There are 297893 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA Tri-ang "OO" Gauge/4mm Ref No. R8X Transcontinental Boxed Train Set, comprising 4-6-2 Steam Locomotive and Double Bogie Tender, R/No. T.R. 2335 three "Tri-ang Railway" wagons and track; missing controller, overall condition locomotive good tender with usual warp, wagons fair, box base fair, lid poor.
An assortment of vintage odds and ends including various bakelite items, a set of carpet grips, a green mustard pot 'G vi R' stamped to underside and a tie press. Also two ink wells, a portable picnic cooker in box, blue glass eye bath, a mid century record rack, an Arthur wood vase...and lastly,not forgetting the butter pats. Condition Report The winding mechanism on the tie press is moving freely
After Sydney E. Wilson, all signed, two mezzotints of paintings by Sir Thomas Lawrence, 'The Romps', 42 by 53.5cm, mounted, glazed and framed, 68.5 by 78.2cm 'Master Lambton', 42 by 31.5cm, mounted, glazed and framed, 66.7 by 55.5cm, and after a W. R. Bigg painting 'The Truants', 42 by 54cm, mounted, glazed and framed, 68.5 by 78.2cm, and another, 40 by 27cm, mounted, glazed and framed, 66.7 by 51.5cm. (4)
C. R. Robertson (British, 1760-1820): 'Swiss Landscape', pen and ink wash, signed, 14 by 21.5cm, framed, 32 by 38.2cm, together with a 19th century unsigned watercolour of two children by a river, 13.5 by 17.5cm, framed, 32.3 by 35cm, and an 18th/19th century aquatint of Richmond bridge, 18.5 by 29.5cm, framed, 32.3 by 42.7cm. (3)
A pair of Arts & Crafts Heal & Son single bed frames, of Jacobean style with caned ends, barley twist supports and carved decoration, also painted with borders of flowers, each with headboard, footboard, and two metal Vono side rails, each 218 by 93 by 123cm high. (2)Provenance: ex Trinity College, Cambridge, purchased from R. A. 'Rab' Butler, Master, circa 1980's by the vendor.
Two pairs of WWI medals with recipients possibly brothers, comprising a WWI War and Victory medal for 266543 Pte. J. A. Keay W. Rid. R, (Duke of Wellington's West Riding Regiment) and the same medals for 17489 Pte. G Keay Y. & L. (Yorkshire and Lancaster Regiment), with ribbons, mounted in wooden presentation case 20.5 by 3.8 by 15.3cm high.
A late 19th century Royal Artillery Officer's Home Service helmet with gilt peak binding, ball top mount, velvet back chin chain and ear rosettes, leather and silk lining, name inside 'William's', size 6.25, regiment chain 7, in it's japanned tin case with brass plaque engraved 'R P A Williams, Royal Field Artillery'.
An Antique ladies 14ct white gold ring set with large single diamond off set by three diamonds to each shoulder. Large diamond is round cut, very bright, no inclusions, 0.75ct diamond. Six 0.005ct diamonds and round cut. Ring size R and weighs 2.46grams. Comes with antique blue leather and gilt trim ring box produced by James Ramsay Dundee.
Ɵ C. Niebuhr, Voyage en Arabie & en d'autres pays circonvoisins, translated from German to French, in two volumes, by S. J. Baalde and J. Van Schoonhoven & comp. [Amsterdam and Utrecht, 1776-1780]2 volumes, complete, half-titles and dedication with engraved vignettes, engraved head- and tail-pieces, volume I with 72 engraved plates and maps (many of these large and folding) and one large folding map of Yemen with additions in colour, volume II with 52 engraved plates and maps (many of these folding), some occasional browning and a few scattered spots, bookplates of Carlos Alberto Ferreira de Costa and R. Felner to pastedowns, 4to (270 by 220 mm.); contemporary calf, covers ruled in gilt, spines gilt in compartments with red morocco labels, both volumes a little scuffed, spines rebacked, lower board of first volume detached
Ɵ Antoine Laurent Castellan, Turkey, Being a Description ... the History of the Turks, translated by Frederic Shoberl, first American edition, H. Cowperthwait [Philadelphia, 1829]three volumes, complete, 24 aquatint plates (3 of these as frontispieces), volumes II and III upper creases reinforced, some spotting to pages and endpapers, contemporary ink ownership inscription and date to verso of frontispiece in each volume, small 8vo (185 by 112mm; contemporary quarter morocco-backed boards, volume I rebacked and upper cover replaced in matching style, volume II also rebacked, volume III with head of spine and upper crease repaired, remains of spine showing contemporary gilt decorations, boards and extremities of all volumes scuffed and fadedThe first English language edition of Castellan's text was published as part of a series entitles World in Miniature by R. Ackermann in London in 1821 as a 6 volume set. This 1829 edition published in Philadelphia is the first American edition.
