Adam Henein (Egypt, 1929-2020)The Cat bronzesigned 'A.HENEIN' and numbered 'VII/IIX', number 7 from an edition of 8, executed in 197335 x 103cm (13 3/4 x 40 9/16in).Footnotes:Provenance:Property from a distinguished private collection, CairoAcquired directly from the Artist by the above circa 1990sBonhams are delighted to present two exquisite sculptures by one of the most prominent Arab sculptors of our time. Adam Henein was born in Cairo in 1929 into a family of metalworkers. In 1953, he graduated from School of Fine Arts, Cairo, he went on to receive a two-year grant to study at the Luxor Atelier. The atelier was established a decade earlier by the notable Egyptian artist and scholar Mohamed Nagi to promote Egyptian art education in school circular. In 1954 and 1956 Henein received the Luxor price for his artistic achievements. Two years later, he received a diploma in advanced practices from the Munich Academy in Germany.In 1971, Adam Henein was invited to participate in an Egyptian contemporary art exhibition in Paris at the Musée Galleria. He spent the next two and half decades, from 1971 to 1996 in Paris pushing his practice through sculpture and painting and continued focusing on ancient Egyptian themes and traditional materials. The early 1970s marked an important evolution in Henein's artistic practice, whilst in Paris he was given the opportunity to be exposed to the work of great western modern sculptors and artists whose freedom of interpretation he found to be deeply inspiring.In the late 1990s, Henein returned to his homeland. He contributed greatly to his Egypt's cultural landscape, particularly in Aswan where he established the city's annual International Sculpture Symposium. Upon his return to Egypt he was also appointed by the Minister of Culture to head the design team involved in the restoration of the Great Sphinx in Giza. Henein was awarded Egypt's State Medal, the State Merit Award, as well as the Mubarak Award in the arts. His works have been exhibited at the Institut du Monde Arabe in Paris, the Metropolitan Museum of Art in New York, The MATHAF in Doha, The ASB Gallery in Munich as well as in London and Rome.Throughout his vast career Henein produced a significant number of large and small-scale sculptures handling a variety of different mediums such as bronze, granite, plaster, limestone and terracotta. In 2014, the Adam Henein Museum opened its door in Cairo's Al-Harraniya district, which is a priceless gift from the artist himself to his native country. The museum is dedicated to the largest collection of Henein's sculptures as well as featuring some of his paintings.This 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
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Mohammed Ghani Hikmat (Iraq, 1929-2011)The Family wooden sculpture signed 'Ghani Hikmat' and dated '1964' in Arabic (lower right), executed in 1964171.5 x 46.5cm (67 1/2 x 18 5/16in).Footnotes:Provenance:Property from the private collection, GermanyAcquired directly from the artist by the present owner's family.'The modulation of sculpted lines in my figures, has been one of the focal points of my work for many years; what drew me in particular to the configuration of these forms is the dual appearance of both conflict and interplay between them. The union and fusion of sculpted figures is an integral part of my work and presents us with a constantly changeable relationship between form and meaning'- Mohammed Ghani HikmatThis remarkable wooden sculpture is a true testament to the unique artistic vision of Mohammed Ghani Hikmat. Born in Baghdad, Iraq in 1961, Hikmat has become known for his distinctive stylized approach to sculpture.Executed in an impressive scale, this sculpture portrays a Bedouin family in Hikmat's distinctive stylized manner. Rather than focusing on fine detail, Hikmat uses bold, sweeping curves and outlines to capture the essence of each figure. The result is a powerful and evocative portrayal that emphasizes the emotion and movement of the family.The wood itself is a work of art, with its deep, rich colors and fine-grained texture. Hikmat's skillful use of the medium creates a sense of fluidity and dynamism, adding to the sense of motion and energy in the sculpture.In 1953, Mohammed Ghani Hikmat graduated from the Institute of Fine