SALMAN TOOR (B. 1983)Pre-Drinks 2018 oil on panel45.7 by 45.7 cm.18 by 18 in.This work was executed in 2018.Footnotes:ProvenanceAcquired directly from the artist by the present ownerExhibitionLahore, Lahore Biennale, Are you Here?, 2018Recognised for his evocative compositions that combine the present with the art historical past, Salman Toor is considered one of the most exciting emerging artists in the world of figurative painting. Toor creates masterful canvases that depict the convergence of intimate everyday moments set against contemporary, domestic scenes that convey a feeling of warmth, nostalgia, but also that of alienation and contemplation. This present work, Pre-Drinks, was exhibited at the Lahore Biennale in 2018, the year it was executed. The composition wonderfully embodies the artist's fascination and focus on the human form, representations of male identity whilst revealing a sense of mystery and intimacy, to stunning effect. Here the viewer stumbles upon a quiet moment between two young men; it is a moment of contemplation; they are relaxed in their comfortable contemporary surrounding enjoying food and drinks amongst books and magazines. We are reminded that this is a painting of the modern day with the inclusion of a mobile phone or tablet that engages the figure on the right. Toor's works are often imbued with an air of the past mixed with modern life; indeed, upon moving to New York, Toor came into his stride as an artist who crafted hybrid tableaus that sought to marry East and West, perhaps a meditative contemplation on his past and present. He often acknowledges his childhood experiences in Pakistan, particularly in the influences of Pakistani advertisements and glamorous images from his mother's magazines, and here on the edge of the table is a magazine depicting a figure in Eastern attire. Toor's style of painting is easily discernible; his paintings employ a palette of bold colour applied in a painterly Mannerist style, layering the canvases with fluid brushstrokes. Toor incorporates his signature palette of emerald green in the clothing of his male figure; the artist once commented that the glamorous tones of emerald green evoked the nocturnal allure and fantasy of a freely queer life. There is a sense of ease between these two men, they are not actively engaging yet are present and content in one another's company, and as the title suggests this is perhaps just the beginning of their evening together. Toor has often described his figures as undernourished and hairy bodies of colour occupying familiar bourgeois urban spaces. He envisions them as educated and creative individuals perhaps navigating the artist's life in New York City amidst shifting ideas about race, immigration, foreignness, and American identity. These figures sometimes resemble lifestyle images, representing fantasies about himself and his community, he seeks to create imagined scenes in which he and his friends are totally free to be themselves.Born and raised in Lahore, Pakistan, Toor moved to Ohio to study painting before settling in New York. While in Ohio, he studied art history intently and focused on learning the techniques of artists like Caravaggio, Peter Paul Rubens, and the refined Rococo canvases of Jean-Antoine Watteau. 'Instead of moving with the times, I wanted an academic education in painting. I wanted to be as good as the white old masters. In fact, I was happy only when I could pretend that I was a 17th or 18th century painter living in Madrid, Venice or Holland' (the artist in: Ayla Angelos, 'I wanted to be as good as the white old masters': meet painter Salman Toor www.itsnicethat.com, 23 September 2023). Toor's widely acclaimed first solo museum exhibition, How Will I Know, was on view in 2020-21 at the Whitney Museum of American Art in New York City. In late 2022 a major retrospective titled No Ordinary Love, was held at the Baltimore Museum of Art in Maryland and later travelled to the Tampa Museum of Art in Florida, the Honolulu Museum of Art in Hawai'i, the Rose Art Museum at Brandeis University in Massachusetts before closing at M Woods in Beijing earlier this year. Today, Toor's works are held in the permanent collections of the Tate, London, the Whitney Museum of American Art, New York, the Walker Art Center, Minneapolis, M Woods, Beijing and the Museum of Contemporary Art Chicago among others.Throughout his current oeuvre, his compositions of the mundane and the memorable moments of his characters' lives, reveals a deeply relatable existence, ultimately creating an opportunity for empathy and private vulnerability through the language of painting which is beautifully evident in this present work.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
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El Anatsui (Ghanaian, born 1944)Nativity, 1991 signed and dated 'El 91' (lower centre of panel 9); each panel inscribed '1' to '15' in chronological order (verso)carved, incised, scorched, and painted wood panels 60 x 151.5 x 2.5cm (23 5/8 x 59 5/8 x 1in).(in 15 pieces)Footnotes:ProvenanceAcquired directly from the artist,The collection of Franco Bordogna.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
