Fry family & J. S. Fry & Co. Ltd. interest. A collection of early 20th century 1920s deeds and documents relating to the Fry's factory and business operating at Somerdale, Bristol. Including deeds relating to building work, leases for premises at Ladbroke Grove in Kensington between J. S. Fry & Sons Limited and The Great Western Railway Company (where Maxwell Fry built the modernist housing estate RIBA Royal Gold Medal winning Kensal House, completed in 1937); lease and a blueprint plan for portions of 31 York Place and 33 Park Place, Leeds; as well as a number of leases regarding properties in Bristol and Keynsham. An interesting collection of local interest from during the time that Frys merged their company with Cadbury following the First World War.
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Military & First World War interest. A collection of eleven regimental histories & records. The lot comprising 1919 The Story of the 55th West Lancashire Division by Rev. J. O. Coop; 1920 The 42nd East Lancashire Division 1914 - 1918 by Frederick P. Gibbon; The Fourth Battalion The King's Own (Royal Lancaster Regiment) and the Great War by Lieut-Colonel W. F. A. Wadham & Captain J. Crossley; 2000 History of the 45th: 1st Nottingham Regiment (Sherwood Foresters) by Col. P. H. Dalbiac; 1927 The Regimental Annual The Sherwood Foresters Nottinghamshire and Derbyshire Regiment, ed. Colonel H. C. Wylly; 1860 Historical Record of the Fifty-Second Regiment (Oxfordshire Light Infantry) from the year 1755 to the year 1858, compiled and edited by W. S. Moorsom (lacking spine and with front board loose, reading copy only); 1856 Memorials of Captain Hedley Vicars, Ninety-Seventh Regiment, new ed.; and copies of The Rifle Brigade Chronicle for the years 1921, 1923, 1924 and 1948, compiled & edited by Major. H. G. Parkyn. 8vo.
Fine bindings. Four early 20th century works, comprising 1904 The Golden Treasury by Francis T. Palgrave first & second series, two volumes in half crushed morocco bound by Blackwell; 1928 Tom Brown's School Days by an Old Boy, full tree calf prize binding with gilt spine, borders & crest to front board, marbled edges & endpapers; 1907 Famous Fighters of the Fleet by Edward Fraser, full tree calf prize binding with gilt spine, borders & crest to front board, marbled edges & endpapers; and 1878 Idylls of the King by Alfred Tennyson, full crushed morocco binding with gilt borders, edges and spine (a touch rubbed on occasion). 8vo.
Wells, Herbert George. 1897 The Plattner Story and Others. First edition, publ. Methuen & Co. Publisher's orig. full cloth binding, gilt titles to spine & front board, some wear to the upper right hand corner of the front board, extremities bumped & the head and tail of the spine with light shelfwear, blind stamp of W. H. Smith booksellers to ffep, otherwise internally very smart with just the odd spot to the fore-edge. A bright first edition of this collection of short stories by Wells, containing seventeen short stories including 'The Sea Raiders', 'Into the Abyss' and 'The Argonauts of the Sky' as well as the titular work, published the same year as his novel The Invisible Man. 8vo.
Modern fiction. A collection of three modern first editions & a proof copy. The lot comprising 1971 The Dice Man by Luke Rhinehart proof copy of the first UK edition publ. Talmy, Franklin Ltd.; 1985 A Maggot by John Fowles, reprint signed and dedicated to author James Long to title page; 1974 The Enchanter Places by Christopher Milne, signed and dated to title page; and 1994 Closing Time, the sequel to Catch 22, by Joseph Heller, signed to ffep. All in orig. boards with unclipped dws, bar the proof which is in orig. wraps, smart with just minor edgewear. 8vo.
Woolf, Virginia. A collection of five first and early editions, all published by Leonard & Virginia at the Hogarth Press and lacking dust wrappers. Comprising 1933 Flush, November new edition; 1947 The Moment and Other Essays, first ed.; 1933 The Voyage Out, reprint of the 1929 new edition; 1929 The Common Reader, new edition; and 1931 A Room of One's Own, reprint after the new edition. All in publisher's orig. cloth, some discolouration to spines & light general shelfwear, The Common Reader & A Room of One's Own noticeably faded to the spine, occ. ownership inscription internally. Along with 1945 Virginia Woolf by David Daiches publ. Editions Poetry London. 8vo.
Fleming, Ian. Two works from the James Bond series. Comprising 1962 The Spy Who Loved Me Book Club edition in unclipped dust wrapper, and Dr. No publ. Jonathan Cape, first edition third impression, the first impression to state Gildrose Productions to copyright page, jacket design by Pat Marriott. Both in smart unclipped dust wrappers with only light chipping to the head of the spine & minor wear otherwise, no prior ownership inscriptions & internally clean. 8vo.
American Civil War interest. A collection of modern reference works on the American Civil War. The lot to include titles such as Barksdale's Charge, The Perfect Lion, A Surgeon's Civil War, I Rode with Stonewall Douglas, One of Jackson's Foot Cavalry, Stonewall Jackson, Gettysburg Day Three, Let us Die like Brave Men, A Southern Woman's Story by Phoebe Yates Pember, First with the Most by Forrest, Confederates Killed In Action at Gettysburg, and Reminiscenes of a Rebel. In dust wrappers & orig. bindings or publisher's orig. wraps, some light shelfwear, otherwise a smart collection. 4to.
Travers, P. L. 1934 Mary Poppins. First US edition, first impression, publ. Reynal & Hitchcock, New York. Illustrated by Mary Shepard with black & white vignettes throughout the text. Publisher's orig. full cloth binding, lacking dw; slight wear and loss to the head of the spine, bumped to tail of the spine & extremities, pen mark to front board, both joints strained exposing binding, otherwise internally smart. An uncommon first American edition of Travers' first work to feature the well beloved British nanny, immortalised in the 1964 Disney classic film starring Julie Andrew & Dick Van Dyke. 8vo.
Photography interest:- Blossfeldt, Karl. 1929 Art Forms in Nature, Exmples from the Plant World Photographed Direct from Nature. With an Introduction by Karl Nierendorf. Publ. A. Zwemmer, London. First English edition, which appeared in 1928 in Germany as Urformen der Kunst. Publisher's orig. full cloth binding, some wear to the head of the spine & extremities, boards occ. lightly discoloured, front hinge strained at endpaper, internally smart otherwise. An important collection of close up photographs of plants & the natural world, which later inspired many photographers of the 20th century. 4to.
Childish, Billy (pseudonym of Steven John Bill Hamper). A collection of four first edition novels & works. The lot comprising 1998 notebooks of a naked youth publ. Sunville Press in orig. cloth boards; 2004 Sex Crimes of the Futcher complete with tipped in original woodcut print to front blank, signed Billy, lettered D numbered 4, in orig. cloth boards with white dust wrapper; 2001 My Fault publ. Codex, signed to woodcut reproduction to front blank billy childish 68/100; and 1997 Notebooks of a Naked Youth publ. Codex, quarter cloth binding with stamped title & limited edition to front board, tipped in original woodcut to ffep hand signed billy and dated 04, signed as well billy & lettered N to reproduced woodcut. 8vo.
Children's literature. Jansson, Tove:- 1953 The Book about Moomin, Mymble and Little My. Publ. Ernest Benn Limited, printed by Frenckellska Tryckeri, Helsinki, Finland. Publisher's orig. pictorial paper covered boards & quarter cloth spine, extremities bumped, front board a touch grubby with the odd scratch & mark, rear board with child's pencil scribbles, central two leaves loose but present with rust damage to gutter from staple binding, otherwise internally bright and smart. An uncommon first English edition of this beloved Swedish children's work, the first of Jansson's works featuring the Moomintrolls to be fully illustrated in picture book format for children. 4to.