Art in Baghdad. He then travelled to Rome to train at the Accademia di Belle Arti, graduating in 1959. While in Italy, he also studied metals at the Instituto di Zaka in Florence, specializing in casting bronze. He subsequently taught sculpture at the Baghdad Institute of Fine Art and the College of Architectural Engineering at the University of Baghdad.During his career, Hikmat was a prolific creator and exhibitor, and an active participant in the growing Iraqi art scene. He held several solo shows in Rome, San Remo, London, Beirut, and Baghdad. He also participated in most major national exhibitions in Iraq. He was a member of the Society of the Friends of Art and later the az-Zawiya group headed by Faiq Hassan. Significantly, Hikmat was also an influential member of the Baghdad Group of Modern Art (BGMA).Founded by his teachers and friends, Jewad Selim and Shakir Hassan Al-Said, the BGMA was arguably the most important artist society in modern Iraq and was dedicated to the idea that Iraq's heritage held a preeminent place within its modern art practice.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
Salah Taher (Egypt, 1911-2007)The Serpent (Al Thuban) oil on canvas, framedsigned 'Salah Taher' and dated '68' in Arabic (upper right), executed in 1968138 x 95cm (54 5/16 x 37 3/8in).Footnotes:'Taher's choice of a green background might be seen as a conscious nod to the lush surroundings of Eden or even the green often associated with paradise in Islamic iconography.'Provenance:Property from a private collection, LondonAt an impressive scale, this unprecedented piece by Salah Taher delves deeply into abstraction, capturing the viewer's attention with its serpent-like figures set against a vivid green backdrop. The piece immediately evokes comparisons to the serpent in the Garden of Eden, a narrative thread common in Abrahamic traditions, including Islam.In the Quran and broader Muslim culture, the serpent, often identified with Iblis or Satan, plays a pivotal role as the creature that led Adam and Eve astray from God's direct command, marking mankind's initial fall from divine grace. Yet, the representation of the serpent is not just as a symbol of deceit or temptation. In Islamic art and culture, the serpent also comes to represent profound wisdom, change, and the cyclical nature of life and death.Taher's choice of a green background might be seen as a conscious nod to the lush surroundings of Eden or even the green often associated with paradise in Islamic iconography. It also brings forth the dichotomous nature of the serpent – both a tempter and a bearer of wisdom. This artwork masterfully encapsulates this duality, inviting the viewer to reflect on the profound themes of sin, redemption, knowledge, and the human condition.For further information on this lot please visit Bonhams.com
Saadi Al-Kaabi (Iraq, born 1937)The Horseman (Abstraction No. 1) oil on canvas, framedsigned 'Al-Kaabi' in Arabic (lower right), further signed, titled and inscribed on the verso, executed circa 1960s41 x 25.5cm (16 1/8 x 10 1/16in).Footnotes:Provenance:Property from a private collection, LondonFormerly with The Al-Wasiti Gallery, BaghdadExhibited:Exhibition of Paintings by Saadi al-Kaabi, Al-Wasiti Gallery, 1965, Baghdad, Iraq'Notably, the abstract figures in Al-Kaabi's painting possess a dynamic energy, achieved through the prominence of the outline, lending the painting a bass-relief sculptural quality reminiscent of Assyrian wall reliefs, albeit with a focus on line rather than form'Saadi Al-Kaabi, a renowned artist born in Najaf, Iraq, in 1937, is celebrated for his distinctive artistic style that found its expression in both large-scale canvases and murals. This unique style emerged after years of artistic exploration following his graduation from Baghdad's Institute of Fine Arts in 1960. Driven by a desire to depart from traditional realism and inspired by the guidance of his instructors, Al-Kaabi embarked on a journey of artistic experimentation, gradually shaping his vision to convey the essence of Iraqi identity through his work.The present work is rare and extraordinary, having been exhibited at the artists first solo show in Baghdad's renowned 'Al Wasiti Gallery' in 1965. The painting exemplifies Al-Kaabi's early experimentation and represents the genesis of his 'Desert Period.' In this composition, Al-Kaabi's endeavor to abstract the figure of the horseman is skillfully executed, characterized by a technique that emphasizes incised lines to create a textured outline. The choice of an earthen background tone imparts a harmonious and muted atmosphere. Notably, the abstract figures in Al-Kaabi's painting possess a dynamic energy, achieved through the prominence of the outline, lending the painting a bass-relief sculptural quality reminiscent of Assyrian wall reliefs, albeit with a focus on line rather than form.For further information on this lot please visit Bonhams.com
