Monir Farmanfarmaian (Iran, 1924-2019)The Magnified Sacred mirror and reverse-glass painting on woodexecuted in 2004diameter: 100cmFootnotes:A MAJOR MIRROR-WORK BY MONIR FARMANFARMAIAN FROM THE GEOMETRIC INSTALLATIONS SERIES'The harmonious division of a circle is a symbolic way of expressing the Tawhid, the Divine Unity as the source and culmination of all diversity'- Monir Farmanfarmaian, Mosaics of Mirrors 'This nonagon [The Magnified Sacred] represents the nine elements of the body: brain, bones, nerves, veins, blood, flesh, skin, nails and hair'- Monir Farmanfarmaian'For her 2006 exhibition in Tehran, Monir has conceived installations of large panels in different colours - with [the red nonagon] in a traditional color of passion and fire. The panels symbolize every aspect of the universe and characterize the timeless and infinite quality o Islamic geometric concepts'- Rose Issa Provenance:Property from a distinguished private collection, LebanonAcquire directly by the above from Rose Issa Projects, 2006Literature:London, Rose Issa Projects, Monir Shahroudy Farmanfarmaian: Mosaics Of Mirror, 2006, illustrated on page 38Exhibited:Monir Farmanfarmaian, Major Retrospective, Niavaran Cultural Centre, Tehran, 2006Monir Farmanfarmaian, Mosaics of Mirror, 2006, Rose Issa Gallery, LondonRadiant, enigmatic and complex, 'The Magnified Sacred' is one of the finest, and perhaps most technically intricate examples of Monir Farmanfarmaian's iconic mirror-work to come to market. Exhibited as part of an enormous series of 'Geometric Installations' executed between 2003-5 and exhibited at her major retrospective in Niavaran Palace Tehran in 2006, The Magnified Sacred is from one of Farmanfarmaian's most ambitious bodies of workMarrying craft, geometry and spiritual symbolism, Monir's composition extracts the centuries old Iranian tradition of mirrored paneling from its architectural setting, elevating it to an art form in its own right. Informed by a deep understanding of numerology and symbolism, Monir's work sheds light on the significance of shapes and signs within the typology of classical Islamic art, in an aesthetic framework that is captivating and intricate. Large in scale, sculptural in presence, and exhibiting an endless array of reflective variations, The Magnified Sacred is one of the most tightly composed and intricate examples of Monir's work.The shapes and patterns which Monir' employs in her compositions are clearly and intentionally derived from the geometric and numerological formulae present in Islamic and Iranian architecture. Whilst decoratively complex, the use of geometric patterns and tessellations points to a far deeper conceptual agenda, 'the proliferation of arabesque abstract decoration enhances a quality that could only be attributed to God, namely, His irrational infinity,' scholar Wijdan Ali observes in The Arab Contribution to Islamic Art (the American University in Cairo Press, 1999). 'The pattern of the arabesque, without a beginning or an end, portrays this sense of infinity, and is the best means to describe in art the doctrine of tawhid, or Divine Unity.'Exhibited and published in her major Monograph, The Magnified Sacred is a sublime example from an artist who has elevated her countries vernacular craft into a universal aesthetic, and in doing so, has become one of the most internationally acclaimed figures to emerge from Iran within the past century. Monir Farmanfarmian: A LifeBorn in Qazvin, Iran in 1924, Farmanfarmaian begun her studies at the Faculty of Fine Arts in Tehran before embarking to New York, where she attended Parson, The New School for Design and Cornell University, and worked as a fashion illustrator. It was in New York that Monir' mixed with the cities emerging cultural avant-garde, collaborating with artists such as Andy Warhol on illustrations for the Bonwit Teller department store. It was only after moving back to Tehran that Monir developed her signature style. Influenced by the arts and crafts of her native country, Farmanfarmaian fashioned an artform out of mirror-mosaic work drawing on traditional techniques of reverse-glass painting, inlaid carving, Islamic geometry, and architectural design. To create her reliefs and sculptures, Farmanfarmaian commissioned craftsmen to draft her early designs, then cut mirrors to fit the required shape, which were set in geometrical patterns, and mixed with plaster to produce new compositions into which the artist incorporated colored glass.Monir Farmanfarmaian received international acclaim in 1958, when she was presented a gold medal for her work in the Iranian Pavilion at the Venice Biennale, this was followed by exhibitions in Tehran, Paris and New York. She has recently become the focus of significant institutional