Fitzgerald, F. Scott. 1950 The Beautiful and Damned. First U.K. edition, publ. The Grey Walls Press. Publisher's orig. full cloth binding presented in orig. unclipped dust wrapper with jacket design by Peter Curl, spine a touch sunned, chipped to the head and with a small open tear to the top of the front hinge, extremities a touch bumped at the top edge, spine a trifle cocked, 1951 ownership inscription of John Finch to ffep, front hinge a touch loose, otherwise an excellent first British edition of Fitzgerald's 1922 novel, written before his magnum opus The Great Gatsby. 8vo.
Churchill, Winston. A 1948 first edition set of The Second World War, publ. Cassell & Co. Ltd, complete in six volumes. Along with 1939 Step by Step 1936-1939 publ. Thornton Butterworth, second impression; and 1941 Into Battle Speeches compiled by Randolph S. Churchill with half-tone frontispiece, first ed. All lacking dust wrappers in the publisher's orig. full cloth binding, in very clean & bright condition with only very minor shelfwear. 8vo.
Literature. A collection of ten early 20th century first editions in dust wrappers. The lot comprising 1931 The Only Penitent by T. F. Powys, 1930 Diary of a Provincial Lady by E. M. Delafield, 1938 Birth of an Old Lady and Other Stories by Edita Morris, 1925 The Enchanted Wood by Sir Francis Newbolt, 1927 Others Abide by Humbert Wolfe, 1927 Cursory Rhymes by Humbert Wolfe, 1930 "...& Co." by Jean-Richard Bloch in Gollancz yellow jacket; 1918 Through the Magic Door by Arthur Conan Doyle (Nelson reprint with Doyle's portrait to front cover), 1943 Ticky by Stella Gibbons, and 1931 Little Windows by Stacy Aumonier. All in unclipped dust wrappers, various conditions but generally smart for their age. 8vo.
London topography:- Stow, John. 1618 The Survay of London: containing the Originall Antiquitie, Encrease, and more Moderne Estate of the sayd Famous Citie. Printed by George Purslowe, dwelling at the East end of Christs Church, 1618. This edition with additions by A. M., Anthony Munday. Contemp. calf boards, smartly rebacked with more recent calf & spine label, extremities a little bumped, boards scratched and with some smoke damage, red edges, heraldic bookplate of Frederick Arthur Hawker to front pastedown, renewed endpapers, occasional woodcut initial letters & headpieces. A smart example of Stow's history of the city of London, first published in 1598, this edition preceeding both the Civil War and the Great Fire of London. 8vo.
A collection of three works on Mesopotamian & South-West African art. The lot compirising 1930 Bushman Art, Rock Paintings of South-West Africa based on the photographic material collected by Reinhard Maack, by Hugo Obermaier & Herbert Kuhn; first ed., publ. Humphrey Milford, richly illustrated with tipped in plates depicting the tribal artworks. Along with two copies of L'Art de la Mesopotamie by Christian Zervos, publ. Cahiers d'Art, Paris, both richly illustrated with black & white illustrations. Loosely inserted is a copy of a criticism of this book by Henry Moore for The Listener, 5th June 1935. Each in the publisher's orig. paper covered boards with fold around dust wrapper. A collection of important art criticisms on Mesopotamia and Africa, exploring ancient and tribal styles and design. 4to.
Poetry. Three early 20th century poetry collections, along with three other works. The lot comprising 1919 Clouds and the Sun by Eliot Crawshay Williams, dedicated & signed first ed. in orig. cloth wraps; The Dominant Type of Man by Gilbert Frankau pub. The Dorland Agency; 1918 The Judgement of Valhalla by the same; 1920 The Appreciation of Poetry by Eden & Cedar Paul; 1934 The Devil's In the News by Eric Linklater, first ed. in orig. cloth (bookplate to front pastedown); and The New Gulliver and Other Stories by Barry Pain. A varied collection. 8vo.
This is a black Big Stick #212B Adirondack model baseball bat signed in silver by Mark Teixeira. Mark Charles Teixeira, nicknamed Tex, is an American retired professional baseball first baseman who played 14 seasons in Major League Baseball for the Texas Rangers, Atlanta Braves, Los Angeles Angels of Anaheim, and New York Yankees. Dimensions: 34"L x 8"Cir. Manufacturer: RawlingsCountry of Origin: United StatesCondition: Age related wear.
This charming print of Norman Rockwell's iconic artwork, The Rookie, which captures a fresh-faced ballplayer entering the locker room for the first time, is signed by Mickey McDermott, the real-life inspiration behind the painting. Sight size 11.5"L x 13.75"H. Artist: Norman RockwellDimensions: 18.25"L x 1"W x 20.25"HCondition: Age related wear.
This beautifully framed and artfully matted commemorative collage features a limited-edition lithograph of the team's first-day logo, signed by Wayne Huizenga. The artwork, created and signed by Denis Pereira. Artist: Denis PereiraIssued: 1993Dimensions: 30"L x 1.25"W x 33.5"HEdition Number: 550 of 1993Condition: Age related wear.
This black jersey with red and white numbers and letters is signed on the back #2 by Matty Ice Ryan. He spent his first 14 seasons with the Falcons and holds the franchise records for passing yards, passing touchdowns, attempts, completions, passer rating, and wins. This jersey is marked XL and measures pit to pit 25"W and from top of shoulder to bottom 33"L. Certificate of Authenticity from PAAS included. Dimensions: See DescriptionCondition: Age related wear.
Austrian Order of the Golden Fleece Order, circa 1855 - 1868, by court jeweler Christian Friedrich Rothe. Comprised in three sections, the first a thick gold bale with blue enamel and inscribed Rothe, for the court jeweler. Then a gold swirl with blue enamel, one side inscribed Pretum Laborum Non Vile. The other Non Alivd. Below the swirl a gold cartouche, one side with man spearing a dragon, the other side a lone warrior facing men and pykes. Then a black enamel orb with seven white teardrops. The black orb accompanied by enameled red flames. Below this, the golden fleece of a ram suspended from its center, draping downwards. Gold content unmarked, the surface scratch tested 14k. With a blue enamel clasp.Along with one diminutive gold plated and enamel golden fleece pocket chain. The gold disc inscribed with the same motto described above, with fancy enameled and gold plated links, suspending a smaller gold plated, version of the order described above.(Smallest) Length: 224 mm x width: 21.34 mm x depth: 7.04 mm. (Largest) Length: 72.49 mm x width: 41.89 mm x depth: 6.09 mm. Gross weight: 33.5 g.Condition: The larger with some enamel losses at the bale and at the black enamel orb. Some wear, dents and scratches to the gold. The smaller with wear to the plating and enamel and gold.
Jean-Michel Basquiat (American, 1960-1988). Vinyl and offset lithographed record sleeve titled "The Off's: First Record," 1984. The cover art on the vinyl was designed by Basquiat in 1984 after he unsuccessfully tried out for and simultaneously met the band The Off's. He was commissioned for the cover art for the album which was produced in a limited edition. This record numbered 2462/2500. With a letter and certificate of authenticity from CD Presents/Buried Treasure, Inc.(Record) diameter: 12 in. Framed; height: 23 1/4 in x width: 15 3/4 in x depth: 1 3/4 in.Condition: There are no visible cracks, losses, or repairs. Light wear visible to the record sleeve. Floated in frame. Housed under glass. Light wear to the frame. Not inspected out of frame.
Irene Rice Pereira (American, 1902-1971). Ink drawing depicting a figure dancing surrounded by stars and shapes, 1966. Dated Feb. 8, 1966 along the lower right. From a sketchbook by the artist gifted to "Joy" on New Year's Day, 1968. A facsimile copy of the first page of the sketchbook is included with the lot.Height: 10 3/4 in x width: 8 1/8 in.Condition: There are no major tears, losses, or repairs. The sheet is toned. There is some light soiling to the right edge - likely from a painting in the same sketchbook. The work is not framed.
