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Lot 259
A small quantity of Georgian silver coins, including: George III, dollar, 1804, retaining M mark and part of legend of original 8 reales (S 3768), small star mark in front of bust, fine; crowns (3), 1818, 1819 and 1820 (S 3787), near fine and good fine; George IV, crowns (3), 1821, 1822 and 1822 (S 3805), good very fine, very fine and good fine; and five lower denomination coins, low grades. [12]
Lot 30
Nine medals to Sergeant Robert Jones, Bedfordshire Regiment and Royal Tank Corps: British War Medal 1914-20 and Victory Medal (Q. M. & LIEUT. .R. JONES. ), "Q.M.&" partially erased, otherwise very fine; 1939-45 Star; Africa Star, 8th Army clasp; Defence Medal; War Medal 1939-45, Mention in Despatches emblem; Coronation Medal 1937; Territorial Force Efficiency Medal (2116 SJT: R. JONES. 5/ BEDF: REGT); Efficiency Medal, Territorial (7872997 PTE. R. JONES. R. TANK.C.), very fine or better. [9]; together with a presentation wristwatch from the 23rd (London) Armoured Car Company, a group photograph from the inter-war period showing the recipient with his company flanked by two Rolls Royce armoured cars, a photograph of the recipient in Africa during the Second World War, other photographs, sporting prize medals, and other items.
Lot 333
A small quantity of militaria, comprising: a Victorian infantry officer's shoulder belt, black patent leather, the pouch with white metal crowned VR cypher, white metal socket and whistle linked by a double chain to a lion mask boss, personal arms to a cast white metal shield, brass buckle, possibly a composite item; a post-Victorian Royal Artillery Officer's belt pouch, patent leather, the gilt-bass artillery badge set with a white metal 'M'; a Royal Navy silvered brass sword belt clasp, and a bosun's whistle on chain. [4]
Lot 341
Indian Army interest: 15th Lancers (Cureton's Multanis): a commemorative photograph album of the Regimental Jubilee at Dera Ismail Khan, 1909; together with a published regimental list 1858-1908: the first containing thirty-two photographs including views of the regiment in review, group portraits of the individual squadrons in varying types of uniform, portraits of the officers, 'Mutiny Veterans' and other similar subjects; the second in the form of an annotated army list giving details of officers, a brief regimental history, and other information, published 1910; each bound in green leather and with M/S dedication to George Henry Mildmay Ricketts C.B. G.H.M. Ricketts was a Civil Servant, appointed Assistant Commissioner to the Jhelum Division of the Bengal Presidency in 1847, and created C.B. in 1860.
Lot 354
American Civil War interest: a soldier's discharge certificate, for Private Henry A. Covert (?), of Captain Grant's Company of the 20th Regiment of Michigan Infantry, who enrolled on the 12th August 1862 and was discharged on the 27th February 1865, endorsed with an 1866 dated stamp; together with two 1920s dated certificates concerning the discharge and pension arrangements of Sergeant Dean M. Seabolt of the 31st Regiment of Michigan Infantry. [3]
Lot 89
A small collection of medals, comprising: a Victory Medal, bilingual reverse (PTE. C.E. FREAKES, 2ND S.A. RIFLES.), very fine; another (SPR. E.C. BATES. S.A.C.S.C.R.E.)*, good fine; British War Medal 1914-20 and Victory Medal (M-159 PTE. DANDI. RHODESIAN. REGT.), good very fine; British War Medal 1914-20 and Victory Medal (554898 PTE. R. CORBETT. 16-LOND.R.), good very fine; British War Medal 1914-20 and Victory Medal (2. LIEUT. H.G. ELLIS.), together with a Royal Society of Arts, Manufactures and Commerce bronze award medal for book keeping (HAROLD GEORGE ELLIS)**, cased, about extremely fine. [9] Offered with some copy research. *Edwin Charles Bates severely wounded in action 29/12/1916 ** Harold George Ellis also entitled to a 1914-15 Star and a Silver War Badge.
Lot 24
Wooden G.R Smith & Co. Ltd. crate containing bottles of alcohol to include: Gordons Gin, M&S Elderflower Liqueur, Jacobs Creek Chardonnay Pinot Noir Brut Cuvee, Baileys, Martini Prosecco, Prosecco Doc Rose and 2 souvenir bottles of Ouzo from Rhodes with wooden barrel design and a bottle of Cwm Deri Silver Birch medium sweet white wine.(B.P. 21% + VAT) All bottles appear to be full and sealed.