interest, having held important exhibitions worldwide including the Gwangju Biennale, South Korea (2016); a major career retrospective at the Solomon R. Guggenheim Museum, New York, NY (2015) and at the Fundação Serralves–Museu de Arte Contemporânea, Porto, Portugal (2014).She is the subject of a substantial monograph, Monir Shahroudy Farmanfarmaian: Cosmic Geometry, edited by Hans Ulrich Obrist; and has authored an autobiography, A Mirror Garden (Knopf, 2007). Farmanfarmaian's work is placed in some of the most important institutions around the world, including: Solomon R. Guggenheim Museum, New York, NY; Tate Modern, London, U.K.; Museum of Fine Arts, Boston, MA; and Metropolitan Museum of Art, New York, NY.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
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You can now book a one to one appointment (up to one hour) to view this lot at our central location. Please contact the member of staff associated with this lot to secure your appointment. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions will be given when making your appointment. Jaguar's seminal Mk2 sports saloon in the ultimate 3.8-litre, manual/overdrive configuration UK/right-hand drive, matching numbers, original panels, and in its original colours of Opalescent Silver Grey with red interior Fully documented ownership history and a verifiable 20,400 miles Magazine-featured (see images) and considered one of best Mk2 examples in the UK Accompanied by a large history file, including many invoices, photos, a Heritage Certificate and all-original handbooks, toolkit, and even the paper tag that hung on the cigarette lighter to inform owners how to use it! In 2006, sold to Richard Fairbrass, lead singer of Right Said Fred, by a prominent Jaguar specialist where it benefited from a full engine-bay detail, power steering and other driving enhancements believed costing in excess of £60,000 One of the best Mk2 examples we have ever offered for sale Launched in October 1959, the Jaguar Mk2 offered a noticeably improved driving experience over its predecessor courtesy of revised front suspension geometry, widened rear track, and four-wheel disc brakes. It was also better looking and, fittingly, the Mk2 was voted 'Car of the Year' in 1959 and would form the mainstay of Jaguar's saloon car production until 1967. One of the most readily recognised cars of the 1960's, thanks in part to countless appearances in films and on television, Jaguar's seminal Mk2 saloon set the standard for the class throughout its entire production life and today remains highly prized by enthusiasts. With the advent of the Mk2, the 3.8-litre version of Jaguar's XK twin-cam six became available for the first time in the company's medium-sized saloon. In 3.8-litre, manual/overdrive configuration with 220bhp on-tap and a whopping 240lb/ft of torque available at a lowly 3,000rpm, it was a genuine 125 mph car capable of reaching 60mph in 8.5 seconds, outstanding figures for a saloon of its size and making it the fastest saloon in the world at the time. The car presented here is that most desirable of models, a 1961 Jaguar Mk2 3.8-litre M/OD. This particular car is well-known and has been magazine-featured, having completed a genuine and well-documented 20,400 miles from new. It was sold new to a Mr James Young of Strathaven, Scotland, who ordered this Mk2 from Rossleigh Motors, notably with Ace Turbo wheel-trims and two huge air-horns situated in the front wings! Mr Young owned Townhead Garage and upon delivery of the car, he took the rather unusual step of having it professionally stripped and repainted in his 'garage livery' of Coffee and Cream. This work was carried out by Millar & Williamson of Kirkintilloch and period photographic documentation (in the accompanying history file) depicts the car in this colour scheme (Mr Young also assigned the very special registration number 'NU 1' to the car at this time, and this was later purchased by Norwich Union). Mr Young only used the car sparingly at weekends and for holidays, however in 1964 he sadly fell ill and the Mk2 sat unused until his death 23 years later in 1987. Townhead Garage was then sold to a Mr Jimmy Louden and he agreed with Mr Young's widow that he would help dispose of her husband's car collection that had quietly accumulated over the years. Jimmy Louden fully re-commissioned the car and it was sold in 1988 with just 8,500 miles on the clock! In subsequently passed between a number of owners since (all fully documented in history file, often with letters from each), including a Mr Kevin Videan of Pembrokeshire, who together with the Mk2 featured in a great article in the January 2005 edition of 'Jaguar Enthusiast' magazine (photos of which are