Robert Rauschenberg (American, 1925-2008). Lithograph on paper titled "Earth Day" depicting a bald eagle against a collage of environmental disasters, 1970. Signed in red along the lower left; further signed and dated in print along the lower center. Produced as an edition of 10,300 to benefit the American Environment Foundation in Washington, D.C. on the first annual Earth Day on April 22, 1970.Sight; height: 33 in x width: 23 3/4 in. Framed; height: 42 3/4 in x width: 34 in x depth: 1 1/2 in.Condition: The colors are bold and deep. There are no visible tears, creases, or losses. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Group of works from “Portfolio 15,†a group of prints by Minnesota artists, from commissioned works from a Northwestern National Bank of Minneapolis 1978 exhibition; printed by Vermillion Editions, Limited, Minneapolis, Minnesota, 1979. Including several other prints, not from this portfolio, published by Vermillion Editions. Including:"Orizonte" by Susan Fiene Brown, "Untitled" by Steve Beyer, "Site Drawn" by Lee Bjorklund, "Diamond" by Andrew Leicester, "According to What Plan" by Steve Sorman, "Span" by Steve Sorman, "Spaces between Words / A Deaf Man Sees" by Steve Sorman, "Objects Indicating Certain Direction" by Thomas A. Rose, "Houses by the Track" by Mike Lynch, "Self-Portrait" by Jerry Ott, "Metaphor I" by Nancy Randall, "Ray's First Etching" by Ray Herdegen, "Shell/Butterfly" by Stuart Nielsen, "Impulse Driver" by Scott Sandell, another print by Scott Sandell, "Chocolate" by Christine Benson, and one illegibly signed print.(Portfolio) Height: 48 in x width: 36 in x depth: 2 in.Condition: The prints appear to be in good condition. The colors are bold and bright. There is very light wear along the deckled edges. None are framed. There is some light wear to the box.
Irene Rice Pereira (American, 1902-1971). Ink and pigment drawing depicting a figure dancing or leaping with a star. Against an abstract blue background. From a sketchbook by the artist gifted to "Joy" on New Year's Day, 1968. A facsimile copy of the first page of the sketchbook is included with the lot.Height: 10 3/4 in x width: 8 in.Condition: There are no major tears, creases, or repairs. The sheet is toned. Slightly uneven left edge. Slight wear along the edges. The work is not framed.
Early concert poster for Led Zeppelin's first U.S. tour and first appearance in San Francisco at the Fillmore West. The concert dates were January 9, 10, and 11, 1969. Along with Taj Mahal, Led Zeppelin acted as openers for Country Joe & The Fish. The poster is known as BG-155 in the Fillmore series.It was designed by Randy Tuten who said of the poster “This was the first show for Led Zeppelin in SF Bay Area. I used a classic car just for the fun of it, but also because Led Zeppelin was kind of the new Cadillac of rock & roll, to use a metaphor.†Recordings from the concerts were later assembled on the live album “Live! Fillmore West 1969."Sight; height: 21 in x width: 13 3/4 in. Framed; height: 27 3/4 in x width: 20 1/4 in x depth: 3/4 in.Condition: The colors are bold and bright. The sheet is lightly toned. No visible tears, creases, losses, or restorations. There is a network of light green accretions along the right edge. Housed under a nonacidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Antique REGARD acrostic necklace. Comprised of paste stones set in a 14k yellow gold curved placard. The first letter of each stones the paste is imitating spell out regard (ruby, emerald, garnet, amethyst, ruby, diamond). On a fancy link gold filled chain. Without a clasp. Unmarked.Length: 16 in. Gross weight: 7.0 g.Condition: Scratches and dents, some links bent.
Irene Rice Pereira (American, 1902-1971). Ink drawing depicting a figure surrounded by a swirling red cloth, 1960. Dated 5/29/60 along the lower right. From a sketchbook by the artist gifted to "Joy" on New Year's Day, 1968. A facsimile copy of the first page of the sketchbook is included with the lot.Height: 10 3/4 in x width: 7 7/8 in.Condition: There are no major tears, losses, or repairs. Creases along the upper left corner. Flattened crease along the left edge. The sheet is toned. There are areas of foxing throughout. The work is not framed.
Farideh Lashai (Iran, 1944-2013)Trees oil on canvassigned lower left in Farsi, executed circa 1996119.5 x 60cm (47 1/16 x 23 5/8in).Footnotes:Provenance:Property from the Varzi Family Collection, Spain'I became inflicted with the magic of orange trees and never overcame it. The trees took hold of me and never let me go, with thousands of hands, thousands of embraces' - Farideh LashaiGraceful, sophisticated and exhibiting a deep reverence for its subject matter, the present paintingss are perhaps the rarest and most significant works by Farideh Lashai to come to auction in recent yearsThe first is a still life painted in the early 1970's when Lashai had just returned to Iran after her studies in Austria, the work sees Lashai at her most naturalistic. Influenced by her contact with the new emergent artistic avant-garde of Iran, including figures like Sohrab Sepehri, Lashai's works from the Tree Series, of which this is the first to appear auction, are a rare glimpse of a painter at the bloom of her artistic maturity. The second, a depiction of trees from the 1980's sees the evolution of her signature expressionist aesthetic. In this phase, the artist moves away from realism, using bold, visible brushstrokes that shape the details of the composition. Movement and vibrant colours replace naturalistic representation, conveying the essence and emotional character of the trees. Here, form is suggested through dynamic lines and hues, emphasizing the artist's emotional response to the subject rather than its literal depiction.Farideh Lashai is remembered as one of the most talented and successful artists to have emerged from within Iran in recent decades. Meticulous, erudite and supremely perceptive, her work is characterized by a mastery of the painterly aesthetic, using the visual vocabulary of abstract and lyrical expressionism in depiction of ethereal natural landscapes, allegorical compositions, and colour fields.Above all, Lashai's enduring talent lied in her conceptual and aesthetic originality, and her ability to draw from established artistic traditions without being confined by their precepts. As an artist with abstraction as her genesis, she is nevertheless unafraid of the concrete, as a craftswoman fluent in the language of the brush, she felt comfortable experimenting with video art, installation and new media, it is this unrestricted, intrepid sense of creativity which is so palatable in much of her work.Lashai has stated that 'when you have doubt and uncertainty, you open the way for the expansion and development of an idea' and her forthright rejection of the objectivity of perception is manifest in much of her body of work, this sense of expressive subjectivity is gloriously exemplified in the present work, which counts as one of her most deftly executed, and technically accomplished paintings. Here, clearly defined, monolithic tree trunks provide a stark contrast to gestural, spontaneous surrounding fauna, punctuated by a vigorous flourish of cobalt that articulating the briskly defined flowers.Like the Expressionists and Emotivist painters that came before her, Lashai's compositions remind us the subjectivity of perception, rejecting a strictly ocular, representational approach to depicting nature and her visual surroundings, Lashai recognizes the transformative effect of perception on a given subject.For Lashai, reality, ultimately, is a fickle concept when its observation is not only channeled through but entirely dependent on our sensual faculties, senses which can embellish, obfuscate, enliven or depress their surroundings. The talent of the poet, artist, or musician lies in this very gap between reality and perception, in being able to give some form of physical or tangible representation to the way our thoughts and feelings colour the world we inhabit.It is this, which leads us to Gorky's proclamation that 'Abstraction allows man to see with his mind what he cannot physically see with his eyes. It is the emancipation of the mind', and it is precisely, this unseen aspect of our surroundings which Lashai so poetically captures.Technically, her fluency, awareness of textural and tonal aspects of paint, and effuse lyrical gestures demonstrate her expressionist approach to the subject matter of nature in striking form.Ultimately, In Lashai's oeuvre, and in the present work in particular, we encounter a vision of the natural world that is far from stale, academic and static, but one which is magnified by our poetic, metaphysical, and emotional responses to its grandeur.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