Lot 290
Group of assorted facsimile copy medals to include: Abyssinian War medal (Tailor's Copy), Operational service Medal for Afghanistan, QE2 Operational Service Medal for Afghanistan with dress miniature copy, Waterloo Medal copy, a commemorative medallion, and German honour medal Pour le Merite, 'Deutsches-Feld Ehrenzeichen Hamburg'. In original box from M Fleck & son of Hamburg. Probably a replica. (B.P. 21% + VAT)
Lot 292
WWI Model Duo awarded to 013766 Private E M Hopkins AOC to include 14-18 Ward Medal and Victory Medal together with another 1914-18 War Medal awarded to 1-250 WOC Second Class W M Reese AOC and a Long Service and Good Conduct Medal awarded to 7579072 WOC to W M Reese RAOC. (4) (B.P. 21% + VAT)
Lot 329
Tray with tea for two set marked 'Made in Japan' with a K in a circle, relief decorated with yellow flowers on a pale yellow ground to include teapot and stand, two cups and saucers, milk jug and sugar basin, and a tray with six beakers, 'Cristal Ceramic' to the base and letters 'M I', having black palm tree and pyramid decoration on a green ground, a 1919 peace mug with Haig & Beatty illustrated on it, two boxed crown Staffordshire commemorative plates, Silver Jubilee, accession to the throne 1952-77, coronation 1937 plate, together with two cast metal models of the coronation chair built by Edward I to enclose the stone of scone, in original boxes. (2)(B.P. 21% + VAT)
Lot 334
Box of various camera equipment to include Polaroid 636 close up instant camera in original box, Kodak Advantix C650 camera in original box with film, Halina 45mm camera, Kodak Brownie 127 camera, Kodak Instamatic 77X in case, cased Pentax MZ-M with 50mm lens, 70-210mm lens, and 24-50mm lens, with a boxed Kodak Deluxe camera kit Supersport, etc.(B.P. 21% + VAT)
Lot 517
Box of assorted antiquarian and other good quality books to include 'Wales Illustrated in a series of views', 'Life, Travels & Reminisces of J Ceredig Davies' two editions of 'Aberystwyth & the Court Leet' by G Eyre Evans, 'Welsh Folk Law' by J Ceredig Davies, 'The History of Gruffydd Ap Cynan' by Arthur Jones, 'Houses of the Welsh Country Side' by P Smith, 'Cardigan Priory in the Olden Days' by Emily M Pritchard, various other topographical and historical books to do with Wales and other including Mitford 'History of Greece', 'Pepys' Diary', etc. (B.P. 21% + VAT)
Lot 129
A ruby and diamond 9ct gold wreath brooch, designed as a circular of round mixed cut rubies punctuated by single cut diamonds, all set to a 9ct gold bi-coloured mount, hinged pin and safety loop fastening and safety chain to reverse, marks for Sheffield 1989, 25mm diameter, together with a diamond set 18ct gold quatre-foil ring, size N 1/2, and a garnet five-stone 9ct gold ring, size M 1/2 (3) Please note; The gemstones in this lot have not been tested for synthetic or natural origin.
Lot 144
A sapphire and diamond 18ct gold ring, comprising two mixed cut sapphires and two mixed cut diamonds, claw set to a pierced mount and scrolling shoulders, plain polished mount, ring size L 1/2 (at fault), together with an amethyst, pearl and diamond 14ct gold dress ring, size O, an opal triplet and garnet 18ct gold cluster ring, size Q, a turquoise set gold coloured ring, band indistinctly stamped, size M, and a carnelian and marcasite set dress ring, band stamped '9ct', ring size N (5) Please note; The gemstones in this lot have not been tested for synthetic or natural origin.
Lot 199
An Art Deco ruby and diamond ring, the central (untested) rectangular cushion cut ruby measuring 8.95mm x 7.14mm x 4.41mm, with two mixed cut square diamonds to each shoulder, each measuring approximately 1.95mm x 1.95mm, set in white metal to a plain polished unmarked shank, ring size M 1/2, weight 3.8gmsCR; Please note: This ruby has not been laboratory tested for synthetic or natural origin.There are small chips and nibbles to the facet edges and girdle of the stone. the reverse of the stone has a few large chips, which are visible through the table of the stone. There are transparent/translucent needle like inclusions within the stone, visible under 10x. Diamonds to shoulders are present and in tact. Settings are in good order, all stones appear secure, no signs of splitting or repair. Shank shows light thinning, scratching and wear commensurate with age and use, but no signs of splitting or repair. The shank is unmarked, metal untested.
Lot 200
A diamond and sapphire three stone ring, the central round brilliant cut diamond weighing approximately 0.67 carats, with a round mixed cut blue sapphire to each side, claw set in yellow metal to a plain polished unmarked shank, size M 1/2, weight 2.2gmsCR; Central diamond in good order, no cracks, chips or losses. Both sapphires show some surface reaching cracks, some nibbles to the girdle and some abrasion to the facet edges. Claws show some wear, but stones appear secure. There are signs of resizing to the shank, and some thinning, but no splitting. Light scratching and wear throughout, commensurate with age and use. Please note; The gemstones in this lot have not been tested for synthetic or natural origin.
Lot 202
An early 20th century sapphire and diamond cluster ring, the central rectangular cushion mixed cut sapphire measuring 9.4mm L x 6.5mm - 7mm W x 3.2mm D, the platinum scalloped border set with ten round brilliant cut diamonds, tapered shoulders and plain polished 18ct yellow gold shank, size M 1/2, weight 3.6gms With accompanying report from The Gem & Pearl Laboratory, report no. 20998, that the stone is a natural sapphire, and shows no evidence of heat treatment. CR; Some light nibbling to the facet edges of the table and the girdle. All diamonds are present and in tact. There appears to be some splitting/minor loss to the platinum border, but all stones appear secure. Shank is in good order, no thinning, splitting, resizing or repair, light scratching and wear commensurate with age only. Each diamond weighs approximately 0.02 - 0.03 carats.
