip-painted pottery bowls, Iran, 9th-10th century, the first of shallow form, the brown-slip painting consisting of an oil lamp on an ochre ground with pattern of dots to interstices; the second with curved sides the brown-slip painted decoration consisting of four floriated Kufic inscriptions; the third with brown-slip painted decoration of pseudo-inscriptions and floriated designs to side panels, 11.6cm. diam., 12.4cm. diam. and 18.1cm. diam. (3)Provenance: Private UK Collection formed in the 1960s and 70sAll bowls restored and with varying degrees of overpainting
Lot 136
Two turquoise glazed pottery vessels, Iran, 12th - 13th century, the first of baluster form on a short slightly spreading foot, with tubular neck, the second on a short foot tapering towards the neck, with pinched mouth and slightly curved handle, 18cm. high and 17.5cm. high (2)Provenance: Private UK collection formed in the 1960s and 70sPlease refer to department for condition report
Lot 138
Two Nishapur conical pottery bowls, Iran, 10th century, the first underglaze painted in ochre, red and brown with arabesque design around the body on cream background, restored, 9.1 cm. diam., 6.9 cm. high; the second a sgraffiato splash ware pottery dish, the earthenware body incised to the well and rim, decorated with splashes of brown, green and yellow glazes, restored 5.5 cm. high x 19.2 cm. diam. (2)Provenance: Private UK Collection formed in the 1960s and 70sBoth with areas of restoration and associated repainting
Lot 161
A rare Ottoman 'Miletus' ware pottery bowl, Turkey, 14th-15th century, slip-decorated earthenware body with dark and lighter blue, mauve, the foliate stylised designs against a cream ground, fragments reconstructed into bowl with infill, underside of foot handwritten 'Miletos ware, see page 142, The Iznik Tile, Kiln Excavation, 1981-88', 19.1cm, diam.Provenance: Private Collection of Theo Sarmas (1938-2018). Theo Sarmas was a London businessman who was a passionate collector of Byzantine ceramics and Greek coinage. Princeton University, New Jersey holds the Theo Sarmas collection of medieval Greek coinage.This type of pottery, a pre-curser to Iznik ceramics, came to be known as 'Miletus' because examples were first excavated in the ancient town of Miletus in South-West Turkey, but have subsequently also been found in Iznik (Carswell 1998, p.29). Further examples of this type of rare pottery are in the Victoria and Albert Museum, London, inv. nos. C.17-1982 and inv. no. 792-1905. Please refer to department for condition report
Loading...-
596772 item(s)/page