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Lot 543
An 18th century satirical print 'A Free Born Englishman', 32cm x 21cm, framed and glazed, and two monochrome satirical prints, County Tooth Drawer, 14cm x 22cm, and Gout, 25cm x 33cm, framed and glazedCondition report: Slight browning to colours of Englishman print, glass damaged on County Tooth Drawer
Lot 101
Mona Hatoum (Palestine, born 1952)Reflection print on three layers of tulle, aluminium number 3 from an edition of 6 plus 2AP, executed in 2013140 x 208 x 9.4 cmFootnotes:Provenance:Property from a private collection, BeirutPurchased directly from CRG galleryAcquired directly from the Artist by the aboveThis lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 102
Abdelnasser Gharem (Saudi Arabia, born 1973)Siraat (The Path) projection on UV cured virtu digital print on white aluminiumsigned, dated, numbered '4/6' and titled on the verso, number 4 from an edition of 6, executed in 200770 x 120cm (27 9/16 x 47 1/4in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from Edge of Arabia, London, 2009Note:Please note that this work is accompanied by a limited edition CDExhibited:Venice, Palazzo Polignac, 53rd Venice Biennale, 2009Much of Gharem's art is performance based, captured in photographs and video, and focuses on our relationship to and trust in physical structures and the natural environment. The Path, or Siraat, commemorates a tragic event that occurred in 1982, when a group of villagers took shelter from an approaching flood on a concrete bridge spanning a river in southwest Saudi Arabia, where heavy rains are often commonplace. Everyone was swept away and most were killed by the deluge. A new road was built nearby but the old one on either side of the washed away bridge remained. On the section of road leading up to the bridge, Gharem and a crew of assistants spray-painted over and over again the word siraat, which means both a literal path and also a spiritual one (e.g., the straight path that leads to Paradise). The repetition of this single word on the roadway becomes a visual chant—a reminder of how we choose our own paths, and a remembrance of the flood victims, who, having chosen the apparent safety of higher ground, lost their lives. This notion of individual choice when it comes to life's pathways is endemic in Gharem's work.For further information on this lot please visit Bonhams.com
Lot 7
Dia Azzawi (Iraq, born 1939)The Seven Golden Odes (The Mu'allaqat) silkscreen print in eight parts in original folio and caseeach print signed 'Dia Azzawi', titled and dated '1978' in Arabic, each print numbered 46/60, executed in 1978Each print: 103 x 72 cm (8)Footnotes:A HIGHLY SOUGHT AFTER AND INTACT FULL SET OF DIA AZZAWI'S MU'ALLAQAT Provenance:Property from the collection of Alecto Editions1. Introduction2. Mu'allaqat Imru Al Qayess3. Mu'allaqat Lubid Ibn Rabia4. Mu'allaqat Tarafa Ibn Al Abd5. Zuhair Bin Abi Sulma6. Mu'allaqat Antarra Ibn Shaddad7. Mu'allaqat Amr Ibn Kalthoum8. Mu'allaqat Al Hareth ben Halza'Oh you long night! Will you not yield to the dawn?Though daylight, like the night.. bears its share of worriesWhat an interminable night you are! As if the stars were bound to the mountains by the tightest of chords... or as though the Pleiades were hung, unmoving in their place by ropes tied to solid rock'- Muallaqat ISpectacularly detailed, rich and intricately worked, Bonhams presents a rare, intact and unopened full set of Dia Azzawi's famed Muallaqat prints; a homage to a group of seven long Arabic poems that are considered some of the defining literary works of the pre-Islamic era. The name means The Suspended Odes or The Hanging Poems, the traditional explanation being that these poems were hung on or in the Ka'ba at Mecca. The name Mu'allaqāt has also been explained figuratively, as if the poems 'hang' in the reader's mind.The Hanging OdesIn the eighth century, Hammad al-Rawiya—Iraq's last reciter of tribal poetry—compiled these timeless Hanging Odes. Hammad al-Rawiya, last of the true rawis or reciters of tribal poetry, was renowned among the newly urbanized Arabs of Damascus and Baghdad for declaiming poems he had heard recited by the Bedouin of the Arabian heartland. In the latter half of the eighth century he put together a collection of seven remarkable poems known collectively as the Mu'allaqat, or Hanging Odes.The Hanging Odes have always been shrouded in mystery. Legend tells that in the sixth century, some years before the rise of Islam, the poems were transcribed in letters of gold on the finest Egyptian linen and suspended from the Ka'ba in Mecca as trophies during the Sacred Months of Peace, when the Bedouin laid down their arms and went on their annual pilgrimage to the fairgrounds of 'Ukaz, near Mecca. Rival clans mingled in the marketplace, and, when not feasting or buying and selling wares, gathered round as the rawis swayed and pitched their lines to the rapt audience.The image of pagan poetry hung from the holy shrine of the Ka'ba serves to bind the ancient world of desert lore to Islam, and the poets themselves — Imru al-Qays ('the Vagabond Prince'), Tarafa ('the One the Gods Loved'), Zuhair ('the Moralist'), Labid ('the Man with the Crooked Staff'), Antara ('the Black Knight'), Amr Ibn Kulthum ('the Regicide'), and Harith ('the Leper') — have passed into legend, each lapped in a vast oral tradition.The Mu'allaqat are the most famous — and among the earliest — examples of the qasida (commonly translated as 'ode'), a form that frequently runs to some hundred and twenty lines. The term may derive from the root qasada, meaning 'to aim' or 'go forward,' or else from qasar, 'to break,' in reference to the mandatory division of the line into two rhythmically equal halves — a binary thrust and parry not unlike the alliterative line in Anglo-Saxon verse.The seven Mu'allaqat, and also the poems appended to them cover a vast array of topics. Tarafa's long, for example, anatomically exact description of his camel was a charming representation of the importance of this domesticated beast in the daily life of the Bedouins. In the Mu'allaqat of 'Amr and Harith we can read the haughty spirit of the powerful chieftains, boastfully celebrating the splendors of their tribe. The other poems are fairly typical examples of the customary qasida, the long poem of ancient Arabia, and bring before us the various phases of Bedouin life. In the Mu'allaqat of 'Antara, whose heroic temperament had overcome the scorn with which the son of a black slave-mother was regarded by the Bedouins.Azzawi's illustrated depiction of the Muallaqat is one of the most vibrant and richly composed examples of the artist's fascination with Iraq and the Arab world's pre-Islamic history and its influence on contemporary visual culture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 2527
Geelgouden polshorloge met ovale kast en bordeaux rood lederen band met croco-print, handopwinding, Ebel, 750/000, breedte kast 31 mm. -Gedeelte v.d. opbrengst t.b.v. de F.L.I.M. fundraising voor A.V.L.- Yellow gold wrist watch with oval case and burgundy red leather band with croco print, manual winding, Ebel, 750/000, case width 31 mm.