Stanley Faraday Pinker (South African, 1924-2012)Referendum, 1992 signed 'S7Pinker' (centre left); bears a Michael Stevenson & Deon Viljoen label (verso)oil and mixed media on canvas, wood and hardboard142 x 99cm (55 7/8 x 39in).Footnotes:ProvenanceA private collection.LiteratureMichael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004), p. 90. (illustrated)Born in what was then known as South West Africa (modern-day Namibia) in 1924, Stanley Pinker's work strongly embodies the political climate of his cultural context. The artist tackles and confronts issues of socio-politics and its implications and consequences. In the 1950s and 1960s, Pinker travelled to England where the growth of his career would start to bloom. In execution, his works adopt the early 20th century modernism that was popular for the time. Spending a significant amount of time in London, Pinker became strongly influenced by the Cubist movement. The present work is a testament to this early exploration and embodies a study of form, colour, and structure. Referendum (1992) was made in response to a precise event in South African history which took place on the 17th March 1992. This was the day of a whites-only referendum by which 68.6% of voters chose to proceed with negotiations to reform the constitution and therefore lifting the apartheid restrictions. Two years prior to the referendum, the State President, Frederik Willem de Klerk, had first proposed the ending of the apartheid. Capturing the mood of the time, Pinker seizes the feelings of angst and chaos of both sides of the referendum to the top of the piece, external to what could be considered as the traditional main body of the work being the more symmetrical lower half of the work. When addressing his tendency to explore art creation beyond the generic space of a canvas, Pinker commented, 'I've always thought of space as something 'tangible' and have been drawn to artists who have used mural-like space rather than artists who create an illusion of space through perspective'. (Stanley Pinker in Michael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004), p. 19.) Beyond the geometrical lower half of the work, Pinker has imbedded relevant symbolism and metaphorical techniques to communicate the contrasting angst of the people. With a colour palette relevant to the symbolism of the event that it being recounted, the small signs reading Yes! bear the colours of the old South African flag, and No! display the colours of the opposition, the ANC (African National Congress). Between the raging white figure, mouth open and with flushed cheeks, and the more demure Black figure with eyes averted to the left, a traditional mask of the Bwa people champions a figure holding an ANC flag and gong baton. Representing a victory of the ANC, the party would go onto govern the country from 1994 under the Presidential direction of Nelson Mandela. The main panel to the lower end of the work situates a different mood; playfully blissful and vibrant in palette and concisely organised in execution. This area of the work bears the intention of representing politicians. Assisted by the more ordered structure of painting, they appear emotionally passive and harmonious in comparison to the chaotic energy of the work outside of this geometrically even board. It is this contrast in mood that evokes a sense of the grandiose ignorance of the three representational birds to the reality of the tumultuous lives of the people prior to the end of the apartheid. This animated and socio-politically conscious work can be concluded as one of Pinker's most striking, cementing itself in a prominent position in his oeuvre.BibliographyMichael Stevenson, Stanley Pinker, (Cape Town: Michael Stevenson, 2004)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
GEORGE OWEN FOR ROYAL WORCESTER, A FINE RETICULATED TEAPOT WITH COVER of double walled globular form, the outer wall pierced with wide bands of honeycomb, the spout with pierced lozenge shaped panel, the lid with reticulation and double knop spear finial, the piercing coloured in light blue with gold dots, the pink borders with zigzag designs of white and turquoise jewels, the handle with a band of larger turquoise jewels, applied mark in relief and printed mark in puce, date letter for 1878 12.5cm high In 1859 English potter George Owen (1845-1912), at only age 13, started work with Royal Worcester, where he was employed as a china presser in the ornamental department. He was responsible for cutting holes in porcelain using a moulded outline to imitate Sevres and Chinese examples.The ambidextrous George Owen set about perfecting the technique so that the finished product was made up of much smaller piercings, finer than those found in either the Chinese or Sevres creations. Always experimenting, Owen’s technique and his multiple kiln visits risked months of work with the ever-present possibility of having to start over a constant shadow.The 1896 edition of the Pottery Gazette best summed up the process when it reported “the artist (Owen) tooled every one of these miniature apertures without having any tracery, or any other assistance whatever to guide him to regularity, except his eye and hand… if on the last day of his work his knife had slipped, and so made two ‘holes’ into one, the whole piece would have been ruined”.So secretive was Owen about his technique, he worked behind closed doors and hid his tools if anyone entered his workspace. Even his own son, who provided thin-walled vessels for Owen to perforate, was never allowed to watch. Before he started work, he would use a pair of compasses and callipers to carefully measure the distance around a vessel, marking where each incision should be made – and then create the hexagonal holes with a sharp, oiled knife, deftly swapping from hand to hand as he worked his way around the piece.To date, no one has managed to replicate the finesse of Owen’s work. Condition generally good. Very light age related wear including gilt rub. Two surface hairlines (approx. 3cm) to the base of the teapot, though these are just to the surface and do not appear within. Manufacture seam to the spout. Multiple additional images now available