Lot 29
A silver part dressing table set by James Dixon & Sons, each piece of navette shape with monogrammed initial 'M' to reverse, comprising a silver tray, 36.5cm x 20cm, Sheffield 1921, a silver pin dish, Sheffield 1924, 13.5cm x 7.5cm, a silver jewellery casket, 18cm wide, Birmingham 1932, a silver trinket box, 10cm wide, Birmingham 1932, a silver mounted hand mirror, 31cm long, Sheffield 1929, a silver mounted hair brush, 25.5cm long, Sheffield 1926, and a pair of silver mounted clothes brushes, each 18.5cm long, Sheffield 1930, together with a further silver mounted shoe buffer and a silver mounted clothes brush (10) (at fault)
Lot 43
Il Giuoco De Gli Scacchi Di Rui Lopez, Spagnuolo; Nuovamente tradotto in lingua Italiana de M. Gio Domenico Tarsia. Scarce first edition of one of the earliest books published on the game of chess. Book bound in vellum, hand written title to spine. Label in paste down: Edinburgh Chess Club. Hand written in pastedown: Presented to the Edinburgh Chess Club by the Earl of Perth 1937. Old Christie's lot label 170 dated 25th May 1988. Signs of repair, evidence of book worm. Boards stained and brittle. Staining to extremities of pages. Condition: poor.
Lot 81
(1). A History of Chess: by H.J.R. Murray, Oxford at the Clarendon Press, 1913. (2) The Two-Move Chess Problem, by B G Laws, George Bell & Sons, 1901. (3). Chess Problems and How to Solve Them. B.G Laws. Leeds: Whitehead & Miller Ltd., 1923. (4). White To Play and Win, Weaver W Adams, Published by David McKay Company, Philadelphia, 1939. (5). Counter Gambits Black to Play and Win. T.D Harding. Publisher: B.C.M. Quarterly; British Chess Magazine. 1974. (6). The Book of the New York International Chess Tournament 1924. Containing the Authorized Account of the 110 games Played March-April 1924 with Original Annotations by Alexander Alekhine. Helms (Helms). 1925. (7) The Manual of Chess: Containing the Elementary Principles of the Game; Illustrated with Numerous Diagrams, Recent Games and Original Problems. Charles Kenny. Published by D Appleton and Company, New York, 1859. (8) Chess Chater & Chaff. Philip H Williams, Stroud Glos. 1909. (9). North and South America: Thomas Pickles. J.M Dent & Sons. 1960. (10). The World Chess Championship: 1951 Botvinnik v. Bronstein William Winter & R.G. Wade. Published by Turnstile Press, 1951. (11). One Hundred Selected Games. M. M. Botvinnik (Author), Stephen Garry (Translator) 1951. (12). The World's Chess Championship; 1937; Official Account of the Games. Alekhine, A.A. [With annotations by the author and Dr. Max Euwe] Published by Sir Isaac Pitman & Sons, Ltd., 1938. (13). Chess for winter evenings; Agnel, H. R. Published by D. Appleton and Company, New York, 1848
Lot 85
A Treatise On The Game Of Chess Containing Games Of Odds, Various Openings Of Even Games...... 1822. Published by J M Richardson. First published in 1617 by D. Pietro Carrera, translated from the Italian by W Lewis. Limited Edition of 250. In original green cloth cover, worn and sunned spine. Turned edge corners on boards. Toned and slightly foxed.
Lot 9
The Works Of Bronte - 1896/8 - Volume One To Twelve. Book Publisher: J M Dent. Twelve Book Volume comprising of Volume One: Jane Eyre I, Volume Two: Jane Eyre II, Volume Three: Shirley I, Volume Four: Shirley II, Volume Five: Villette I, Volume Six: Villette II, Volume Seven: Professor, Volume Eight: Poems Etc, Volume Nine: Wuthering Heights I, Volume Ten: Wuthering Heights II, Volume Eleven: Wildfell Hall I, Volume Twelve: Wildfell Hall II. Half leather binding with raised bands and floral gilt designs to spine, marbled boards and endpapers, top edge gilt. Ownership markings: featuring the crest of Julia Jordon Dumar Esq. Some rubbing to lower and upper edges of spine. Condition: Very Good.