Mohamed Melehi (Morocco, 1936-2020)Study for Jeddah Airport gouache on cartonexecuted circa 1980s19.5 x 39cm (7 11/16 x 15 3/8in).Footnotes:The Jeddah Airport CollectionA set of important studies commissioned by King Abdulaziz International Airport in Jeddah from the estate of architect Stelio ScamangaProvenance:Property from a private collection, FranceFormerly in the collection of Stelio Scamanga, commissioned by King Abdulazziz International Airport in Jeddah, circa 1980's'King Abdulaziz International Airport, represents an important stage in the work of the International Airports Projects. The airport is a symbol of the Kingdom's determination to encourage and strengthen the spiritual unity of the pan-Islamic world; besides the fact of being a place where the holy places of Islam can be made more accessible to the Muslims. This determination underlies the scientific and technical elements of the airport, as well as the aesthetic ones, as seen in its architecture and the works of art namely tapestries, sculptures, reliefs mosaics, ceramics and wood carvings: these works are an important part of the airports design. The emphasis on the continuity between the rich heritage of Islamic tradition and modern Arab Culture, was the criteria for the selection of contemporary Arab artists, whose works are included in this collection. These works inspired by the Islamic art of the past, namely the arabesque line and the meticulously worked patterns as well as calligraphy, emphasize the two-dimensionality of the space, and are characterized by a vivid imagination and energy that one recognises as thoroughly modern. Besides the great variety of these works of art, variety of forms and media, national influences and individual expressions, a strong bond unifies them together, that of a shared Islamic traditionThe final result is a museum quality collection that is unique in scope exemplifying dramatically the diversity of talent at work through the Arab world. We hope that this collection will inspire in our visitors a heightened sense for the artistic achievements that have marked Arab culture of many centuries and continue to distinguish it today'.-Kingdom of Saudi Arabia, Ministry of Defence and Civil Aviation, 1980'Jeddah is the gateway to Mecca, the universal centre of Islam... Its airport is therefore the arrival point for millions of pilgrims from all over the world... Jeddah is in fact the beating heart of Arabia ... Therefore is it really logical that the eyes of our visitors from their first steps here, should set upon works by American and European artists...? I think that this airport should rather give pride of place to the works of their Muslim and Arab counterparts...'-Stelio ScamangaThe following four lots comprise an exquisite set of preparatory works commissioned by the Lebanese Greek artist and architect Stelio Scamanga for a major project to acquire and display large scale artworks by prominent Arab artists in Jeddah airport in the 1980's. Stelio Scamanga (1934-2022) was an intrepid Lebanese Greek artist and architect who setup an architectural practise in Jeddah in the late 1970's. He was subsequently appointed to consult on a major project to introduce an art collection to the airport which was initially intended a group of prominent American and European to be selected for the commission. Scamanga was instrumental in the reversal of this course and the decision to seek out influential artists from the Arab world to maintain the Arab and Islamic identity of the airportA group of monumental paintings and tapestries were eventually commissioned and displayed by the airport from some of the most accomplished Arab artists of the time, including Melehi, Azzawi, Shibrain and others. The present set of works comprise initial studies for the eventual artworks, some of which, like the spectacular calligraphic composition by Ahmed Shibrain, can be pictured in the airport to this day.For further information on this lot please visit Bonhams.com