ENGLISH EMBROIDERED WOOLWORK PANEL, EARLY 18TH CENTURY depicting a bloom of flowers in a silver bullion heightened vase with perched butterfly, this on a hilltop with further detail to lower section, housed in a period moulded walnut frame with gilt slip, stained wooden backboard, originally fitted as a pole screen and inscribed pole screen to reverseThere is staining to the cream ground, particularly the upper section but also yellowing elsewhere; there are several small holes but no major damages; expected wear to frame; has not been inspected out of frame so we cannot speak to the extreme corners and edges; additional images available; visible panel 29cm x 24cm, frame 34cm x 29cm
LARGE GEORGE III OAK MULE CHEST, with hinged top above panelled front, two drawers to base, raised on bracket feet92cm x 121cm Split to panel right side, heavy but expected wear otherwise commensurate with age and use, some old repairs and fills, feet blocks are replacements but not modern, some cracks and small chips, gouges etc, but stable and ready for use albeit some tidying up would be beneficial; no visible worm
A GERMAN SILVER GILT FRAMED STRUT BACKED MIRROROf shaped rococo form, the top with an Armorial between foliate sides, raised on two scrolling feet, detailed Carl Weishaupt, the back fitted with a mahogany panel and strut, width 49.5cm x height 54cm Possibly with the arms of the Esterhazy family.ProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zy
** δ Damien Hirst (b.1965)H8-1. Fruitful (large)Laminated giclée in colours on aluminium composite panel, 2020, with the artist's stamped signature and numbered from the edition of 1928 on the publisher's label affixed verso, printed and published by Heni Productions, London, the full sheet printed to the edges, overall 780 x 780mm (19 x 39 1/4in)Please note that this lot is in bonded storage in Switzerland and will be shipped from there and not Forum Auctions, London. Shipping quotes are available upon request. Swiss resident buyers may be required to pay Swiss VAT on release of the art work.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
** δ Damien Hirst (b.1965)H8-4. Forever (small)Laminated giclée print on aluminium composite panel, 2020, with the Artist's stamped signature and numbered from the edition of 2173 on a publisher's label affixed to verso, Published by Heni Productions, London, 390 x 390mm (15 3/8 x 15 3/8in) Please note that this lot is in bonded storage in Switzerland and will be shipped from there and not Forum Auctions, London. Shipping quotes are available upon request. Swiss resident buyers may be required to pay Swiss VAT on release of the art work.δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
δ Damien Hirst (b.1965)H10-2. Nur Jahan (from The Empresses)Laminated giclée in colours on aluminium composite panel, screenprinted with glitter, 2022, signed and numbered from the edition of 3041 in pen on the publisher's label verso, printed and published by Heni Editions, London, the full sheet printed to the edges, overall 1000 x 1000mm (39 1/4 x 39 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Damien Hirst (b.1965)H10-4. Suiko (from The Empresses)Laminated giclée in colours on aluminium composite panel, screenprinted with glitter, 2022, signed and numbered from the edition of 3310 in pen on the publisher's label verso, printed and published by Heni Editions, London, the full sheet printed to the edges, overall 1000 x 1000mm (39 3/8 x 39 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Damien Hirst (b.1965)H10-5. Tatyu Betul (from The Empresses)Laminated giclée in colours on aluminium composite panel, screenprinted with glitter, 2022, signed and numbered from the edition of 2814 in pen on publisher's label verso, printed and published by Heni Editions, London, the full sheet printed to the edges, overall 1000 x 1000mm (39 3/8 x 39 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Chris Levine (b.1960)Lightness of Being/Freedom editionGiclée print in colours on aluminium composite panel, 2021, signed in ink on label affixed verso, numbered from the edition of 100 verso, an artist's proof aside from the edition of 1000, published by Dominic Guerrini Fine Art, London, overall 900 x 700mm (35 3/8 x 30 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Victorian and Later Brooches, including turquoise set heart brooch (one missing), Ruskin style panel brooch, micromosaic cross pendant (lacking centre); decorative oval locket pendant, large cross pendant (chips); a pencil stamped "Sterling Silver", hallmarked silver leaf brooch (lacking pin) etc.