Lot 20
Mahmoud Said (Egypt, 1897-1964)La Mise Au Tombeau (The Entombment) oil on board, framedsigned and dated 'M. SAID 1926' (lower left), executed in 192657 x 75cm (22 7/16 x 29 1/2in).Footnotes:LE MISE AU TOMBEAU, A MASTERPIECE BY MAHMOUD SAID DESCRIBED AS 'ONE OF HIS MOST STRIKING PAINTINGS' BY THE ARTISTS CATALOGUE RAISONEE, FORMERLY ON LOAN TO THE MUSEUM OF FINE ARTS, ALEXANDRIA'For the Primitive artist, the problem is not to conquer the form but rather to renounce form in favour of a spectacular orchestration of the figures and colours. La Mise Au Tombeau established the wave of Primitivism that shaped itself around Mahmoud Said's core work. '-Henri El Kayem, La Revue du Caire, No.43, Cairo, June 1942 pp.112'The penetrating humanity of the Flemish Primitives had a strong effect on him, and one of his most striking paintings capturing this deep emotion was La Mise au Tombeau'- Valerie Didier, Mahmoud Said, Catalogue Raisonne Provenance:Property from a private collection, Cairoin the artists collection until 1964 (on loan to the Museum of Fine Arts of Alexandria in 1964), With Nadia Mahmoud Said (the artists daughter), until at least June 1977, Collection of Fazlulah Mirza, CairoCollection of Omar Koreish, AlexandriaProperty from a private collection, CairoAcquired directly from the above by the present ownerExhibitions:Cairo, Premier Salon de la Chimere, Roger Brevals Studio, February 1927Alexandria, Museum of Fine Arts, Mahmoud Said, 1960, No.40Alexandria, Museum of Fine Arts, 1964, Mahmoud Said, No.126Literature:Al Ahram, In the Egyptian Exhibition of the Chimere Group, Cairo, March 1927, p1Ahmed Rassem, Un peintre pour les peintres, La Semaine Egyptienne, October 1927 La Semaine Egyptienne, January 1936 a, p. 21, illustratedAhmed Rassem, Mahmoud Said, Al Mahallah Al-Jadida, July 1936 a, illustratedAhmed Rassem, Mahmoud Said, The Painter, El-Zelaal: A Page from Art in Egypt, 1936 b, p43 illustratedExhibition Catalogue, Alexandria, Museum of Fine Arts, Mahmoud Said, 1960, No.40Exhibition Catalogue, Alexandria, Museum of Fine Arts, 1964, Mahmoud Said, No.126Dawastashy, Esmat. Mahmoud Saïd: Memorial Book on the Pioneer of Contemporary Egyptian Painting – On the 100th Anniversary of his Birth, Cairo: Ministry of Culture - The Cultural Development Fund. 1997, no. 40, illustratedAl-Shafei, Rawya Ossama. Artist Mahmoud Saïd: An Artistic and Analytical Study. MA Thesis. Faculty of Fine Arts of Alexandria, 2012, illustrated fig 44Note:The present work is included in the Artists Catalogue Raisonne; Valerie Didier Hess and Hussam Rashwan, Mahmoud Said: Catalogue Raisonne Volume 1, Paintings, Skira Editore, 2016, numbered P91Bonhams are proud to present one of the most important and emotive works by the doyen of Egyptian art, Mahmoud Said, ever to come to the market. Described as one of the artists most 'striking paintings' by the artists catalogue raisonne, and a work central to 'shaping' the artists 'core work' by critics at the time, La Mise Au Tombaeu, painted in 1926, comes from a critical period in Said's artistic development, when the artist was transitioning from academic portraiture and landscape painting to his signature empathetic renderings of Egyptian daily life. Said's stylized representations of Egyptian life, pronounced so touchingly in the present work, would later be regarded as the supreme expression of Egyptian artistic heritage in the twentieth century. The present work is widely recognised as his first painting with a religious or spiritual subject matter and sparked a period of creativity in the late 1920's when the artists most significant and iconic paintings were produced. Most likely depicting the famous Cairo necropolis (al-Qarafa), a sprawling centuries old cemetery home to elaborate tombs and mausoleums from the Mamluk and Fatimid empires, Said's work is part of a long and illustrious tradition of Egyptian funerary art stretching back millennia when ancient Egyptian society had a distinct preoccupation with funerary rites and the afterlife.Said however, identifies more immediate inspiration pointing to the Western canon of Christian entombment paintings and specifically the Flemish Primitive painters and Tintoretto, whose visual schema Said incorporates into a distinctly Egyptian scene imbuing a sense of heroism and grandeur to the suffering of his essentially anonymous characters.The present work comes to market with a distinguished provenance; originally in the collection of the artist's daughter, it was on loan for a period to the museum of Fine Arts in Alexandria and exhibited there twice during Said's major retrospectives in the 1960's. Published in nearly a dozen books and journals, and exhibited on numerous occasions, La Mise au Tombeau's immense significance is underscored by its extensive commentary in both contemporary and present sources.Never before presented at auction, La Mise au Tombeau is an extremely rare example of a major narrative scene coming to market. With the majority of Said's work held by institutions or in permanent collections, the current sale presents collectors with one of the few remaining opportunities to acquire a pivotal work by the artist.