Ɵ Abd al-Ghani al-Nabulsi, Al-Hadra al-Unsiyya fi al-Rihla al-Qudsiyya, also known as "al-Rihla al-Wustd" (a travel journal for al-Nabulsi's journey to Palestine, specifically Jerusalem and Hebron), among other extracts, working authorial manuscript copy and first appearance of the text, in Arabic, decorated manuscript on paper [various places throughout the Ottoman Levant, probably c. 1101 AH (1690 AD)]single volume, 154 leaves, informal spacing with single and double columns, varying line counts and extensive marginal annotations throughout in the author's hand, occasional overlining in red, some scattered faint staining or light browning, overall clean and crisp condition, 210 by 145 mm.; fine dark brown morocco over pasteboards with flap, Ottoman style blind-stamped medallions to covers, with ruling and arabesque borders also in blind, hinges of spine cracked and spine ends worn, slightly scuffed else attractive bindingA monumentally important authorial manuscript copy of an eye witness account of the author's journey across Palestine, Jerusalem and Hebron, compiled during his travels in the 1690sText: Abd al-Ghani bin Ismail bin Abd al-Ghani al-Nabulsi was a poet, mystic and an esteemed scholar of theology and literature. He was born in Damascus in 1050 AH (1641 AD) and was a great traveller in his lifetime, notably visiting Baghdad, Palestine, Lebanon, Egypt and Hijaz, before retiring back to Damascus. By the age of twenty, al-Nabulsi was formally teaching legal Fatwa in Damascus, and later spent seven years in isolation to devote himself to the mystic orders of Qadiriyya and Naqshbandi. His father Isma'il bin Abd al-Ghani bin Ismail ibn Ahmad al-Nabulsi was of Palestinian descent, the name 'Nabulsi' meaning 'from Nablus' (a village just North of Jerusalem), and was a scholar and jurist in the Hanafi School. Despite his Palestinian roots, al-Nabulsi (junior) very much associated himself with Damascus and often refers to himself as 'al-Nabulsi al-Damashqi' (al-Nabulsi of Damascus) in the present manuscript. Al-Nabulsi was a prolific writer and compiled many authoritative texts including both theological, poetic and travel treatises. Some of his notable texts are: Idah al-Maqsud min wahdat al-wujud (clarifying what is meant by the unity of Being), Sharh Diwan Ibn Farid (commentary on the poetic works of Ibn al-Farid), al-Sulh bayn al-ikhwan fi hukm ibahat al-dukhan (a legal treatise advocating the lawfulness of smoking tobacco) and Al-Hakika wa al-Majaz fi al-Rihla ila Bilad al-Sham wa Masr wa al-Hijaz (the truth and metaphor in travel to Syria, Egypt and Hejaz). On him see further Brocklemann (II, pp. 473); E. Sirriya 'Ziyārāt" of Syria in a "Riḥla" of 'Abd al-Ghanī al-Nābulusī (1050/1641 - 1143/1731)', Journal of the Royal Asiatic Society, (1979), pp. 109-122; and J. Gildermeister, 'Des 'Abd al-Ghani al-Nabulsi reise von Damascus nacht Jerusalem', Zeitschrift der Deutschen Morgenlandischen Gesellschaft, 36 (1882), pp. 385-400).This manuscript includes the original commentaries by the author on a journey to Palestine, Jerusalem