Statuette en porcelaine de Meissen représentant Arlequin assis jouant de la cornemuse, milieu du XVIIIe siècleA Meissen figure of Harlequin seated playing bagpipes, mid 18th centuryModelled perhaps by J.F. Eberlein after a model by Kaendler, wearing a pale-pink hat with feathers and a green ribbon, a tunic with puce scale-ground panels alternating with yellow, turquoise breeches and red shoes with yellow bows, the rocky base applied with leaves and flowers, 13.9cm high (restoration to hat, hands and instrument)For further information on this lot please visit Bonhams.com
An early George III silver tea caddy, of rectangular form, decorated in deep relief in the Chinoiserie style with panels of Chinamen picking tea, and pavilions within borders of c-scrolls, with further lion's mask, paw, flower, shell and scale decoration, the hinged cover with rose and foliate finial, by Daniel Smith & Robert Sharp, London 1762, 15cm high, 17.5oz
A late Victorian 18ct gold open face pocket watch, the white enamel dial with Roman numerals, outer scale 0-300 and centre seconds hand, to a keyless wind ¾ plate movement, dial and movement signed J. Hargreaves & Co, Liverpool, the case hallmarked for Chester 1892, movement and case numbered 53036, accompanied by a curb-link chain, with swivel clasp stamped '9CT', case diameter 5.2cm, chain length 37.5cm (2)Watch: surface wear and dust residue to dial, light surface wear to glass. Surface wear and scattered dings and dents to case, mostly to case sides. Hallmarks have patchy light wear. Some thinning to top loop. Slight gapping to case cover and back when closed. The movement runs when wound but the pusher, which may operate the centre seconds hand, does not appear to be functioning. Working order of the movement cannot be guaranteed. Gross weight approximately 118.4gm. Chain: general surface wear throughout, clasps are functioning. Metal standard is untested. Gross weight approximately 7.5gm.
Britain's Toys - rainbow release 1/32 scale Land Rover Defender 90, Honda TRX300 4x4 ATV and Logic CT700 Trailer, Nos. 9657 gift set, others 9440 JCB fastrac 1135, 9545 Vaderstad Ev620 Roller, 9453 JCB Skid Steer, 9480 Land Rover Discovery, 9652 Horse box with Horse, 9566 Class tipping silage trailer etc all boxed (10)
Britain's Toys - rainbow release 1; 32 scale tractor and farm implement set to include Ref. Nos. 9667 Ford tractor and hay baler gift set; others 9617 Ford 5610 tractor and front loader system, 00213 Kverneland Un 7515 bale wrapper, 9587 Fyson Elevator and Bales, 9481 Police Land Rover Discovery, 9544 Accord Seed Drill, 952 Forage Harvester etc, all boxed (10)
RARE MEISSEN ANTHROPOMORPHIC PART TEA SERVICE LATE 18TH CENTURY the cups and saucers of wrythen and basket weave moulded form; each piece painted to the centre with a humorous vignette of an animal engaged in various pursuits, such as a cat washing laundry, a fox carrying two baskets containing ducks and eggs, a kitten playing a lute to dancing mice etc.; all within a trellis border issuing sprays of flowers; with purple scale ground decoration to the gilt edged rims; comprising a teapot with matched cover, five saucers and three tea cups; underglaze blue crossed swords marksDimensions:teapot 11.5cm high, saucers 13.5cm diameter, cups 17cm highProvenance:Provenance: Property of the late Mrs. Jean BogieNote: The anthropomorphic scenes on the porcelain in this group relates to a tradition of decoration inspired by characters in fables by writers such as Aesop and La Fontaine, which had been translated into prose by the 18th century in Germany and which would have circulated widely in educated society. The scenes were intended to point out the foibles of humanity and would have been humorous to an 18th century audience, who would have recognised the references to popular fables. The activities of the animals depicted are quite curious and specific and likely relate to a particular fable source. Anthropomorphic services created at Meissen are rare and few are in existence.