attached to this listing, use arrows to click right through). Prior to his ownership, the car was professionally restored back to its original colour combination (with another high quality repaint in 2012 with a photographic record and receipts); the only external deviation now from the original factory specification is the fitment of wire wheels. The interior is one of the best we have seen, presented in an unrestored condition, with a beautiful patina and unrepeatable original smell, a rare opportunity to experience just how Jaguar prepare their veneers when new! The only upgrade is the addition of a recreated Derrington steering wheel, a popular upgrade in the period. In 2006, it was sold to Richard Fairbrass, lead singer of 'Right Said Fred', by a leading Jaguar specialist where it benefitted from a full engine-bay detail, power steering and other driving enhancements believed to cost in excess of £60,000. Our vendor purchased the car in 2011 and has continued the fastidious maintenance and storage of it. Having enjoyed his time with it, this fabulous Mk2 is now ready for a new owner to drive and enjoy. Click here for more information This car was consigned by Joe Watts. Please feel free to contact Joe on 07779 082707 / joe@silverstoneauctions.comSpecificationMake: JaguarModel: Mk2 3.8-litre manual/overdriveYear: 1961Chassis Number: 204691DNEngine Number: LB4392-8Transmission: ManualDrive Side: Right Hand DriveOdometer Reading: 20400 MilesBody Colour: GreyInterior Colour: Red
§ FRANCOISE MORELLET (FRENCH 1926-2016) UNTITLED (TWO BLACK, TWO WHITE)Set of four screenprints, from ed. of 300, each signed and numbered in pencil with Galerie Denise Rene blindstamp, unframed (4) (Dimensions: 80cm x 80cm (31.5in x 31.5in), full sheet)Biography: François Morellet was a French Conceptual sculptor, painter, and light artist, known for his geometric abstract art. Morellet’s earliest work were figurative paintings, but he quickly turned to abstraction, painting a series of lines that crisscrossed to form geometric shapes. He began to work in sculpture using neon tubes and continued to experiment with Minimalism and geometry in art. In 1963, along with artists Julio Le Parc and Francisco Sobrino, co-founded the Groupe de Recherche d’Art Visuel to research new modes of artistic expression. In 2011, Morellet was included in a major exhibition at the Guggenheim Museum in New York titled “Themes & Variations. Script and Space.”
Mathematics and Geometry - a set of three 19th century exercise books, inscribed in ink manuscript with problems, calculations, equations, tabulations and diagrams, various headings including, Measuration of Solids and Surveying, quarter-bound tooled and gilt morocco, green paper-lined boards printed with star diapers
Dodgson (Charles Lutwidge, 'Lewis Carroll'). An Elementary Treatise on Determinants with their Application to Simultaneous Linear Equations and Algebraical Geometry, 1st edition, London: Macmillan and Co., 1867, some light spotting to front endpaper and title, bookplate residue from removal from front pastedown, original burgundy cloth, spine vertically split along upper joint with loss towards head of spine (with loss of letter 'n' of Dodgson), edges a little rubbed, 4to (Qty: 1)NOTESPresentation copy, inscribed at head of title: "H.J. S. Smith, Esq. with the Author's kind regards." Henry John Stephen Smith (1826-1883) was a mathematician and tutor at Balliol College, Oxford from 1847 and soon made Fellow, and later Savilian Chair of Geometry at Oxford in 1861. He is best known for the Smith-Minkowski-Siegel mass formula in number theory and discovered the Cantor set in 1874. Williams, Madan, Green & Crutch 57.
A Victorian mahogany cased stereoscopic viewer, the box opening to reveal an extra viewer on a ratchet system, 15¾in. (40cm.) long, together with a simulated book box containing 'AROUND THE WORLD' stereo cards, vol 1 & II by Underwood & Underwood, comes with accompanying booklet with original map; a set of cards by the same publisher 'SOLID GEOMETRY' with booklet and various other cards.
A small group of geometry apparatus including a speed-time-distance slide rule, an Aristo Scale rule in original plastic case, a cased 'Ideal Photo-Optical Outfit' by Burke & James of Chicago, an AG Thornton Ltd geometry set produced by the manufacturers in Manchester and a further black hard cased part geometry set in chamois leather bag (5).
A walnut-cased geometry set with purple velvet interior, some pieces with ivory handles, two marked 'Army & Navy C.S.L', vintage rulers to include one with ivory trim and a cased 'Lucas Gas Turbine Equipment' measure etc. CONDITION REPORT The geometry set is incomplete and some pieces are missing.
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