and Hebron from which al-Nabulsi's text Al-Hadra al-Unsiyya fi al-Rihla al-Qudsiyya was compiled. Given the author's spiritual background, al-Nabulsi was primarily interested in visiting mosques, tombs and shrines in the region for ziarat (a form of pilgrimage to sites associated with Prophet Muhammad), however his mystical beliefs also drew him to spiritual and holy personalities on the journey as well. These human encounters with dignitaries, of past and present worlds, gained him barakat (blessings) and were just as important to al-Nabulsi as his visits to structural places of worship. Thus as well as descriptions of historical sites, which are documented over a period of about 45 numbered days throughout the text, this manuscript also includes descriptions of many encounters with important and influential figures along his journey, some of which come in the form of an Ijazah between al-Nabulsi and a respective recipient. Contemporary manuscript copies of al-Nabulsi's travel codices are rare. An autograph manuscript copy of his al-Hakika wa al-Majaz appears to be among the holdings of the Zahiriyya library in Damascus, where a revised edition of the present text is also listed (Ms. 95661, signed Ali Seyyed Muhammad al-Bashir al-Nadir and dated 1224 AH [1809 AD]). The present text has also been printed, with a summarised version issued in Cairo in 1902 and a publication devoted entirely to his description of the Haram-i Sharif edited by R. Gaf and lithographed by Sallfeld appeared in 1918. The hand in the present manuscript is consistent with an example of al-Nabulsi's signature in the al-Alam bibliography (IV, pp. 32).This manuscript is most probably one of only three copies to come to the open market in living memory. An incomplete nineteenth-century copy of al-Nabulsi's travel journal to Syria, Mecca and the Hejaz, entitled Al-Hakika wa al-Majaz fi al-Rihla ila Bilad al-Sham wa Masr wa al-Hijaz, was sold in Christie's, 7 October 2011, lot 104, signed by the scribe Salih al-Nabulsi (possibly a descendant of the author) and including a colophon that indicated that the manuscript was corrected against the author's copy. Also, an early twentieth-century manuscript copy of this text, signed 'Abd al-Ghani bin 'Abd al-Jalil bin Mustafa bin Isma'il, was sold by Christie's, 9 October 2015, lot 326.
Gunter Rall, Erich Steinhoff, Adolf Galland, Johnnie Johnson, Douglas Bader and Robert Stanford Tuck signed R J Mitchell historic aviators cover. 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.
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.
Ten Battle of Britain pilots signed Biggin Hill RAF station cover. Includes Tony Pickering, Graham Leggett, Geoffrey Wellum, Richard Jones, Bob Foster, R Lusty, J Toombs, W Walker, Ken Mackenzie, Tom Neil. 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.
Blowout Sale! Human Centipede II dual signed 10x8 photo. This beautiful hand signed photo depicts the poster for Human Centipede II and hand signed by Laurence R. Harvey Emma Lock. 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.