--------------------------------------------------''The penetrating humanity of the Flemish Primitives had a strong effect on him, and one of his most striking paintings capturing this deep emotion was La Mise au Tombeau. The expressive body language of the figures, depicted with such emotional intensity, communicates the tragedy of the scene and the characters distress in a similar way as achieved by Rogier van der Weyden in his renowned panel painting the Descent of the Cross. To some extent, Said's entombment scene, which appears to be taking place in a Muslim cemetery, unmistakably in Egypt and most likely in Alexandria, can be viewed as the quintessentially Egyptian counterpart to the Christian representations of a scene from the Passion of Christ, that of the Entombment of Christ, as painted by Trecento and Quattrocento Italian masters such as Simone Martini and Giotto. This particular biblical subject seems to have struck Said, as he wrote to Beppi Martin that although the 'baroque' Venetian painters such as Verone and Tintoretto did not appeal much to him, Tintoretto's interpretation of the Entombment of Christ that he saw in the Capella dei Morti in the church of San Giorgio Maggiore in Venice 'caught my eye because of its wide range of colours, although subtle'. Once again, Said innovatively adapted the traditional Christian iconography of Christ's entombment by interpreting it with his very own Egyptian vernacular in La Mise au Tombeau, setting the scene in a familiar Egyptian environment with a sky invaded by his signature black birds, the messengers of death. Rather than making it a 'pastiche' of European Primitive art, that seemed to bother some art critics such as Jean Moscatelli, Said revolutionized the stylistic and iconographic Western conventions by answering them with a common yet emotionally charged scene of everyday life in Egypt'Valerie Didier, Mahmoud Said Catalogue Riasonne, Vol 1, P.129-----------------------------------------------------La Mise Au Tombeau is part of a long and illustrious tradition of Egyptian funerary art stretching back millennia when ancient Egyptian society had a distinct preoccupation with funerary rites and the afterlife.The funerary practises that Said depicts are principally Islamic, with the body wrapped in a white kafan prior to being buried, and the funerary procession leading from the mosque to the burial ground after t... 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
Lot 22
Mahmoud Said (Egypt, 1897-1964)Nude pencil on paper, framedsigned 'M. SAID' (lower right), executed circa 1920s25 x 19cm (9 13/16 x 7 1/2in).Footnotes:Provenance:Property from the collection of Nadia Mahmoud Said, Artist's daughter, AlexandriaDr Hussam Rashwan acquired the work from the above in June 1977, AlexandriaAmal El Husseini acquired the work from the above in 1988)Dr Mohsen Nour acquired the work from the above in CairoIllustrated:Mahmoud Saïd Drawing Catalogue Raisonné, edited by Dr. Hussam Rashwan and Valérie Hes, page 755For further information on this lot please visit Bonhams.com
Lot 48
Mohamed Sabry (Egypt, born 1983)The Village oil on canvas, framedsigned 'M Sabry' and dated '21'(lower left), executed in 2021180 x 240cm (70 7/8 x 94 1/2in).Footnotes:Provenance:Property from the Artist's collectionThis 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
Lot 76
Mohammad El Rawas (Lebanon, born 1951)When We Are Gone Number 9 mixed media and assemblage on plywood panel, framedsigned 'M. El Rawas' and dated '2021' (lower centre), executed in 202180 x 75cm (31 1/2 x 29 1/2in).Footnotes:Provenance:Property from a private collection, LebanonThis 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
Lot 17
"LOLÓ SOLDEVILLA"; Dolores Soldevilla Nieto (Pinar del Río, Cuba 1901-Havana, 1971).Untitled, 1954.Iron sculpture with mobile elements.Attached certificate of authenticity issued by Doña Martha Flora Carranza, heiress of the artist.Measurements: 56 x 26 x 15 m.Iron sculpture with a structure based on strict geometry, with which the artist plays by introducing mobile elements, which give dynamism to the rigidity of the forms and the qualities of the material used. Apart from her well-known career as a painter, Lolo Soldevilla explored other fields such as sculpture. In fact, in 1949 she decided to study sculpture at the Grande Chaumièr Academy in Paris. In this particular case, her work reflects the aesthetic trends of the time, influenced by geometric abstraction.Loló Soldevilla is considered one of the most important figures of Geometric Abstraction and Kineticism, both for her achievements during her career and for her efforts to promote Cuban art within and beyond the borders of her country. He always showed a political involvement through his art, both in his country and abroad, taking an active part in the aid campaigns for the Spanish Republic after the outbreak of the Civil War. His artistic career was always marked by experimentation, not only stylistically but also technically, and he produced works in different media such as sculpture, engraving and drawing. His artistic career began in 1948, influenced by his friendship with Wifredo Lam, who encouraged and supported him in his beginnings in the world of painting. In 1949 he settled in Paris, where he studied at the Académie Grande Chaumière, making frequent trips and exhibitions in Cuba to show his work. In 1951 she joined the workshop of Dewasne and Pillet, where she stayed for two years, and attended a course on printmaking techniques by Hayter and Cochet, maintaining and encouraging creative exchanges with the School of Paris. Linked to the 26th of July Movement, she was forced to live a clandestine life, since during the pre-revolutionary period she collaborated in Diario de la Marina, Carteles, Información, El País, Avance, Porvenir, Tiempo en Cuba and Survey, as well as in the Parisian publications Combat and Arts. After the revolutionary triumph of 1959 she joined the newspaper Revolución as an editor and during the academic year 1960-61 she established herself as a professor of plastic arts at the School of Architecture of the University of Havana. From then on, Dolores Soldevilla combined her artistic career with her teaching work at the University's School of Architecture and at the newspaper Granma. Thanks to her aesthetic approaches, the Grupo Espacio emerged and she was a member of the group Diez Pintores Concretos; she was a member of the UPEC and the UNEAC and collaborated with Bohemia. During his lifetime his work was exhibited in important artistic spaces such as the Palacio de Bellas Artes in Cuba, in Caracas (Venezuela), Paris, Valencia, Valladolid (Spain), Czechoslovakia, etc., achieving great recognition of his work at a global level. Today his work is kept in numerous private collections all over the world and in institutions such as the Museo Nacional de Bellas Artes de Cuba (where the main collection is kept).