![A Modern Amber Coloured Panel Bracelet, of geometric design, to snap clasp, stamped "925". [924771]](https://cdn.globalauctionplatform.com/d6cd0132-1cfc-4bc1-9486-b08900e32cf4/511d6ba8-3f38-403c-a9e5-b08f00f36349/468x382.jpg)
![A Modern Amber Coloured Panel Pendant, on integral baton link necklace. [993500]](https://cdn.globalauctionplatform.com/d6cd0132-1cfc-4bc1-9486-b08900e32cf4/131fab12-b40a-4c9f-b1f8-b08f00f34d83/468x382.jpg)
Pair of cut glass lustres Pair of glass lustres, with cross and diamond cut tops and bases and panel cut stems, each set with ten droppers, late 19th / early 20th century.26cm highThere are some small chips to the bases of each lustre. Some of the droppers are mismatching and many have chips as is so often seen with glass lustres. The stems of each lustre show signs of wear from the droppers knocking against the stem when each lustre is moved. There is the occasional chip to the cut decoration.
John Shepley, Stockport Longcase Clock John Shepley, Stockport early 18th century longcase clock, 30-hour movement with an outside count wheel striking on a single bell, square brass dial with silvered chapter ring, Roman and Arabic numerals for hours and minutes, subsidiary seconds dial and date aperture, all contained in an oak case, canopy with moulded cornice and square glass flanked by brass capped columns, trunk with quartered columns, box base with raised panel on bracket feet. No pendulum or weight59cm wide, 25cm deep, 219cm high
Victorian Walnut Credenza Victorian walnut, floral marquetry inlaid and ormolu mounted credenza, D-shaped top over a single panel door opening to reveal a lined interior with a fixed shelf, flanked by a pair of bow glazed vitrine doors, each enclosing a lined interior with two fixed shelves, interspersed by four inlaid columns, on plinth base with shaped apron. Comes with key.151cm wide, 41cm deep, 109cm high
George III Welsh oak dresser George III Welsh oak dresser, planked back supporting three long pot shelves, the rectangular base with a two plank top and a moulded edge above three cock-beaded frieze drawers, over a row of three further drawers to centre flanked by two single panel cupboard doors, all with brass fittings, raised on bracket feet162cm wide, 52cm deep, 206.5cm highIn ok condition for its age with some discolouration to the top, knocks and other wear commensurate with age. No missing sections of cock-beading on the drawers however a few small pieces have areas of wear. Right hand cupboard is missing the lock and all drawers apart from the top central drawer are also without locks. Split to the wood front right top. In two pieces (rak and base). Each shelf has three modern wood blocks added to hold pots against backboard. Please see all images.