Oryon Collection History Club - four boxes of hand painted metal soldiers, 1:32 scale by Oryon of Milan of Italy, British Cavalry Light Dragoons 1815, British Heavy Cavalry R Horse Guards 1814, British Light Infantry, 71st Regt Glasgow Highland 1815 and French Cavalry Hussars 1st Reg 1806, # 8012, 8015, 8019, 8021, all appear mint in box [4]
Oryon Collection History Club - four boxes of hand painted metal soldiers, 1:32 scale by Oryon of Milan of Italy, British Cavalry 17th Regt Light Dragoons 1854, British Cavalry R Dragoons 20th Regt 1815, British Light Infantry 95th Regt Rifles 1811 and British Light Infantry 28th Regt 1814, # 8020, 8022, 8023, 8034, all appear mint in box [4]
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
Rakan Dabdoub (Iraq, born 1930)The Abstract Form oil on panel, framedsigned 'R. Dabdoub' in Arabic and English and dated '1990' (lower right), executed in 199072 x 61cm (28 3/8 x 24in).Footnotes:Provenance:Property from a private collection, ZurichAcquired from an exhibition in Amman in the early 90sThis 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
Rakan Dabdoub (Iraq, born 1930)Assyrian Hunt oil on canvas, framedsigned 'R. Dabdoub' and dated '1991' (lower right), executed in 199190 x 73cm (35 7/16 x 28 3/4in).Footnotes:Provenance:Property from a private collection, ZurichAcquired from an exhibition in Amman in the early 90sThis 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
A Qur'an leaf in gold and black muhaqqaq script Persia, probably Shiraz, mid-16th CenturyArabic manuscript on cream-coloured paper, 12 lines to the page written in elegant muhaqqaq script in alternating black and gold with diacritics and vowel points in red and black, on alternating pale blue, buff, brown and buff grounds, roundels decorated with coloured dots marking the verse-endings, interlinear rules in blue, inner margins ruled in colours and gold, illuminated marginal devices, in mount leaf 360 x 255 mm.Footnotes:ProvenanceThe Shakerine Collection.TextSura XI, Hud (The Prophet Hud), part of verse 14–part of verse 29.This leaf comes from a dispersed manuscript of the Qur'an which epitomises the high quality of work being done in cities like Shiraz at this date. The use of muhaqqaq (favoured because of its flowing form) and of alternating black and gold, are typical, but the green and brown sprinkling is much less so.Another folio from the same Qur'an is in the Khalili Collection of Islamic Art (see David James, After Timur: Qur'ans of the 15th and 16th Centuries, Oxford 1992, pp. 170-171, no. 42). Other leaves from the manuscript have appeared in these rooms, Bonhams, Islamic and Indian Art, 10th April 2008, lot 19; 7th October 2010, lot 10; and at Sotheby's, 23rd November 1976, lots 317-319; 3rd May 1977, lots 96-100; 18th July 1978, lots 177-79; 9th October 1978, lots 3-4; 24th April 1979, lots 229-235; 23rd April 1997, lot 44; 15th October 1998, lot 29; 3rd May 2001, lot 13; 19th October 2016, lot 168.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
An illuminated Qur'an, with numerous prayers including the Falnama, in a lacquer binding signed by Isma'il and dated AH 1293/AD 1876-77 Persia, 18th-19th CenturyArabic manuscript on paper, 129 leaves, 25 lines to the page written in naskhi script in black ink with diacritics and vowel points in red and black ink, interlinear gilt rules throughout, gold roundels between verses, inner margins ruled in blue, red and gold, catchwords, sura headings written in thuluth in gold, numerous illuminated devices and commentaries in Persian written diagonally in shikasteh in black ink, nine pages at beginning and six pages at end richly decorated with vegetal and floral motifs in colours and gold, one illuminated headpiece in colours and gold, lacquer binding, covers decorated with religious verses written in thuluth script in beige and red on a green ground 186 x 115 mm.Footnotes:ProvenanceThe Shakerine Collection.The lacquer binding is signed 'The work of Isma'il 1293 (1876-7)'. Isma'il has not been identified. He is not the famous artist of the same name, a painter of lacquer and watercolour, who was honoured with the title 'the Chief Painter' (naqqash-bashi) in AH 1275/AD 1858-59, which he always included in his signed pieces. The text, written in riqa', is a saying of the Prophet Muhammad relating to the Qur'an.