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Lot 653
Dambuster Bill Townsend CGM DFM signed Conspicuous Gallantry medal cover A4 size cover also signed by six other winners of CGM Flt Sgt Allen CGM , W O Bettany CGM, F O Dove DFM CGM, F O Jones CGM, Flt Sgt Wheeler CGM, W O Norris CGM. Flown in Chinook and signed by the pilot Grp Capt Garden. Signed and certified on back by WW2 escaper Grp Capt Bill Randle DFM. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Lot 666
Seven Victoria Cross winners signed A4 Victoria Cross to Airmen Cover. Signed by Grp Capt Leonard Cheshire VC, Flt Lt John Cruickshank VC, W O Norman Jackson VC, Wg Cdr R Learoyd VC, Air Cdre Fred West VC, Grp Capt Leonard Trent VC, Bill Reid VC. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Lot 733
Blowout Sale! Jackass Wild Boyz Steve-O hand signed 10x8 photo. This beautiful hand signed photo depicts Steve-O from the hit tv shows Jackass and Wild Boyz. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
Lot 32
Monir Farmanfarmaian (Iran, 1924-2019)The Magnified Sacred mirror and reverse-glass painting on woodexecuted in 2004diameter: 100cmFootnotes:A MAJOR MIRROR-WORK BY MONIR FARMANFARMAIAN FROM THE GEOMETRIC INSTALLATIONS SERIES'The harmonious division of a circle is a symbolic way of expressing the Tawhid, the Divine Unity as the source and culmination of all diversity'- Monir Farmanfarmaian, Mosaics of Mirrors 'This nonagon [The Magnified Sacred] represents the nine elements of the body: brain, bones, nerves, veins, blood, flesh, skin, nails and hair'- Monir Farmanfarmaian'For her 2006 exhibition in Tehran, Monir has conceived installations of large panels in different colours - with [the red nonagon] in a traditional color of passion and fire. The panels symbolize every aspect of the universe and characterize the timeless and infinite quality o Islamic geometric concepts'- Rose Issa Provenance:Property from a distinguished private collection, LebanonAcquire directly by the above from Rose Issa Projects, 2006Literature:London, Rose Issa Projects, Monir Shahroudy Farmanfarmaian: Mosaics Of Mirror, 2006, illustrated on page 38Exhibited:Monir Farmanfarmaian, Major Retrospective, Niavaran Cultural Centre, Tehran, 2006Monir Farmanfarmaian, Mosaics of Mirror, 2006, Rose Issa Gallery, LondonRadiant, enigmatic and complex, 'The Magnified Sacred' is one of the finest, and perhaps most technically intricate examples of Monir Farmanfarmaian's iconic mirror-work to come to market. Exhibited as part of an enormous series of 'Geometric Installations' executed between 2003-5 and exhibited at her major retrospective in Niavaran Palace Tehran in 2006, The Magnified Sacred is from one of Farmanfarmaian's most ambitious bodies of workMarrying craft, geometry and spiritual symbolism, Monir's composition extracts the centuries old Iranian tradition of mirrored paneling from its architectural setting, elevating it to an art form in its own right. Informed by a deep understanding of numerology and symbolism, Monir's work sheds light on the significance of shapes and signs within the typology of classical Islamic art, in an aesthetic framework that is captivating and intricate. Large in scale, sculptural in presence, and exhibiting an endless array of reflective variations, The Magnified Sacred is one of the most tightly composed and intricate examples of Monir's work.The shapes and patterns which Monir' employs in her compositions are clearly and intentionally derived from the geometric and numerological formulae present in Islamic and Iranian architecture. Whilst decoratively complex, the use of geometric patterns and tessellations points to a far deeper conceptual agenda, 'the proliferation of arabesque abstract decoration enhances a quality that could only be attributed to God, namely, His irrational infinity,' scholar Wijdan Ali observes in The Arab Contribution to Islamic Art (the American University in Cairo Press, 1999). 'The pattern of the arabesque, without a beginning or an end, portrays this sense of infinity, and is the best means to describe in art the doctrine of tawhid, or Divine Unity.'Exhibited and published in her major Monograph, The Magnified Sacred is a sublime example from an artist who has elevated her countries vernacular craft into a universal aesthetic, and in doing so, has become one of the most internationally acclaimed figures to emerge from Iran within the past century. Monir Farmanfarmian: A LifeBorn in Qazvin, Iran in 1924, Farmanfarmaian begun her studies at the Faculty of Fine Arts in Tehran before embarking to New York, where she attended Parson, The New School for Design and Cornell University, and worked as a fashion illustrator. It was in New York that Monir' mixed with the cities emerging cultural avant-garde, collaborating with artists such as Andy Warhol on illustrations for the Bonwit Teller department store. It was only after moving back to Tehran that Monir developed her signature style. Influenced by the arts and crafts of her native country, Farmanfarmaian fashioned an artform out of mirror-mosaic work drawing on traditional techniques of reverse-glass painting, inlaid carving, Islamic geometry, and architectural design. To create her reliefs and sculptures, Farmanfarmaian commissioned craftsmen to draft her early designs, then cut mirrors