Lot 1431
Own', door Erwin Olaf (geb. 1959), uitgegeven door Lido Italië 2011, gesigneerd en genummerd 75/300 op titelblad, 72 x 51 cm, incl. bijbehorende losse c-print 47 x 47 cm. Own', by Erwin Olaf (born 1959), published by Lido Italy 2011, signed and numbered 75/300 on title page, 72 x 51 cm, incl. necessary separate c-print 47 x 47 cm.
Lot 130
English School (early 19th century)Portrait of a gentleman, small bust-length, with a cravatGraphite and coloured pencil8.5 x 7cm (3¼ x 2¾ in.) Together with three other pencil studies of gentlemen, 18th and 19th Century; and two small Florentine frames, one containing a pen and ink sketch of a lady, the other a print after John Singer Sargent (6)To be sold without reserveThe Pinkers Collection of British, American and European Folk Art This charming collection of folk art takes its name from a diminutive 17th Century cottage on the Kent coast where it has hung and grown in size over the last twenty years. It includes watercolours and oil paintings from the 17th to the early 20th Century. Many are in their original frames and in remarkably fresh condition. Despite its rural location and the provincial subject matter of the works it is a truly international collection and many of the lots have come from some of the most important collectors and dealers in folk art on both sides of the Atlantic including Robert Young, Denzil Grant and Charles Plante in England and David Wheatcroft, Joan Brownstein and Austin Miller in America.Folk Art has been described as 'the unselfconscious creativity of academically untrained artists' (Robert Young, Folk Art, 1999) and it is this quality that gives many of the works an immediacy and playfulness that has chimed with generations of collectors. Some of the pictures, by journeymen artists, artisans or amateurs are provincial reinterpretations of more sophisticated works, such as the early 18th Century Yate family portraits (lot 122). Others have a joyful disregard of accepted ideas of scale, perspective and colouring, giving them a timeless quality which draws parallels with 20th Century artists including Alfred Wallis and John Nash, such as View from La Moinerie (lot 120) and the American School Portrait of a girl (lot 103) has an Outsider Art quality reminiscent of the Art Brut movement founded by Jean Dubuffet. Regardless of their origins this unique and varied collection is the manifestation of the vision and passion of a true collector.
Lot 316
John Hall Thorpe (British, 1874 - 1947) Sweet Peas Signed, woodcut print, artist's proof, 32cm x 26cm. ARR Label verso: AJ Mucklow & Son, 35 Cranbourn Street, Leicester Square WC2CONDITION REPORT: The glass is dirty. Overall in good condition. No signs of mount bleeding. Published by Hall Thorpe, London, copyright USA 1922.
Lot 112
THOMAS WALMESLEY circa 1792 watercolour - view of the River Dee near Bala, unsigned with gallery label verso for Myles K Wynn Cato and pictorial reference to a print after the original, 29.5 x 41cms Condition Report: slightly rippled against the mount, overall browning and slight foxing to the sky area, the trees to the foreground possibly colour heightened, small grazed area to the lower right corner
Lot 155
By Direction of CGG Robertson AFTER DOUGLAS ADAMS coloured print - published by Henry Graves & Co, 1894, entitled 'The Drive' and featuring three golfers on the dunes at the Conwy (Caernarvonshire) Golf Club, Conwy, 43 x 64cms, (available for viewing at the saleroom in Colwyn Bay by strict prior appointment)
Lot 103
PATIENCE ARNOLD watercolour - titled label verso 'Come to the Fair', 49 x 37cms, a naive pencil and watercolour study, early 20th Century, titled 'Hello Jones, Help Me with My Lessons this Afternoon', indistinct signature, 18 x 26cms and a framed satirical print, mid-Victorian titled 'A New Court of Queen's Bench as it Ought to be or the Lady's Trying a Contemptable Scandal for a Breach of Promise', hand tinted, published by D Bogue, 15 x 39cms
Lot 35
AFTER THOMAS BASTON (BRITISH, Fl.1699-1730) The Greenland Whale Fishery Printed for Carington Bowles, circa 1765 Etching with later hand colouring 10½ x 15in. (27 x 38cm.); together with an American print entitled Whale Fishery; and an untitled 18thC print of a whaling scene, annotated in pencil and dated 1764 (3)
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314753 item(s)/page