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A small illuminated Qur'an copied by Abdullah bin 'Ashur Qajar Persia, dated AH 1235/AD 1819-20Arabic manuscript on paper, 173 leaves, 21 lines to the page written in neat naskhi script in black ink with diacritics and vowel points in red and black ink, gold roundels decorated with blue dots between verses, inner margins ruled in gold, catchwords, illuminated rectangular panels between suras incorporating headings written in thuluth script in red ink, illuminated devices in outer margins, one double-page frontispiece richly decorated with floral motifs in colours and gold, folios 2v-3r with interlinear gilt decoration, and outer borders decorated with intertwining floral motifs in gold and some colour, lacquer binding with covers decorated with a diaper pattern in gold on a black ground, doublures decorated with floral sprays on a red ground, rebacked 102 x 64 mm.Footnotes:ProvenancePrivate Spanish collection.This lot is subject to the following lot symbols: • R P• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.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
An illuminated Qur'an Qajar Persia, 19th CenturyArabic and Persian manuscript on paper, 332 leaves, 13 lines to the page written in naskhi script in black ink with diacritics and vowel points in black and red, gold roundels decorated with coloured dots marking verse-endings, interlinear Persian translation written in small nasta'liq script in red ink, interlinear rules in gold, inner margins ruled in gold, red and blue, catchwords, occasional illuminated marginal devices, some containing commentaries in shikasteh in black ink, fine illuminated double-page frontispiece in colours and gold, preceded by the index, sura headings written in large naskhi script in gold on a blue ground within illuminated rectangular panels, several leaves at beginning and end of manuscript used to record family information with dates ranging between AH 1251 and 1337 (AD 1835 and 1918), Qajar floral lacquer binding, doublures with gilt floral decoration on a red ground, spine rebacked 282 x 170 mm.This lot is subject to the following lot symbols: • R P• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.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
A talismanic chart written in ghubari script on vellum, commissioned by Hajji Husain Aqa Qajar Persia, late 19th CenturyArabic manuscript on thin vellum, text written in ghubari and small naskhi script in varying sizes and in black ink and colours, a central panel of text surmounted by a roundel, numerous side panels and cartouches, several panels with gold and silver grounds 60 x 36 cm.Footnotes:ProvenanceThe Shakerine Collection.For two examples of such talismanic charts on vellum from the Qajar period, one dated AH 1337/AD 1919, the other circa 1900, see F. Maddison, E. Savage-Smith, Science, Tools and Magic: Part One, London 1997, pp. 110-112, nos. 44 and 45.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
An album page of calligraphic practice writing (siyah mashq) in profuse nasta'liq script Persia, 17th-18th CenturyPersian manuscript on paper, closely intertwining nasta'liq script written diagonally in black ink within cloudbands on a ground of floral motifs in colours and gold, the composition laid down on an album page with blue floral inner border and wide outer border with scrolling floral motifs in gold on an orange ground composition 211 x 140 mm.; album page 392 x 264 mm.Footnotes:ProvenanceThe Shakerine Collection.See lot 41 for a page from the same album and by the same calligrapher.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
A Kashan lustre pottery bottle Persia, late 12th Centuryof piriform on a splayed foot, the long cylindrical neck with two raised band terminating in a long flaring scalloped rim, decorated in a brownish-gold lustre with frieze of large seated figures interspersed by an oil lamp, a ewer and a plate of food, a band of inscription below, the neck and shoulder with vegetal interlace and floral motifs 35.5 cm. highFootnotes:ProvenancePrivate French collection.Inscriptions: a repeat of al-'izz wa al-iqbal, 'Glory and prosperity'. This example is decorated in the 'Monumental' style which developed towards the end of the 12th century. Typified by brownish-gold lustre on a white ground with bold, large-scale decoration on an ornate ground depicting subjects such as horsemen, animals, or seated figures as in the present lot.This lot is subject to the following lot symbols: R PR This lot is subject to import restrictions when shipped to the United States.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
A Kashan lustre pottery star tile Persia, 13th/14th Centurywith eight points, decorated in cobalt blue and a brownish gold lustre on a cream ground with a central lotus surrounded by cartouches containing foliate motifs, the border with a band of inscription 21.5 cm. diameterFootnotes:Inscriptions: the opening couplets from Firdawsi's Shahnameh including two couplets which are not in the accepted edition.The appearance of the opening lines of the Shahnameh on a Kashan lustre tile is extremely unusual and possibly unique.This lot is subject to the following lot symbols: R PR This lot is subject to import restrictions when shipped to the United States.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