Lot 2
CHEMA MADOZ (Madrid, 1958)"I".Photograph, copy 2/15.With Joan Prats Gallery stamp on the back.Provenance: Important Spanish Collection.Measurements: 57 x 47 cm.The way he interprets art through photography and his poetic vision make Chema Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths, there is always an undercurrent of play. Playing in the everyday, generating associations, metamorphoses, in a playful background he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.
Lot 86
SOLEDAD FERNÁNDEZ (Madrid, 1949)."Sea in the background".Oil on canvas.Work reproduced in SOLEDAD FERNANDEZ, EDICIONES SAMMER, 2007.The piece encloses the book with the reproduced work.Signed in the lower right corner.Size: 146 x 114 cm; 176 x 143 cm (frame).Through a realistic aesthetic, the artist configures a symbolic image in which lyricism plays a leading role. The piece draws from sources such as surrealism, allowing us to glimpse a certain approach to the work of Duchamp, where the spectator approaches the piece in a veiled way, like a voyeur contemplating a scene that has not required his or her participation.This painter from Madrid is considered by critics to be one of the best realist painters of the moment, one of her favourite themes being the human body, especially the female nude, always wrapped in paper or cloth, which gives the work a certain magic and mystery. Art critics such as Santiago Amón, Francisco Prados de la Plaza, Francoise Tempra, José Pérez Guerra, José Pérez Guerra, Carlos García Osuna, Santos Torroella, Javier Rubio, Mario Antolín, M. L. Camboy, Tomás Paredes, Antonio Morales, Julia Sáenz-Angulo, Rafael Perelló-Paradelo, Agustín Romo, J. Marcaro Pasarius, Héctor López, Ángel Azpeitia, Antonio Lisboa and David Amor, among others.in 1949 he moved to Collado Villalba (Madrid), where he currently lives. In 1960, and for seven years, she studied in the studio of the Sevillian School painter José Gutiérrez Valle. She is, therefore, a "workshop" painter. Later she continued drawing at the Circulo de Bellas Artes in Madrid and attended several contemporary art competitions. In the 80's she visits and studies art in Paris, London, Rome and Venice, each day going deeper into the techniques she had already learnt in Madrid. After several exhibitions of lesser importance, in 1987 he exhibited in London at the Sammer Gallery and later in Madrid, El Escorial, Barcelona, Palma de Mallorca, Zaragoza, etc. He also attended national and international fairs such as Washington (USA), Chicago (USA), Santander (Spain), Valencia (Spain), Miami (USA), etc. In 1987 he was awarded the first prize for foreign painting (ex aequo) at the XXIX International Competition "Grolla d'Oro de Treviso", Venice, and in 1989 he won the first prize at the VI Durán Painting Prize Competition. His works can be seen in the following museums: Musée Quentovic (Le Touquet, France), National Museum of Fine Arts (Valletta, Malta), Cathedral Museum (Medina, Malta), Museo Bayo (Puerto de Santa María, Cádiz - Spain), Museo de la Real Academia de Bellas Artes de San Fernando (Madrid, Spain) and Museo de Dibujo "Castillo de Larrés" (Huesca, Spain).