Hamed Nada (Egypt, 1924-1990)Battle for Liberation (Maerakat al-Tahrir) oil on board, framedsigned 'Hamed Nada' and dated '1970' in Arabic (lower left), affixed with an Egyptian Ministry of Culture exhibition stamp on the verso marked 'Exposition de l'art Egyptien Paris'119 x 134cm (46 7/8 x 52 3/4in).Footnotes:Provenance:Property from a private collection, UAEFormerly in the Yousef Al-Khatib Collection, EgyptPublished: Yousef Al Khatib, Dar Filistin (The House of Palestine), Yousef Al Khatib Foundation for Culture, Media and Art, 2011Exhibited:Visages de l'art contemporain Egyptien, Musée Galliera, Paris, 1971A rare and large published painting by Hamed Nada, exhibited at a landmark show of Egyptian modernism in The Musee Galliera in Paris in 1971 and formerly in the collection of the renowned Palestinian poet Youssef Al-Khatib'Any work of art that does not have surrealist elements is no work of art. In other words, no matter what colour or direction spontaneous expression takes, a work of art can't be devoid of the artist's subjectivity if it is true art.' -Hamed Nada'Battle for Liberation' is perhaps one of the most significant works by Hamed Nada to come to market in recent years. Large in scale and distinct in subject matter, the painting stands out for its distinguished provenance and its unique exhibition history, featuring in a highly significant 1970 showcase of Modern Egyptian art at Parises Musee Galliera (which now houses the fashion museum). The 1970 exhibition was celebrated for introducing European audiences to new voices of Egyptian art, and giving a fresh account of Egyptian visual culture which up to that point had only been represented by the ancient art and sculpture of the Pharaonic and the craft of the Islamic periods in European museums. Battle for Liberation is a surreal and symbolic representation of the struggles faced by Arab peoples and mankind in general for freedom. Painted during a politically charged period, in 1970, during Egypts War of Attrition, the work depicts figures engaged in a struggle to achieve peace and fragmented surreal depictions of conflict and battle such as a figure galloping into a voide on horseback. Hamed Nada was an integral member of the Contemporary Art Group founded by Hussein Youssef Amin (1904-1984) in 1944. The movement explored issues of social realism and surrealism. Like his mentor Youssef Amin, Nada was fascinated by the mural quality of children's drawings, which particularly impressed him while teaching art at primary school in the 1950s as proved by lack of perspective and the figure's stylisation in these works. From the mid-1950s onwards Nada to look at the work of Ragheb Ayad, from the first generation of Egyptian pioneer artists, who had reinterpreted pharaonic art in his portrayals of ordinary Egyptians. Also, for inspiration Nada looked to Nubian folk art and African primitive art.Since the 1970s, Hamed Nada's oeuvre gradually shifted from tragic themes of the struggles of working-class subjects to more joyful and energetic scenes. The colours became more vibrant and the works displayed far more movement and rhythm than before. Both artworks provide you with a unique glimpse into the inner workings of Nada's lucid imagination and realisation of liberalised Egyptian men and women. A nouveau twist on ancient Egyptian art, Nada incorporates depictions of animals in his works reminiscent of hieroglyphics on ancient tombs, temples and cartouches. His use of animals further commemorates pharaonic mythology, where they existed both in reality and the celestial world.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
Jazeh Tabatabai (Iran, 1931-2008)Standing Figure welded scrap metalexecuted in circa 1980s60 x 22cm (23 5/8 x 8 11/16in).Footnotes:Provenance:Property from the Varzi Family Collection, SpainJazeh Tabatabai, the Iranian avant-garde painter, poet and sculptor, was one of the pioneers of modern art in Iran. Jazeh's first medium of self-expression was the written word: he published his first book at the age of twelve. Believing that different ideas demand different media, Jazeh explained, 'For some I need colour, for some I need three-dimensional sculpture, for some movement, and for some words. I have sought rather to enlarge my capacity for expression through mastering a wide-range of techniques.'Working in metal, Jazeh's playful sculptures posess an artistic sensibility, dancing in the junkyards of modern technology. Jazeh assembled these astonishing sculptures from metal gaskets, cylinder valves, coils, crankshafts and spring's gearboxes and a range of scrap parts. Bolted, welded and screwed together into various amalgamations, they appear to have been spontaneously born in some mysterious industrial womb.Movement is a central factor in the character of all the sculptures. The works are built in such a way that their component parts can be moved. The artist's wish was for the viewer to participate by changing the sculptures and setting them in motion for themselves.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
Suad Al Attar (Iraq, born 1942)Untitled (From the Paradise Garden Series) oil on canvas, framedsigned 'Suad Al Attar' in Arabic and English and dated '1970' (lower right), executed in 197035 x 100.5cm (13 3/4 x 39 9/16in).Footnotes:Provenance:Property from a prestigious private collection of Iraqi Art, EuropePublished:Salam Atta Sabri, Mary Angela Schroth, Longing for Eternity: One Century of Modern and Contemporary Iraqi Art, Skira, Milan 2014'To the ancient Babylonians and Sumerians, the garden was more than a cultivated space—it was a reflection of paradise itself, a sacred mirror of divine harmony'This rare work by Suad Al-Attar from 1970 is a remarkable example of her early Baghdad period, a time before she relocated to London in 1976. Pieces from this era are exceptionally rare, and this particular painting from the Paradise Garden series encapsulates her exploration of paradise and its symbolism, deeply rooted in Iraq's cultural history. Al-Attar's vision of paradise draws connections to the legendary gardens of Eden, historically tied to Mesopotamia, as well as the gardens of Sumer, Akkad, and Ancient Persia, where green spaces symbolized a connection to divine tranquillity and abundance. In this lush, dream-like composition, Al-Attar's world is an escape into an alternative, idyllic reality where the soul can find solace. Palm trees, and intricate flora are juxtaposed with symbols of beauty such as birds and horses, evoking a sense of lost paradise while reflecting her deep connection to Iraq's cultural heritage.Suad Al-Attar, born in Baghdad in 1942, studied under the renowned Jewad Selim and was part of the Baghdad Modern Art Group during the early 1960s. In 1965, she became the first woman to hold a solo exhibition in Baghdad, breaking new ground in the Iraqi art world. Her early works, including this pre-1976 piece, carry the influence of Baghdadi art traditions and the medieval artist Al-Wasiti, whose works also inspired Jewad Selim. After obtaining degrees in Baghdad and California and further studies in London, she returned to Iraq, where she actively exhibited and taught before her eventual relocation to the UK. Today, her works remain vital to understanding Iraq's artistic narrative, residing in major collections including Mathaf in Doha and UK institutions, but this work stands as a rare and exquisite link to her early explorations of paradise and Iraq's storied artistic legacy.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
Chant Avedissian (Egypt, 1951-2018)Icons of Arabia gouache, acrylic, and hand coloured stencil on cardboard, ten panelseach panel is signed, dated and located, executed between 2011-2014each panel: 69 x 49cmFootnotes:Provenance:Property from the Rose Issa collection'In between Paris and Cairo I stopped doing any handwork, any painting. And I never wanted to do painting, but I discovered that people put photos of people on the wall- football players, movie stars- and I thought to do the stencils, but I didn't know what was going to happen, that it was going to go on for so long. I did two or three stencils at the beginning and that was it. And then it went on and on and on and it became like a drug; you can't stop. In the beginning it was my childhood memories, and then little by little I was shocked by what I discovered in newspapers, I mean the mise en scène that was there. Mise en scène means how a photo is directed; how an image is not true. Neither the people stand like that nor look like that; everything was artificial. The images said things about liberty and happiness and sports, but the photos were composed, for propaganda, so it was very amazing to do this work' – Chant AvadessianWhilst studying in Canada and France, first at Fine Arts in Montreal, then at Ecole Superieure des Arts Decoratifs in Paris, where he investigated printmaking and silkscreen techniques, Avedissian came to the conclusion that Western academia and its rigidity was not a system within which he could recognise himself. This disillusion resulted in a return to his homeland, where he merged techniques learnt in the West with his strongly rooted Egyptian heritage.He gradually integrated knowledge gained from his formal studies in Canada and France with personal research into legendary Pharaonic iconography, geometric Islamic architecture, floral patterns of Ottoman textiles, and popular 20th century imagery of icons from the Arab world. Avedissian first started his stencils series during the Gulf War in 1991. The series was catalysed by the overwhelming media coverage of the political situation, which consumed