William IV rosewood chiffonier William IV rosewood chiffonier with a raised back and a gallery shelf supported on two turned columns, rectangular top over two short drawers each with turned handles, above a pair of panel doors enclosing a single shelf, raised on turned supports95cm wide, 41cm deep, 126cm highGood overall condition and nice colour, some water damage to right side
17th Century Oak Coffer 17th century oak coffer, rectangular two-panel top with butterfly hinges, front with two matching carved panels and carved rails, plain single-panel sides, raised on stile supports105cm wide, 46cm deep, 68cm highReplacement panels to the back with some restorations. No lock present, escutcheon just for decoration. Carving on the front may be a later addition. Hinges appear to be original but fixed with later screws.
18th Century Oak Dresser Base 18th century oak dresser base, two plank top with moulded edge above two cushion-moulded frieze drawers with replacement pierced brass bail handles, over a central raised and fielded fixed panel flanked by two matching single panel doors opening to reveal a full-width interior with a single shelf, all raised on bracket feet.125cm wide, 50cm deep, 86cm highGap between the planks on the top likely caused by shrinking over time. Right side moulding beneath the top is missing. Sides with some small losses. One missing handle and a later replacement dowel at a couple of joints. Drawers and base have evidence of previous worm, mainly visible in the back and sides of the drawers. Please view all images. The interior dimensions of the base are 115cm wide, 40.5cm deep, 44cm high (please note there is a shelf running through the middle 27cm up.
Early 19th Century Corner Cabinet Early 19th century mahogany corner cabinet, moulded cornice and plain frieze over a single astragal glazed door with boxwood stringing and a lower cross-banded and strung figured mahogany panel, opening to reveal three fixed shelves, key present75cm wide, 49cm deep, 123cm high
Edwardian Mahogany Wall Cabinet Edwardian mahogany and satinwood inlaid and cross-banded wall hanging cabinet, moulded cornice above a 4" parquetry inlay frieze, over a pair of inlaid panelled doors opening to reveal two fixed shelves, flanked by two open shelves to each side, above a shaped apron with a central parquetry panel118cm wide, 27cm deep, 90cm high
Jan Beekhout (Dutch 1937-) River scene with windmill and figure fishing Signed, oil on panel.17 x 23cm (framed 31 x 37cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. There are some minor surface marks across the painting and some small scratches in the lower right-hand corner. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
FREART (Roland) A Parallel of the Antient Architecture with the Modern, … by John Evelyn, the third edition. London 1723, folio, 2 parts in one vol., vignette title printed in red and black, engraved portrait frontispiece, 40 full page illustrations, sprinkled panel calf, spine a little faded
Church history and liturgy CAVE (W) Antiquitates Christianae, 1678, folio, engraved plates, damaged worn binding; ST THOMAE A VILLANOVA. Opera Omnia, Venice 1740, foilo, engraved frontis, worn vellum; Book of Common Prayer, John Baskett 1753, small 4to, black grained morocco; Liturgia..[in Latin], London: Roger Norton 1670, small 8vo, panel calf with reback; The Psalms of David in Metre, New York 1928, 8vo, printed by Bruce Rogers, one of 300 copies, unopened, red ruled text, original blue cloth; 2 others (7)
FOX (George) A Journal or Historical Account of the Life, Travels, Sufferings, Christian Experiences and Labour of Love, in the Work of the Ministry of that Ancient, Eminent and Faithful Servant of Jesus Christ, 3rd edition 1765, folio, George Fox, first leaves slightly foxed, recent half calf; TAYLOR (Jeremy) Ductor Dubitantium or the Rule of Conscience, 4th edition 1696, folio, engraved title and portrait frontis, recased panel calf with good reback, renewed endpapers; A Dissuasive from Popery, 4th edition, London 1668, small 4to, 2 vols. in one, library stamp to title dated 1830, recent half calf (3)
FEYERABEND Bible Sacra Biblia, ad vetustissima exemplaria castigata: quid in horum Bibliorum castigatione præstitum sit, subsequens præfatio latiùs indicabit. Frankfurt am Main: apud Georgium Corvinum, impensis Sigismundi Feierabend, 1571, thick 8vo, 19 x 11.5cm, woodcut general title with another title before Isaiah, Hententius preface, numerous woodcuts in the text in decorative borders, contemporary pigskin with decorative blind tooling having crucifixion panel to upper board within borders (lacking clasps), the edges with impressed leaf and C-scroll motifs
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328190 item(s)/page