Lot 31
Jamini Roy (Indian, 1887-1972)Untitled (Jesus with Mary & Magdalene) initials lower rightoil on paper44.6 x 34.1cm (17 9/16 x 13 7/16in).Footnotes:ProvenanceGifted to Professor Ahmed Ali by the artist in 1947-48 before Ahmed Ali left for the National University in China as the British Council's visiting professor; Inherited from the above by the vendor.FOR THE FRONT PAGE OF THIS COLLECTION The Collection of Orooj Ahmed Ali Orooj Ahmed Ali, is a collector, dealer, consultant, curator and promoter of art, both locally and abroad. Featured twice in Nigaah magazine, first in 2012 as an art collector and then in 2016 as one of the 50 Most influential people in Pakistani Art, it is unsurprising to learn that he has been immersed in the world of art since his childhood. His mother, Bilquis Jehan Begum (1926-1985) was a musician, writer, and artist, who painted figures, abstract, and surreal subjects, in a vibrant and Impressionist style whilst his father, Professor Ahmed Ali, was a novelist, poet, critic, and diplomat, who was deeply involved in the cultural scene of pre and post partition India and Pakistan, and befriended writers and artists, including, E. M. Forster, Virginia Woolf, George Orwell, Edward Thomson, from the Bloomsbury Group, Han Su Yin, Jamini Roy and Zainul Abedin. Sadequain had great regard for him; and Qi Bai Shi, the Chinese master painter, also knew him during his second stay in China (1950-52).Despite being surrounded by antiques and antiquities, it was only in 2004 that Orooj began to collect and deal in art professionally, having spent the early part of his life working as an exporter and manufacturer of terry fabrics, and representing Pakistan at the Frankfurt Book Fair in 1987 and 1990 as a literary agent and publisher. Since then, he has successfully helped clients sell their collections, which included works by artists such as Sadequain, Shakir Ali, Zubeda Agha, Bashir Mirza, Ahmed Parvez, Gulgee, Anna Molka, Jamil Naqsh, Hamidur Rehman, and S M Sultan, to name but a few. The works being offered from Orooj's collection include works by some of Pakistan's, India's, and Bangladesh's finest artists, and Bonhams is honoured to have this opportunity to present them. AHMED ALI (1st July 1910-14th January 1994)Novelist, poet, critic, diplomat, distinguished scholar and co-founder of the All India Progressive Writers' Movement, Ahmed Ali was born in Delhi in 1910. A pioneer of the modern Urdu short story, some of his notable works include: Angarey (Embers), 1932 Hamari Gali (Our Lane), 1940; Qaid Khana (The Prison House), 1942; and Maut Se Pehle (Before Death), 1945. Equally accomplished in English, he achieved international fame with his first English novel, Twilight in Delhi, published by the Hogarth Press, London, 1940, which describes the decline of the Muslim aristocracy with the advance of British colonialism in the early 20th century. He was educated at the universities of Aligarh and Lucknow and later taught at both, amongst other universities, including Presidency College, Calcutta, where he was the Head of the English department between 1932-1947. Between 1942-1945 he was also the BBC's representative and Director Listener Research in India, and was later appointed by the British Government of India as the British Council's Visiting Professor of English to the National Central University of China, Nanking (now Nanjing).Ahmed Ali moved to Pakistan from China in 1948. Joining the Pakistan Foreign Service, he established diplomatic relations with the People's Republic of China as Pakistan's first envoy to Peking (now Beijing), 1950-52, and later with the Kingdom of Morocco. A skilled translator from the Arabic, Indonesian, and Chinese, in addition to Urdu, he is also well known for his English translation of the Qur'an: Al-Qur'an, A Contemporary Translation, Princeton University Press, which is recognized by Islamic scholars as one of the best existing translations of the Qur'an. Influenced by his travels in China, he became a collector of Chinese porcelain & art, and part of his collection was auctioned at Christies in London on 25th July 1960, as Mrs B. Ali's collection. Professor Ahmed Ali is a Founding Father of the Pakistan Academy of Letters; he received Pakistan'sSitara-i-Imitiaz (Star of Excellence), 1980, and an Honorary Doctorate of Philosophy by the University of Karachi, 1993. The Pakistan Post issued a commemorative postage stamp to honour his contributions to Pakistan and Literature, 2005; to celebrate his birth centenary an international conference: Ahmed Ali, Progressive Writers, and Bilingual Creativity, was held by the Sahitya Akademi, Lucknow University, and the Association of Commonwealth Literature and Language Studies, at the Lucknow University in 2011.FOR THIS LOTIt was during the 1940s and 1950s that Roy reinterpreted iconic images in several of his paintings, as he believed that sacred art created the richest mythological traditions. His works were created for the community, and he turned his back on colonial culture, seeking to restore a simple goodness to art that had been lost to the elite of the colonial metropolis. In the two lots that form part of this collection, the first depicting Mary (left), Jesus (centre) and Mary Magdalene (right) and the second depicting Jesus we can see how Roy's intense concentration and ruthless ability to pair down the inessential details, leads to a remarkable modernist brevity, boldness and simplicity of expression, which was a vehicle for his deep and understated social commitment. (Partha Mitter, The Triumph of Modernism: India's artists and the avant-garde 1922-1947, 2007, pp.112-122)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
Lot 40
Ismail Gulgee (Pakistani, 1926-2007)Untitled (Calligraphic) signed and dated '99 lower rightoil on ceramic tile30.8 x 30.8cm (12 1/8 x 12 1/8in).Footnotes:ProvenanceThe Collection of Mrs. Nighat Hussain who acquired this work from the artist;Acquired by the vendor from the above. 'My work is the externalisation of my inner journey. Through it I communicate with the pulse of life. The calligraphic form and movement that emerges is not premeditated or cerebral, it is intuitive and articulates something deep inside me. It is important that no thought of how people will react to my work intrudes, as they would destroy the thread and take the truth away. I am enchanted by Islamic calligraphy and feel close to Sufi mystics. At the mystic level, barriers melt away and religious experience whether Buddhist, Hindu or Muslim become one. One could call it human experience of the ineffable.' (Annemarie Schimmel in M. Ismaili, Gulgee, Ferozesons, 2000, unpaginated)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