him with feelings of hopelessness and despair, resulting in a collection of faces, places and symbols from his past.In his stunning stencilled works, Avedissian fuses symbols taken from Ancient Egypt such as hieroglyphics and dynastic monuments, with pictures of national heroes, admired politicians, popular singers and actors. These pictures are based on media imagery from Gamel Abdel Nasser's rule (1956-1970), a decade that witnessed a socio-cultural reawakening permeated with a vigorous wave of Arab nationalism. Avedissian's concern for the disappearance of Egypt's rich heritage at the outbreak of the first Gulf War motivated him to explore topics such as; memory, history, imagery and self-representation in Egyptian culture. This shift in focus was a defining moment in his career as a contemporary artist, which had previously concentrated on photography and hand-dyed and sewn textile panels.In Avedissian's Icons of the Niles series, he creates a grandiose mosaic of Egyptian cultural history retracing his country's past, combining nostalgic imagery with a celebration of Egyptian iconographical motifs. Within this work, the artist avoids the use of oil on canvas. Instead, he blends his own pigments and uses a delicate stencil technique to transfer the image onto card or locally produced paper. The stencil technique requires a simplification of line and colour, and thus becomes similar to the hieroglyphic model of symbols. By means of repeating and layering images, Avedissian saturates his works with various suggestions and connotations, eloquently drawing our attention to the many faces of modern Egyptian society and Cairo's visual landscape. Each stencilled panel embodies a variety of influences and themes, creating vivid organic patterns. His process of creation skilfully combines the use of local pigments, gum arabic, and hand-coloured textiles; the conclusion is presented as a powerful vehicle for the artist's personal memories and experiences. Avedissian's work, unique in its approach and execution, repeatedly compares and contrasts the West and the Middle East, art and propaganda, and tradition and modernity. Throughout this work, he conveys his admiration and appreciation for opulently iconic Egyptian imagery, coupled with the remnants of his country's magnificent historical past with an honest and profound sincerity. His iconoclastic images commemorate the country that nourished his creative soul.Figures depicted:Taha HusseinTaha Hussein, one of Egypt's most influential writers and intellectuals of the 20th century, is known as the 'Dean of Arabic Literature.' Despite losing his sight at a young age, his prolific works challenged the status quo, advocating for education, enlightenment, and social reform across the Arab world.Faten HamamaFaten Hamama, often hailed as the 'Lady of the Arab Screen,' was an Egyptian actress whose career spanned over six decades. Known for her elegance, talent, and versatility, she became a beloved icon of Egyptian cinema, starring in some of the most influential films of her era.AsmahanAsmahan, the Syrian-Egyptian singer and actress, captivated audiences with her haunting voice and enigmatic presence. Born into royalty, her life was a mix of glamour and tragedy, and her contributions to Arab music remain unparalleled despite her untimely death.FaridFarid al-Atrash, a Syrian-Egyptian composer, singer, and actor, is one of the most celebrated figures in Arab music. Known as the 'King of Oud,' Farid's distinctive voice and emotive compositions left an indelible mark on the golden age of Egyptian cinema and music.Nazem Al GhazaliNazem Al Ghazali, the legendary Iraqi singer, is remembered for his unique style and contribution to Arabic maqam music. His soulful voice and timeless songs, such as 'Fog El Nakhal,' made him an icon of Iraqi and Arab music, influencing generations of artists.King FaroukKing Farouk, the last reigning monarch of Egypt, ascended to the throne in 1936 at the age of 16. His reign was marked by extravagance and political instability, ultimately leading to his abdication in 1952 during the Egyptian revolution. He remains a symbol of Egypt's royal past.Nezar KabbaniNizar Kabbani, a renowned Syrian poet and diplomat, is considered one of the most influential modern Arab poets. His poetry, rich with themes of love, politics, and feminism, resonated with readers across the Arab world and beyond, solidifying his status as a literary icon.Gamal Abdel NasserGamal Abdel Nasser, Egypt's charismatic leader and the face of Arab nationalism, became the country's second president in 1956. Known for his role in overthrowing the monarchy, his policies of pan-Arabism and socialism left an enduring impact on the Middle East.FawziyaFawziya, Queen of Iran and Princess of Egypt, was a royal figure who embodied elegance and diplomacy. Her marriage to Mohammad Reza Pahlavi, the Shah of Iran, made her a symbol of cross-cultural ties between Egypt and Iran, though her life was marked by public and personal challenges.YolandaYolanda Gigliotti, better known by her stage name Dalida, was a French-Italian-Egyptian singer and actress whose career spanned over three decades. Her multilingual repertoire and captivating performances made her an international star, beloved across Europe and the Arab world.For further information on this lot please visit Bonhams.com
Mahmoud Sabri (Iraq, 1927-2012)CACO3 + H2O acrylic on canvassigned, dated and titled on the verso, authenticated by the artists daughter Yasmin Sabri on the reverse of the stretcher executed in 196960 x 50cm (23 5/8 x 19 11/16in).Footnotes:Provenance:Property from a prestigious private collection of Iraqi Art, EuropePublished:Salam Atta Sabri, Mary Angela Schroth, Longing for Eternity: One Century of Modern and Contemporary Iraqi Art, Skira, Milan 2014'In 1971, Sabri published a manifesto titled Quantum Realism, in which he called for an 'application of the scientific method in the field of art'. His subsequent work consisted of colour compositions, presenting an indexed codification of reality, devoid of figures and recognisable objects' Suheyla Takesh, Venice Biennale, 2024Mahmoud Sabri's CACO3 + H2O from 1969 marks a profound shift in the Iraqi artist's career, representing one of his earliest explorations into the realm of quantum compositions. This period, which Sabri initiated in 1969 and expanded throughout the 1970s, signifies his departure from his earlier modernist depictions of daily life in Iraq toward a revolutionary form of geometric abstraction. These works were meticulously constructed based on scientific formulas, exploring atomic and chemical compounds such as calcium carbonate (CACO3) and water (H2O). Sabri's dedication to integrating art and science highlights his unique intellectual approach, positioning him as a visionary within Arab abstraction. This particular work exemplifies the artist's fascination with the underlying structures of the universe, as he sought to capture the essence of material transformation through geometric precision and vibrant colour fields.In 2024, Sabri's legacy was further solidified when his work was represented for the first time in the main pavilion of the Venice Biennale. A piece from his Quantum Period was chosen, underscoring the critical importance of this body of work in the history of Arab abstraction and international abstract art. His inclusion in Venice reflects a broader re-evaluation of his contributions, not only as a pioneer of Middle Eastern modernism but as a crucial figure in the global narrative of abstract art, where science and art converge. Sabri's visionary approach continues to inspire and challenge conventional interpretations of abstraction, solidifying his place in the annals of art history.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
Maki Hussein Maki (Iraq, born 1947)Untitled bronzesigned, dated '2007' and numbered '3/9' on the base, number 3 from an edition of 9 executed in 200747.5 x 29.5cm (18 11/16 x 11 5/8in).Footnotes:Provenance:Property from the collection of AbdulMagid Breish, LondonPublished:Louisa Macmillan, Mysa Kafil-Hussain et others, In Vested Interests: from Passion to Patronage, The AbdulMagid Breish Collection of Arab Art, Skira, Milan, 2020A distinguished sculptor with a distinctive style, Maki Hussein Maki's aesthetic is a true expression of figural dynamism and material limits. The frame seen in this artwork is a concept he has used for over forty years, inherent to his personal style and character, showing not only the strength and energy of man but also his fragility. By looking through the frames at the figure of the man, the artist offers a literal insight into the various aspects of man's personality to the viewer. In his work (mainly bronze sculptures), Maki confronts the impact of war and violence, something that he saw first-hand in Iraq and later watched from afar in Europe, drawing inspiration from his own reaction to conversations, observations, news reports and other cultural influences.-Mysa Kafil-HussainThis 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