A collection of 19th century theatre posters/playbills, to include large scale examples for the Garrick Theatre and Royal Panarmonion, St. Pancras, others for Shakespearean productions; also including an earlier George III example for the Theatre Royal, Covent Garden, dated 1782 Condition Report:Available upon request
![Worcestershire. Speed (John), Worcestershire Described, John Sudbury & George Humble [1627], hand-coloured engraved map,](https://cdn.globalauctionplatform.com/b9199598-926c-41b8-aeda-b0a600f4e350/8814b8c6-2e76-411e-b408-b0af00c00dac/468x382.jpg)
Worcestershire. Speed (John), Worcestershire Described, John Sudbury & George Humble [1627], hand-coloured engraved map, an inset town plan of Worcester, large strapwork cartouche, mileage scale and compass rose, occasional marginal tears, some repaired, centrefold partially strengthened on verso, one small hole affecting the printed image, 385 x 510 mm, English text on versoQTY: (1)
London. Greenwood (C & J), Map of London from an actual survey made in the years 1824, 1825 & 1826..., Extended and Comprising the various improvements to 1830, Greenwood & Co, 31st August 1830, large scale map engraved by Josiah Neele with contemporary wash colouring and some later enhancement, sectionalised and laid on linen, calligraphic title, inset views of St Pauls and Westminster, reference to the parishes and table of explanation, very slight spotting, 1260 x 1855 mm, later manuscript ownership signature to verso, contemporary sheep with gilt title to upper siding, heavily worn and frayed, spine partially detached, binding size 460 x 395 mm QTY: (1)NOTE:Howgego. Printed Maps of London, number 309, state 2.
![Berkshire. Speed (John), Barkshire Described, John Sudbury & George Humble [1627], hand-coloured engraved map, the upper](https://cdn.globalauctionplatform.com/b9199598-926c-41b8-aeda-b0a600f4e350/bcfcb981-2996-47e9-ae16-b0af00bff217/468x382.jpg)
Berkshire. Speed (John), Barkshire Described, John Sudbury & George Humble [1627], hand-coloured engraved map, the upper margin decorated with a panorama of Windsor Castle, some water staining, small holes to the central fold, short split at the base of the central fold, partial adhesion of old backing paper to verso, 380 x 505 mm, English text on verso, together with Blaeu (Johannes). Rutlandia Comitatus Rutland Shire, Amsterdam circa 1645, engraved map with contemporary hand colouring, large decorative cartouche and mileage scale, 380 x 500 mm, French text on verso, with Jansson (Jan). Scotia Regnum, Amsterdam, circa 1650, engraved map with contemporary hand colouring, inset map of the Orkney Islands, slight spotting and staining, some creasing, closed marginal tear crudely repaired on verso and recto, some abrasion to the central fold, 380 x 500 mm, French text on verso, plus Wyld (James). The Crimea, September 26th 1854, lithograph with contemporary outline colouring, inset maps of the Town & Harbour of Sevastopol and of the Black Sea, several marginal closed tears, 485 x 680 mm, and another 36 British and foreign maps, including examples by or after Morden, Archer and Blackie & Son, various sizes and condition QTY: (40)
Cary (G. & J.). Cary's Improved Map of England and Wales with a considerable portion of Scotland, planned upon a scale of two statute miles to one inch, Drawn from the most Authentic Surveys and Parliamentary Documents, 1832, calligraphic double-page title, index map, 65 (complete as keymap) engraved double-page map sheets, all with contemporary outline colouring, some offsetting and slight spotting throughout, contemporary half morocco, re-backed but retaining original spine, bumped, frayed and worn, folio, binding size 575 x 390 mmQTY: (1)