An engraved jade bowl Persia, probably 18th/ 19th Centuryof deep elongated form on a short splayed foot, engraved to the sides with a series of cartouches filled with inscriptions in nasta'liq on a ground of scrolling floral vines 7.8 cm. longFootnotes:Inscriptions: two couplets in Persian invoking God to keep the king on the throne as long as there is a Sun and a Moon. One of the couplets (with the difference of one word), is from Sa'di's Bustan from the section in which he praises Muhammad ibn Sa'd.This lot is subject to the following lot symbols: R PR This lot is subject to import restrictions when shipped to the United States.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
A Qajar silver and brass-mounted coco de mer kashkul Persia, 19th/ 20th Centuryof typical form, mounted with silver and brass panels, decorated in open work with a band of inscription-filled cartouches, surrounded by bands containing scrolling floral vines, with suspension loops and chain 34 cm. longFootnotes:Inscriptions: the call to God to bless the Prophet and the Twelve Imams, to the top a phrase or verse in Persian.This lot is subject to the following lot symbols: R PR This lot is subject to import restrictions when shipped to the United States.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
A Qajar coco de mer kashkul Persia, 19th Centuryof typical form, profusely engraved with cartouches containing inscriptions in thuluth, figures in landscapes with trees and quadrupeds in combat, with suspension loops and chain 30 cm. longFootnotes:Inscriptions: Qur'an, chapter II (al-baqarah), verse 255 and the beginning of 256; a couplet from the Gulistan of Sa'di; Qur'an, chapter II (al-baqarah), the continuation of verse 256 and part of verse 257.This lot is subject to the following lot symbols: R PR This lot is subject to import restrictions when shipped to the United States.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
A pair of Qajar gold and silver damascened steel rams Persia, 19th Centuryeach standing upright facing left with head slightly tilted downwards, decorated in silver and brass inlay with friezes of vegetal motifs around the bodies, quatrefoil medallions to the backs containing floral interlace 28 cm. high(2)Footnotes:ProvenancePrivate Spanish collection.This lot is subject to the following lot symbols: R PR This lot is subject to import restrictions when shipped to the United States.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
A portrait of Fath 'Ali Shah Qajar, signed by Hajj Mustafa, known as Mustafa Naqqash Iran, 20th Centuryoil on canvas, signed Hajj Mustafa lower left, on stretcher 149.5 x 99.5 cm.Footnotes:The artist's full name was Hajj Mustafa Hashemi Tarzami Hashemi, and was known as Mustafa Naqqash (painter). He died in 2003.The painting is modelled partially on the portrait of Fath 'Ali Shah by Mirza Baba, dated 1798, in the British Museum, and partially on another, by Mihr 'Ali, dated 1813, in the Hermitage, St Petersburg.This lot is subject to the following lot symbols: R PR This lot is subject to import restrictions when shipped to the United States.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
A Qajar lacquer penbox (Qalamdan) depicting scenes from Aqa'id al-nisa (Beliefs of Women) Persia, 19th Centurywith rounded ends and sliding tray, decorated in polychrome and gilt with scenes of birth and motherhood, the borders with undulating foliate vines, the base with an interlace of vines and bunches of grapes, with knitted case 21.7 cm. longFootnotes:The side of the penbox depicts female attendants caring for a mother shortly after the birth of her child, who lies in a basin at her feet. The mother wears a transparent chemise, her hair unbound, and an attendant to the upper left carries a tray bearing a sword and a book which will serve as talismans against maternal death. To the right, servants wrap the afterbirth in a cloth before it is buried to protect the child from evil. Many of the practices depicted are reflected in Aqa'id al-nisa, a late Safavid treatise on female domestic superstitions. For a lacquer mirror case depicting a similar scene, and a further discussion on the topic see M. Farhad, M. McWilliams and S. Rettig, A Collector's Passion, Ezzat-Malek Soudavar and Persian Lacquer, Washington 2017, pp. 60-61.This lot is subject to the following lot symbols: R PR This lot is subject to import restrictions when shipped to the United States.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
Loading...