Parviz Tanavoli (Iran, born 1937)Standing Heech fibreglasssigned 'Parviz' and dated '07' on the base, numbered 16/25, number 16 from an edition of 25, executed in 200759 x 28cm (23 1/4 x 11in).Footnotes:Provenance:Property from the Varzi Family Collection, SpainNote:This work is accompanied by a certificate of authenticity signed by the ArtistReflections of Persia: The Varzi Collection of Modern and Contemporary Iranian ArtThe Varzi Collection of Modern and Contemporary Iranian Art offers a thoughtfully curated selection of works that showcase the diversity and richness of Iran's artistic heritage. Built by Hamid Varzi, this collection reflects both the cultural depth of Iranian art and his personal journey of staying connected to his homeland while living abroad. With a range of works spanning from early modern pioneers to contemporary artists, the collection provides a comprehensive look at the evolution of Iranian art across time and borders.Hamid Varzi, born in Tehran, moved to the United Kingdom as an infant and pursued his education at Trinity Hall, Cambridge University. After completing his studies, he returned to Iran in 1972, where he served in the military and played for Iran's National Hockey Team at the 1974 Asian Games. Eventually, Varzi relocated to Germany, where he established several successful commercial ventures over the next two decades. His return to Iran in 2000 marked a new chapter as he took on leadership roles in banking and industry before settling in Spain in 2017. Today, Varzi is an accomplished writer, with published works in novels, poetry, and screenwriting.The Varzi Collection, built over many years in Tehran and now housed in a grand villa in Marbella, Spain, mirrors the experiences of so many Iranian artists who, like Varzi himself, have navigated life abroad but remain deeply connected to their cultural roots. This dynamic collection is not only a personal expression of Varzi's dedication to preserving Iranian heritage but also an embodiment of the broader reality faced by millions of Iranians in the diaspora—rebuilding their sense of Iranian-ness in foreign lands while always carrying the essence of their homeland with them.What sets the Varzi Collection apart is its extraordinary chronological breadth, encompassing works that span both the early pioneers of Iranian modernism and the emerging talents of contemporary Iranian art. The collection is a seamless blend of traditional motifs and avant-garde experimentation, offering viewers a comprehensive journey through the evolution of Iranian artistic expression.The Varzi Collection brings together an impressive range of media and subject matter, spanning both early pioneers and contemporary voices in Iranian art. From the works of renowned figures like Marcos Grigorian, Parviz Tanavoli, and Monir Farmanfarmaian—who were instrumental in shaping the trajectory of Iranian modern art—to the younger generation represented by Rokni Haerizadeh, whose iconic painting from the Divan restaurant in Tehran is a highlight, the collection is both diverse and cohesive. Among the standouts are two rare early works by Farideh Lashai, including an abstract work on paper from the 1970s and a dynamic, expressive tree composition from the 1980s. Additionally, Bahman Mohasses' ghoulish head of a minotaur, one of his most recognizable themes, offers a haunting presence in the collection. The Varzi Collection reflects a wide spectrum of Iranian art, representing both male and female artists, emerging and established figures, and those working within Iran and abroad. It truly captures the richness and breadth of Iranian artistic expression across different eras and styles.In Varzi's collection, one can read the collective narrative of Iranian artists —the ability to adapt, rebuild, and thrive despite the many challenges of displacement. Each piece serves as a visual homage to the nation's enduring spirit, while the collection as a whole celebrates the richness of Iranian art across generations and across borders. As it moves to auction, the Varzi Collection is not only a unique opportunity for collectors but also a profound statement of cultural continuity and pride. Parviz Tanavoli: Heech The Father of Iran modern sculpture, Parviz Tanavoli was born in 1937 in Tehran, Iran. In 1955, Tanavoli was one of the very first students to enrol in the newly established Tehran School of Fine Arts. A few years later, he left Iran to further his education in sculpting at the Brera Academy of Milan. Tanavoli returned to Iran and established Atelier Kaboud, which became the birthplace of the most significant and avant-garde Iranian modern art movement, the Saqqakhaneh movement.In 1965, Tanavoli created his first Heech sculpture. His signature Heech series is composed of three Farsi letters in the Persian calligraphy style of nastaliq. Tanavoli protested against the empty overuse of traditional forms by giving new depth to the two dimensional calligraphy on paper and transforming it into a three dimensional object. A pioneer of his practice, Tanavoli has produced numerous Heech sculptures in various mediums such as bronze, ceramic, fiberglass and neon and in many different shapes, sizes and colours to expose people with the concept of 'nothingness'.This present sculpture of the Heech is a fine example of Tanavoli's use of fiberglass, a medium he embraced during his later work and through which he found great versatility in form and freedom of expression. To Tanavoli, the concept of nothingness has multiple layers of meanings and is not necessarily an expression of despair and hopelessness. One interpretation relates to Persian Sufism, in which nothing is an aspect of God, who creates everything from nothing. The other is that the physical shape of the word has an appealing volume and a life like form. This repetition of design in his oeuvre is also reflective of the traditional Islamic practice of repeating a craft in the quest for perfection.Tanavoli's practice focuses on the intersection of both traditional Persian folk art and contemporary practices in a career spanning over six decades.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
Ismail Shammout (Palestine, 1930-2006)Vendors in Jerusalem oil on canvas, framedsigned 'Ismail' and dated '66' in Arabic (lower right), executed in 196648.5 x 98cm (19 1/8 x 38 9/16in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the Artist, early 1970sThence by descent to the present ownerThe work of celebrated Palestinian artist, Ismail Shammout is often considered a visual chronicle of Palestinian history during and after the 1948 Nakba, or 'catastrophe.' Active since the early 1950s, Shammout portrays the tragedies, traditions, and determined steadfastness of the Palestinians. Shammout and his family were expelled from their home by Israeli forces in 1948. The aspiring artist spent his childhood in a refugee camp in Khan Younes in Gaza before enrolling at the College of Fine Arts in Cairo. Upon graduating, he held his first solo exhibition in 1953 in Gaza, where he exhibited his renowned painting, Where To?. In 1954, he continued his studies in Rome, later serving as the inaugural Director of Arts and National Culture for the Palestinian Liberation Organization (PLO) in Beirut in 1965 and the Secretary General of the Union of Arab Artists in 1971. Together with his wife and fellow artist, Tamam al-Akhal, Shammout contributed to the development of an infrastructure for Palestinian art and exhibited worldwide. In 2002, Barjeel Art Foundation founder Sultan Sooud Al Qassemi visited an exhibition of Palestinian artists Ismail Shammout and Tammam Al-Akhal at the Dubai Chamber of Commerce. This was the first major exhibition by Arab artists that he had visited, an encounter that left an important mark that shaped the outlook of the collector.For further information on this lot please visit Bonhams.com
Marcos Grigorian (Iran, 1925-2007)Earthwork oil on canvas, framedsigned 'Grigorian' and dated '72', further signed 'Grigorian' and dated '1971' on the verso, executed 1971-197260 x 80cm (23 5/8 x 31 1/2in).Footnotes:Provenance:Property from the Varzi Family Collection, SpainThe present example is an important early rendition of Marcos Grigorian's inimitable earthworks.The Earthworks were inspired by the use of materials and forms that went beyond the conventional means of art-making. Compared to the Western Land Artists, who similarly created compositions through the handling of earth itself, Grigorian predated this movement by a decade.These works are mostly in a square or rectangular format, which became something of a signature for Grigorian. The square form was a representation of sacred geometry and harmonious proportions. The organic materials such as hay, straw, sand, soil and clay which he used to create his almost three-dimensional compositions were to be equally defining.In experimenting with soil and mud, he believed he was rebuilding life and exploring the complex relationship between mankind and earth. The present work is reminiscent of the commonly held theory that the Earth and the other planets developed over millions of years out of particles and gas. The traces of a convergent movement towards the centre of the canvas evoke the image of the universe forming out of primordial dust - and the monochrome earthy surface impress upon the viewer the feeling of a distant aerial