Lot 127
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1872 M. Melbourne. Shield. With the Melbourne mint just starting up in 1872, the calendar year mintage for this year was only 748,180 which includes both the Shield and St. George reverse types. Average mintage figures at this time stand in the millions, hence this is a very scarce coin in any grade.Young head left, WW on truncation; date below; VICTORIA DEI GRATIA. / Crowned shield within wreath; mintmark M and national emblems below; BRITANNIARUM REGINA FID: DEF:. Edge milled.Very fine. Reference: S-3854; Marsh-59; McD-120Mintage: 748,180.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 129
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1874 M. Melbourne. St George. Young head left, WW buried in truncation; mintmark M below; VICTORIA D: G: BRITANNIAR: REG: F: D:. / St George on horseback slaying the dragon right, horse with long tail; date and small B.P. in exergue. Edge milled.In secure plastic holder, graded PCGS AU55 , certification number 39521576. Reference: S-3857; Marsh-96; McD-149Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 130
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1875 M. Melbourne. St George; Long Tail. Young head left, WW buried in truncation; mintmark M below; VICTORIA D: G: BRITANNIAR: REG: F: D:. / St George on horseback slaying the dragon right, horse with long tail; date and small B.P. in exergue. Edge milled.About extremely fine. Reference: S-3857; Marsh-97; McD-151aMintage: 1,888,405.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 132
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1876 M. Melbourne. St George. Young head left, WW buried in truncation; mintmark M below; VICTORIA D: G: BRITANNIAR: REG: F: D:. / St George on horseback slaying the dragon right, horse with long tail; date and small B.P. in exergue. Edge milled.Extremely fine. Reference: S-3857; Marsh-98; McD-153Mintage: 2,124,445.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 133
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1877 M. Melbourne. St George; Medium Tail. Young head left, WW buried in truncation; mintmark M below; VICTORIA D: G: BRITANNIAR: REG: F: D:. / St George on horseback slaying the dragon right, horse with medium tail; date and small B.P. in exergue. Edge milled.About extremely fine. Reference: McD-154bDiameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 135
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1881 M. Melbourne. Shield. Young head left, WW on truncation; date below; VICTORIA DEI GRATIA. / Crowned shield within wreath; mintmark M and national emblems below; BRITANNIARUM REGINA FID: DEF:. Edge milled.Good very fine. Reference: S-3854A; Marsh-62; McD-130Mintage: 2,324,800.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 137
AUSTRALIA. Victoria, 1837-1901. Gold sovereign, 1884 M. Melbourne. St George; WW Buried. Young head left, WW buried in truncation; mintmark M below; VICTORIA D: G: BRITANNIAR: REG: F: D:. / St George on horseback slaying the dragon right, horse with short tail; date and small B.P. in exergue. Edge milled.Cleaned, extremely fine. Reference: S-3857B; Marsh-106; McD-167aDiameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 149
AUSTRALIA. Edward VII, 1901-10. Gold sovereign, 1906 M. Melbourne. Bare head right, DeS. below; EDWARDVS VII D: G: BRITT: OMN: REX F: D: IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.Very fine. Reference: S-3971; Marsh-190; McD-223Mintage: 3,657,853.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 151
AUSTRALIA. Edward VII, 1901-10. Gold sovereign, 1909 M. Melbourne. Bare head right, DeS. below; EDWARDVS VII D: G: BRITT: OMN: REX F: D: IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded NGC MS 61, certification number 2126803-006. NGC Census in this grade: 15.NGC Census in higher grade: 77Total NGC Census: 102Reference: S-3971; Marsh-193; McD-232Mintage: 3,029,538.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 153
AUSTRALIA. Edward VII, 1901-10. Gold sovereign, 1910 M. Melbourne. Bare head right, DeS. below; EDWARDVS VII D: G: BRITT: OMN: REX F: D: IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.About extremely fine. Reference: S-3971; Marsh-194; McD-235Mintage: 3,054,547.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 157
AUSTRALIA. George V, 1910-36. Gold sovereign, 1911 M. Melbourne. Bare head left, B.M. on truncation; GEORGIVS V D. G. BRITT: OMN: REX F. D. IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded NGC MS 62, certification number 2126803-008. NGC Census in this grade: 20.NGC Census in higher grade: 30Total NGC Census: 66Reference: S-3999; Marsh-299; McD-338Mintage: 2,851,451.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 158
AUSTRALIA. George V, 1910-36. Gold sovereign, 1911 M. Melbourne. Bare head left, B.M. on truncation; GEORGIVS V D. G. BRITT: OMN: REX F. D. IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded NGC MS 61, certification number 2126803-010. NGC Census in this grade: 4.NGC Census in higher grade: 50Total NGC Census: 66Reference: S-3999; Marsh-299; McD-338Mintage: 2,851,451.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 161
AUSTRALIA. George V, 1910-36. Gold sovereign, 1912 M. Melbourne. Bare head left, B.M. on truncation; GEORGIVS V D. G. BRITT: OMN: REX F. D. IND: IMP:. / St George on horseback slaying the dragon right; mintmark M in groundline; date and B.P. in exergue. Edge milled.In secure plastic holder, graded PCGS MS64 , certification number 83962912. PCGS population in this grade: 76.PCGS population in higher grade: 12.Reference: S-3999; Marsh-230; McD-241Mintage: 2,469,257.Diameter: 22.05 mm.Weight: 7.99 g. (AGW=0.2355 oz.)Composition: 916.7/1000 Gold.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
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