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Click here to subscribeAIrfix, Frog, Revell, Novo, Bandai - A collection of 9 boxed model kits in various scales. Lot includes Airfix F404s Bismark 600th scale; Frog 1:72 Armstrong Whitworth Whitley MK.V Bomber; Bandai 1:48 'Maultier' Opel and similar. Overall many of kits appear to be in sealed bags but note that they are unchecked for completeness. Boxes overall are in Fair - Very Good condition with imperfections such as taping, creasing and storage wear.
Armour Collection - A battalion of 12 boxed diecast model fighting vehicles by Armour Collection in 1:72 scale. Lot includes ART3100 KPFW IV; ART313 Sherman M4-A2; ART3123 LAV25 Hunter Desert Tank and similar. Models appear to be in Mint condition in Good - mostly Mint boxes with some imperfections.
A collection of over 20 scenic accessories and building suitable for model railway / military modelling. Lot also contains a boxed Mini Art 1:35 scale House Ruin model, together with a quantity of built plastic military model vehicles - all in built / playworn condition and unchecked for completeness. (3)
Oxford Diecast, Cararama - 32 boxed diecast vehicles predominately by Oxford diecast majority being in 1:76 scale. Lot includes 7MT57002 Mercury Turnpike; 76MN004 Peter Sellers Mini; 76MGZ002 MGZB and similar. Models appear to be in Mint condition in Very Good - mainly Mint boxes with some imperfections.
Corgi Aviation Archive - Four boxed diecast 1:144 scale aircraft from the Corgi Aviation Archive range. Lot consists of #47201 Avro York - Skyways; #47206 Avro York - French Air Force; #47403 Avro Lancastrian - Flight Refueling Ltd; #47205 Avro York - RAF. Models appear to be in Mint condition in Fair - generally Good boxes with some storage wear and tear. Models are unchecked for completeness. (4)
Corgi Aviation Archive - Four boxed diecast aircraft in 1:144 scale. Lot consists of #48103 Boeing C97-G _ Delaware Air Guard; Haynes Miniature History Models - Lancaster, Spitfire and Bf109 Messerschmitt. Models appear to be in Mint condition in Good - Near Mint boxes. Models are unchecked for completeness. (4)
Oryon Collection History Club - four boxes of hand painted metal soldiers, 1:32 scale by Oryon of Milan of Italy, Confederate Infantry 21st Regt 1863, British Aviation RAF aces, British Cavalry 1st Regt Lifeguards 1815 and Confederate Cavalry 1863, # 6032, 5007, 6020 and 6030, 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, Union Infantry 1863 # 6034, also 1:35 scale German Aviation Luftwaffe # 5005, German 4th Mountain Div'n # 2009, Eisenhower, Montgomery, De Gaulle and Churchill # 4002, 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 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]
Oryon Collection History Club - three boxes of hand painted metal soldiers, 1:32 scale by Oryon of Milan of Italy, British Infantry 1st Regt Foot Guards 1815, French Imperial Guard Grenadiers 1812 and German Panzer Grenadiers 15th Armoured Afrika Korps, # 8016, 6001 and 2008, all appear mint in box [3]
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
Ardeshir Mohasses (Iran, 1938-2008)Mother's Day ink on paper, framedsigned 'Ardeshir' in farsi, executed in 198041 x 31cm (16 1/8 x 12 3/16in).Footnotes:A RARE AND HIGHLY IMPORTANT GROUP OF PUBLISHED WORKS BY ARDESHIR MOHASSESS FROM A PRIVATE FAMILY COLLECTION'I don't believe in an ideal society... as there is no need for me in such a society' - Ardeshir Mohassess'If we are to take 'caricature' to be an ironic exaggeration of facts then Aredshir is most certainly not a caricaturist. At least for us, the neighbours, and fellow-sufferers of the familiar faces in his works, Ardeshir will, in his capacity as an artist, remain a sharp-sighted realist, a portraitist of facts, a painter of history' – Ahmad ShamluProvenance:Acquired directly from the artist during his lifetime, Thence by descent to a private family collection, New YorkExhibited:Ardeshir Mohasses, Art and Satire in Iran, Asia Society, 2008Published:Ardeshir Mohassess: Art and Satire in Iran, Shirin Neshat, ACC Art Books, 2008, illustrated Ardeshir Mohassess, Closed Circuit History, Ramsey Clark, Mage Publishers, New York, 1989, illustrated'In an untitled work from 1978, a rose grows out of a chador; the end of the stem disappears into the opening where the woman's face should be. A similarly arresting image, 'Mother's Day' (about 1980), features a thorny branch in place of the flower. Both works suggest resistance to the muffling of women's voices.' - New York TimesBonhams has the distinct privilege of presenting part of one of the most significant private collections of Ardeshir Mohasses' inimitable drawings and sketches. Mohassess combined artistic ingenuity with political satire to create shrewd, gripping images that reference and scrutinise key episodes in Iran's turbulent past. Mohasses' professional background as a journalistic cartoonist shaped both the aesthetic and subject matter of his works. Depicted in the form of pictorial vignettes, the miniature size and simple format of his sketches present the viewer with clear, succinct commentaries on a personal scale. The majority of Mohasses' work contains acerbic, alarming and often disturbing imagery chronicling the social and civil turmoil plaguing Iran throughout the 19th and 20th centuries, the present sketches are a unique, highly significant grouping from his most creatively fertile period during the 1970'sArdeshir Mohassess was born in Iran in 1938 and began drawing early in his childhood. In the 1960s, after receiving a degree in political science from Tehran University, he worked as an illustrator for Iranian journals and newspapers. Soon after, his drawings began to appear in major international newspapers and magazines, including The New York Times. In 1976, Mohassess left Iran for what he planned as a temporary stay in the United States. However, with the outbreak of the Iranian Revolution in 1979 Mohassess chose to remain in New York, where he lived until his passing in 2008.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
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
Uncommon Pre-Set Nikkor-Q Nippon Kogau 25cm f4 Lens, Pentacon Six Fit #273985. (condition 5F). Originally designed for use with the mirrorbox on a Nikon 35mm rangefinder camera, a few of these lenses in this pre-set version were made for Bronica S & S2 medium format cameras and this example has had the mount changed from a Bronica to Pentagon Six with an aftermarket mount. When fitted to a Pentacon Six the focussing scale and aperture markings line up on the underneath of the lens, not on the top. Marked with dual focussing range (feet and meters) the serial number places this lens towards the end of the first batch (see Rotoloni p30). With the correct (late version) lens hood, filter adapter and UV filter. (From The Bob White Collection).
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