view from space. The textured surface and the play between light and shadow endow the painting with an even more dramatic effect, adding to its three-dimensionality.In 1965, The Museum of Modern Art, New York acquired a work from Grigorian's Earthworks Series on the recommendation of Alfred H. Barr Jr., the legendary former director of the museum. A second work was then donated to the museum by Nelson Rockefeller in 1978. Further examples of Grigorian's works were recently acquired by the Metropolitan Museum of Art in New York and can also be found in the collections of Tehran's Museum of Contemporary Art and the National Gallery of Armenia in Yerevan.Besides being a leading figure in avant-garde Iranian and Armenian art history, Grigorian was an artist, writer, gallerist, collector, pioneer and a teacher. From his Gallery Esthétique in 1950s Tehran, which provided a free exhibition space for younger artists, to his pioneering decision to organise the first national Tehran Biennial in 1958 (after he was awarded the honour of representing Iran in the 1956 Venice Biennial) Grigorian desired to make an impact on the development of art.He was instrumental in the introduction and promotion of modern art in Iran in the 1950s and extensively promoted the works of Armenian artists in the United States in the 1980s. Despite travelling around the world, Grigorian chose to return to his ancestral home of Armenia for the remainder of his life and donated his complete collection to the Armenian government as a sign of his lifelong commitment to his nation.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
Farideh Lashai (Iran, 1944-2013)The Forest oil on paper, framedsigned and dated in Farsi (lower left), executed in 197574 x 54cm (29 1/8 x 21 1/4in).Footnotes:Provenance:Property from the Varzi Family Collection, Spain''I became inflicted with the magic of orange trees and never overcame it. The trees took hold of me and never let me go, with thousands of hands, thousands of embraces' - Farideh LashaiGraceful, sophisticated and exhibiting a deep reverence for its subject matter, the present paintingss are perhaps the rarest and most significant works by Farideh Lashai to come to auction in recent yearsThe first is a still life painted in the early 1970's when Lashai had just returned to Iran after her studies in Austria, the work sees Lashai at her most naturalistic. Influenced by her contact with the new emergent artistic avant-garde of Iran, including figures like Sohrab Sepehri, Lashai's works from the Tree Series, of which this is the first to appear auction, are a rare glimpse of a painter at the bloom of her artistic maturity. The second, a depiction of trees from the 1980's sees the evolution of her signature expressionist aesthetic. In this phase, the artist moves away from realism, using bold, visible brushstrokes that shape the details of the composition. Movement and vibrant colours replace naturalistic representation, conveying the essence and emotional character of the trees. Here, form is suggested through dynamic lines and hues, emphasizing the artist's emotional response to the subject rather than its literal depiction.Farideh Lashai is remembered as one of the most talented and successful artists to have emerged from within Iran in recent decades. Meticulous, erudite and supremely perceptive, her work is characterized by a mastery of the painterly aesthetic, using the visual vocabulary of abstract and lyrical expressionism in depiction of ethereal natural landscapes, allegorical compositions, and colour fields.Above all, Lashai's enduring talent lied in her conceptual and aesthetic originality, and her ability to draw from established artistic traditions without being confined by their precepts. As an artist with abstraction as her genesis, she is nevertheless unafraid of the concrete, as a craftswoman fluent in the language of the brush, she felt comfortable experimenting with video art, installation and new media, it is this unrestricted, intrepid sense of creativity which is so palatable in much of her work.Lashai has stated that 'when you have doubt and uncertainty, you open the way for the expansion and development of an idea' and her forthright rejection of the objectivity of perception is manifest in much of her body of work, this sense of expressive subjectivity is gloriously exemplified in the present work, which counts as one of her most deftly executed, and technically accomplished paintings. Here, clearly defined, monolithic tree trunks provide a stark contrast to gestural, spontaneous surrounding fauna, punctuated by a vigorous flourish of cobalt that articulating the briskly defined flowers.Like the Expressionists and Emotivist painters that came before her, Lashai's compositions remind us the subjectivity of perception, rejecting a strictly ocular, representational approach to depicting nature and her visual surroundings, Lashai recognizes the transformative effect of perception on a given subject.For Lashai, reality, ultimately, is a fickle concept when its observation is not only channeled through but entirely dependent on our sensual faculties, senses which can embellish, obfuscate, enliven or depress their surroundings. The talent of the poet, artist, or musician lies in this very gap between reality and perception, in being able to give some form of physical or tangible representation to the way our thoughts and feelings colour the world we inhabit.It is this, which leads us to Gorky's proclamation that 'Abstraction allows man to see with his mind what he cannot physically see with his eyes. It is the emancipation of the mind', and it is precisely, this unseen aspect of our surroundings which Lashai so poetically captures.Technically, her fluency, awareness of textural and tonal aspects of paint, and effuse lyrical gestures demonstrate her expressionist approach to the subject matter of nature in striking form.Ultimately, In Lashai's oeuvre, and in the present work in particular, we encounter a vision of the natural world that is far from stale, academic and static, but one which is magnified by our poetic, metaphysical, and emotional responses to its grandeur.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
Lester Piggott signed and worn Charles W. Engelhard Jr. racing silks. 1960s, green body with red and yellow arms, signed in black marker pen, glazed and framed.These silks were from Fulke Johnson Houghton's stables at the Woodway Stables in Blewbury. The most notable Enelhard horses trained by Fulke Johnson Houghton and ridden by Lester Piggott would include the brothers Ribocco, Ribero and Ribofilio. The first two both won the Irish Derby and the St Leger in 1967 and 1968 respectively; whilst Ribofilio won the Champagne Stakes and Dewhurst Stakes in 1968, and was believed to have been ‘got at’ when flopping in the 2,000 Guineas.Other Lester Piggott-ridden Charles Engelhard horses trained at Blewbury include Tin King (Norfolk Stakes & Cornwallis Stakes 1965), Falcon (Norfolk Stakes 1966, Temple Stakes 1967) & Habitat (1969 Wills Mile).These silks have a distinctive square patch repair. A colour portrait press photograph of Lester Piggott, with a file date of 1st July 1968, shows Lester wearing these repaired colours.
A set of four horse racing First Day Covers signed by Lester Piggott, Frankie Dettori, Greville Starkey and Walter Swinburn, the cover commemorating the association of Inigo Jones (400th anniversary of his birth) and Newmarket the home of horse racing, postmarked Newmarket, 15th August 1973, so now the 450th anniversary, signed in ink at a later date, mounted, framed & glazed, 42 by 53cm., good condition, (4).All glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs.
The Ayr County Cup won by Sir Abe Bailey's racehorse Ceylonese in 1925, a silver two-handled trophy cup & cover, hallmarked Garrard & Co. Ltd., London, 1923, the body with a repeated pattern in raised decoration of Bacchus masks and flower pots, the cover with a similar floral raised pattern, on ebonised plinth set with a plaque inscribed WESTERN MEETING, 1925, AYR COUNTY CUP, WON BY, CEYLONESE, height 40cm., width across handles 36cm., weight 2,950gr., height on base 50cm., dings to cover rim causing fitting to cup misaligned, otherwise in good condition.Ceylonese was a brown colt foaled in 1919 by Willonyx out of Excelita (Dark Ronald), trained by Reg Day at the Terrace House Stables in Newmarket. In 1922 the colt had finished 3rd in the St Leger and also finished third in the Cesarewitchs of 1922 & 1923.Sir Abe Bailey was a South African diamond and gold tycoon, politician, financier and art collector. He also played First-Class cricket for Transvaal and in 1912 played a leading role in instigating a triangular Test Match tournament between England, Australia and South Africa.He also had extensive bloodstock interests in South Africa and England, his horses carrying his familiar gold & black hooped colours. His first major successes came with Dark Ronald (Ceylonese's sire) in the Royal Hunt Cup at Ascot in 1909. Dark Ronald was also the sire of Son-In-Law who became an important stallion for stamina. Sir Abe Bailey's greatest triumph, however, was the victory in the 1920 Epsom Derby with Spion Kop.