to fit the required shape, which were set in geometrical patterns, and mixed with plaster to produce new compositions into which the artist incorporated colored glass.Monir Farmanfarmaian received international acclaim in 1958, when she was presented a gold medal for her work in the Iranian Pavilion at the Venice Biennale, this was followed by exhibitions in Tehran, Paris and New York. She has recently become the focus of significant institutional interest, having held important exhibitions worldwide including the Gwangju Biennale, South Korea (2016); a major career retrospective at the Solomon R. Guggenheim Museum, New York, NY (2015) and at the Fundação Serralves–Museu de Arte Contemporânea, Porto, Portugal (2014).She is the subject of a substantial monograph, Monir Shahroudy Farmanfarmaian: Cosmic Geometry, edited by Hans Ulrich Obrist; and has authored an autobiography, A Mirror Garden (Knopf, 2007). Farmanfarmaian's work is placed in some of the most important institutions around the world, including: Solomon R. Guggenheim Museum, New York, NY; Tate Modern, London, U.K.; Museum of Fine Arts, Boston, MA; and Metropolitan Museum of Art, New York, NY.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 73
Farhad Moshiri (Iran, born 1963)Gold Leaf Bowl with Green Hue acrylic and oil on canvas signed 'Farhad Moshiri' and dated '2005' in Farsi and English on the verso, executed in 2005150 x 150cm (59 1/16 x 59 1/16in).Footnotes:'Thus spake I to a potter on a day,Bidding his careless wheel a moment stay--'Be pitiful, O potter, nor forgetPotters and pots alike are made of clay'-Omar Khayyam Provenance:Property from a private collection, LebanonAcquired directly from the Third Line, Dubai, 2006Bonhams are privileged to offer a fine and monumental example from Farhad Moshiri's inimitable jar series.The 13th century Persian poet and polymath Omar Khayyam proclaimed clay as a 'mysterious mother substance', and exalted what he described as a 'wizard dust, wherein all shapes of birth, — soft flowers, great beasts, and huge pathetic kings, fill a needled girth'. The analogy of the substance of life, as mere clay at the behest of an unseen potter which shapes, forms, breaks and remoulds at its whim, is a powerful and lasting motif in classical Persian literature, and serves to highlight the indifference of the universe to the relentless cycle of extinction and decay which characterises existence. It is this symbolic, poetic clay which forms the substance of Moshiri's jars, and it is in the context of this symbolism where their true meaning is brought to light. In their form, Moshiri's jars are inspired by the artistic heritage of Persian antiquity, which was home to one of the foremost centres of ceramic production in the ancient world. Ceramics which survive, as Moshiri depicts them, in a state of beautiful decay; fractured, discoloured and petrified beneath the earth, they live on as mere vestiges of a bygone age, their brilliance reminding us of the illustrious civilisation that gave rise to them, their decay ruing its inevitable downfall. For Moshiri, the flattening of these jars onto canvas harks their extinction as objects of use, whilst ruing the expiration of the cultural landscape they once inhabited. A consummate draftsman with a deft touch, Moshiri's Jars show an astounding level of technical skill, seldom has melancholy been channeled in such an aesthetically brilliant and visually vibrant form. Poignant, striking and refined, the present work is an example of Moshiri in his artistic prime.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 121
A metal thread-embroidered silk calligraphic panel Probably Egypt, 19th/ 20th Centuryof rectangular form, the black and green ground embroidered in gilt-silver thread, with a roundel containing inscriptions, the corners with partial flowers and leaves, above and below bands containing undulating vines, mounted 86 x 74 cm. Footnotes:ProvenanceThe Shakerine Collection.Inscriptions: to the centre, repeat of ya allah, 'O God!' in mirrored form; the main text, Qur'an, sura CXII (al-Ikhlas).For further information on this lot please visit Bonhams.com
Lot 124
A silver and copper-inlaid brass bowl depicting dervishes Syria, circa 1900of compressed globular form on a tapering foot with flaring rim, engraved and decorated in silver and copper inlay with dervishes and domed mosques and minarets, two lotus motifs overlaid with inscriptions, the neck with a band of cartouches decorated in openwork with inscriptions interspersed by an interlace of split palmettes, the base engraved '1257' and '46' in Arabic numerals 25 cm. diam.Footnotes:Inscriptions: proverbs in Arabic, a repeat of the invocation to God ya hafiz, 'O the Protector!' in mirrored form.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Lot 183
A Mughal cuerda seca pottery tile panel North India, early 17th Centurycomprising two tiles, each of rectangular form, decorated in white, cobalt blue, turquoise and red with a cartouche containing an inscription in nasta'liq 65.4 x 23.5 cm.Footnotes:Inscriptions: sal-o mahi banayash bashad davam o por fayz, 'For years and months, its construction will be permanent, filled with grace'.For further information on this lot please visit Bonhams.com
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175434 item(s)/page