Two original photographs of the jockey Fred Archer,the first in an oval picture frame, 7 by 5.5cm., contained in a velvet-lined folding leather photo case, Archer wearing racing silks; the other, 9 by 5.5cm., in a wooden frame, an oval portrait of Archer in smart attire; the lot also including a further folding case, containing an engraved portrait of Archer produced as a commemorative after his death in 1886, closed case size 20 by 15cm., (3 items).
Seven signed photographs of flat race jockeys in action,the first listed b&w;, the others colour, various sizes typically 8 by 10in., comprising: Lester Piggott finishing 2nd on Meadow Court behind Sea Bird II in the 1965 Derby; Frankie Dettori winning on Lord Hartington's 2-y-o Carbon at York 14.6.97; Mick Kinane and Grand Lodge the 1994 St James's Palace Stakes winners at Royal Ascot; Pat Eddery winning the Fred Darling on Musicale in 1992; another signed by Pat Eddery, galloping Tenby at Newmarket in preparation for the 1993 Derby; a photograph triple-signed by Michael Hills, Richard Quinn and David Harrison, featuring a tight finish on the Newmarket July Course in the 1996 Sweet Solera Stakes; and a Kieran Fallon signed photograph in victory salute, undated, all in good condition, (7).
Printed racecard for the fifth annual Sheriff Hutton Steeple Chases 2nd April 1867, comprising the 20 Prince of Wales Stakes over three miles, the 10 Princess Alexandra Stakes over two and a half miles and the 5 Ladies' Purse, races held under the Stewardship of Messrs. W Hornsey, R Cayton and W Fawcett, and R Williamson (Castle Inn, Secretary) and R Saville (Wellington Inn, Treasurer), printed by C Lawson, 44 Goodramgate, York, water stain bottom right-hand corner, horizontal fold, otherwise good, mounted, framed & glazed, 34 by 27cm. The Sheriff Hutton Steeplechases comprising of three races were first held in April 1863 and continued for just a short while until 1870. Apart from a point-to-point meeting organised by the Middleton Hunt at Cape Farm in 1921, steeplechasing did not return to Sheriff Hutton until 2008. This was when the veteran racehorse trainer Mick Easterby agreed to host the opening meeting of the Yorkshire point-to-point season at a newly established three mile course on land close to his New House Farm yard. The new course is believed to be laid out very close to the site of the original course on land known as The Carrs.
Shoe worn by the racehorse Fantastic Light,mounted on a wooden plaque with easel support and set with an engraved metal plaque, 20 by 15cm.Provenance: The Ray Goddard Collection (lots 97 to 178). For further information on Ray Goddard and the collection see lot 144.Fantastic Light was a US-bred bay colt foaled in 1996 by Rahy out of Jood (Nijinsky. Until early 2000 he was owned by Maktoum Al Maktoum and trained at Newmarket by Sir Michael Stoute. He then transferred to Godolphin to be trained by Saeed bin Suroor.When in the former ownership, the colt won the Sandown Classic Trial, the Great Voltigeur Stakes and the Arc Trial at Newbury in 1999; and the Dubai Sheema Classic in 2000. The first successes for new connections came later that year, and at the highest grade, with victories in the Man o’War Stakes and Hong Kong Cup. Fantastic Light improved more as a 5-y-o and in a memorable campaign won the Tattersalls Gold Cup, the Prince of Wales’s Stakes, the Irish Champion Stakes and the Breeders’ Cup Turf (setting a new course record). Of these victories, the Irish Champion Stakes is of worth mention. Fantastic Light’s narrow defeat of the great Galileo was a supreme clash of two alpha male thoroughbreds not conceding an inch to their rival; whilst the Godolphin v Coolmore race tactics added a further fascination to one of the most memorable races of the 21st Century.At Stud, the best of his progeny would include Scintillo (Gran Criterium) and, in Australia, Mission Critical (Whakanui Stud International Stakes).
A set of racing silks and a personal archive relating to Mr John Ismay of the White Star Line (Titanic) Family and owner of the champion racehorse Santa Claus,the racing silks with a green cap bearing a label for L J Watkins, 77/78 Dame Street, Dublin, the black jacket with a gold six-pointed star, and green hooped sleeves; sold together with a leather trunk containing an extensive personal archive mostly relating to Mr John Ismay's extensive business interests, but also his racing and bloodstock activities as well as personal items including his spectacles, (a qty.).Santa Claus was the outstanding racehorse of 1964 winning the Irish 2,000 Guineas and the Epsom and Irish Derby's. The colt had advertised his ability as a two-year-old when winning Ireland's prestigious 2-y-o race the National Stakes by 8 lengths. He was trained at the Curragh Stables of Mick Rogers, having been bought by John Ismay with the advice of Mrs Darby Rogers, Mick's mother.For the avoidance of doubt, this particular set of Mr Ismay's silks is not the one worn during the English and Irish Derby wins as photos show the jacket had a five-pointed star.Santa Claus's victory in the 1964 Derby was the second time that a racehorse owned by the Ismay family had crossed the finishing line first in the Blue Riband of the Turf; the previous time had been in 1913 when the Titanic survivor Charles Bower Ismay's racehorse Craganour won the race. This was one of the famous renewals and became known as the Suffragette Derby, after the Votes for Women campaigner Emily Davison dashed out to her death in front of the King's horse Anmer at Tattneham Corner. In a second twist of high drama Mr Ismay's horse was disqualified by the Epsom Stewards citing inteference with the second-placed horse Aboyeur. This controversial decision is widely regarded to have been a reaction to society criticism of Ismay who had boarded one of the insufficient number of Titanic lifeboats. Mud seemingly had stuck to Ismay Family, Charles being the younger brother of J. Bruce Ismay, Managing Director of the White Star Line.
Shoe worn by the racehorse Arazi,mounted on a wooden plaque with easel support and set with engraved metal plaques, 20 by 15cm., the shoe has become detached from the backboard.Provenance: The Ray Goddard Collection (lots 97 to 178). For further information on Ray Goddard and the collection see lot 144.Arazi was a chestnut colt foaled in 1989 by Blushing Groom out of Danseur Fabuleux (Northern Dancer). He was bred in the USA by Ralph Wilson, founder and owner of the Buffalo Bills NFL team. The colt was originally owned by Allen E Paulson, who sent him to France to be trained by Francois Boutin. Later Sheikh Mohammed bought a half-share.Arazi was one of the outstanding two-year-olds in racing history. He won six of his seven races in France before travelling to Churchill Downs to run on Dirt for the first time in the Breeders’ Cup Juvenile. Here, Arazi recorded an outstanding victory winning by a wide margin in what commentators described as “the single-most spectacular performance in Breeders’ Cup history.” Timeform awarded Arazi a figure of 135, a range of figure usually only reserved for a racehorse at three or above, and the colt was festooned with accolades at the Eclipse and Cartier awards ceremonies.Sadly Arazi, although winning further races, did not reach the same dizzy heights as a three-year-old and was retired to Stud where he was owned outright by Sheikh Mohammed. Arazi’s greatest influence on the breed can perhaps be found as a broodmare sire - his daughters producing around the globe the likes of Electrocutionist (Dubai World Cup), Lahudood (Breeders’ Cup Filly & Mare) and American (Melbourne Cup).
A group of six unused branded clothing and accessories for the Longines Hong Kong International Races,in original packaging with tags, comprising two dark blue zip-up waterproof jackets (both medium) the first issued in 2012 the other in 2017, the remaining items all 2012, dark blue polo shirt (medium), a black lambswool & cashmere scarf, a laptop/travelling bag; and a boxed gentleman's leather belt, (6).
Four autographed racecards,comprising: 1972 Grand National signed by the winning jockey Graham Thorner; 1997 ‘Monday’ Grand National signed by the winning jockey Tony Dobbin (comes with a 1997 GN commemorative brochure); Uttoxeter races 27th August 2002 signed by Tony McCoy who rode his 2,000th winner this day; and a racecard for the first day's racing at Fflos Las 18th June 2009 signed by Mr Walters the winning owner of the opening race, (5).
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