Le Clerc (Jean, publisher). Parterres et compartimens divers pour dresser en plusieurs agreables façons les Jardins des grandes et mediocres Maisons, [Paris]: Jean le Clerc, circa 1600, engraved title and 7 engraved plates of parterre garden designs, some soiling and marginal staining, early ink annotations to versos (one inscription reads: 'Louis Lasnier jardinier demeurant a Crut paroisse de Bery sur Vittiere 1739'), bound with several series of similar engraved designs, including a set of six engraved plates by Antoine Jacquard (of Poitevin, died 1652) of miniature oval designs for watch cases, [Paris], circa 1610-15, several unsigned series of engraved designs including six engraved designs of bouquets of flowers, one decorative floral pattern, four plates of designs for the seasons, four plates of circular designs (trimmed to lower edge of the leaf, touching image), and bound at end seven engraved plates from La Mode des Habits des Femmes, by Michel van Lochom (1601-1647), circa 1620-30, illustrating women's costume and hairstyles (including English, Italian, German, French, and Polish), most plates with old untidy manuscript annotations, and several visual doodles, some soiling, corners creased, light stain to lower margin, contemporary limp vellum, soiled and some wear, oblong 8vo (16 x 20.5 cm)QTY: (1)NOTE:A bound volume of 17th century small-scale French engraved designs, of particular interest for the set of designs for watch cases by Antoine Jacquard. The V & A Museum, London hold examples of the work of this designer; he also published a series of prints of inhabitants of the New World.
![* Sussex. Saxton (Christopher & Kip William), Sussexia sive Southsex olim pars Regnorum [1637], hand-coloured engraved ma](https://cdn.globalauctionplatform.com/b9199598-926c-41b8-aeda-b0a600f4e350/fa931291-6206-4d9a-b6c0-b0af00c00954/468x382.jpg)
* Sussex. Saxton (Christopher & Kip William), Sussexia sive Southsex olim pars Regnorum [1637], hand-coloured engraved map, re-margined on the vertical borders, some staining, 225 x 390 mm, framed and glazed, together with Norden (John & Hole W.). Hamshire olim pars Belgarum [1637], hand-coloured engraved map, laid on later card, 295 x 320 mm, framed and glazed, with Morden (Robert). Dorset Shire [and] Midlesex [1695 or later], two hand-coloured engraved maps, each approximately 360 x 425 mm, framed and glazed, plus Chapman (John & André Peter). Sheet XIII from their large-scale map of Essex, 1777, engraved map sheet centred on Hatfield, contemporary wash colouring, slight marginal creasing and fraying, 470 x 600 mm, framed and glazed, together with an 18th-century ward plan of the parish of St Martins in the Fields and a 19th-century map of the Orkneys, Shetlands and Hebrides, both framed and glazedQTY: (7)
United States Infantry Officer's Summer Pattern Helmetwhite felt, four panel crown with rounded peak and rear brim. Leather edging. White metal oak leaf decorated crown mount and plume holder. Red horsehair plume. White metal Infantry side mounts securing the white metal, scale chinstrap. Front badge absent. Leather and red silk sweatband with maker's stamp. Minor damage to lining fabric. PAYMENT BY BANK TRANSFER ONLY
A gentleman Longines stainless steel and goldplated "conquest" quartz wristwatchcircular gold dial with raised gold hour batons, scale with outer Arabic minutes and date aperture at 3 o'clock, gold textured bezel, case back numbered 21336959, bicolour link bracelet with foldover clasp, in a Longines boxdial diameter 28mm., case diameter 32mm.,Condition: untested, but in good condition. would benefit from a clean
A gentlemans 1940s ARSA stainless steel chronograph wristwatchcircular silvered dial with luminous Arabic numerals, minute scale, subsidiary seconds dial and 45 minute chronograph, blue steel and tritum hands, Signed ARSA for Auguste Reymond SA, manual wind Landeron 52, 17 jewels movement, leather strap bracelet dial diameter 33mm., case diameter 37mm.,Condition: Winds, ticks and runs, however no guarantee can be offered. Spotting /corrosion to dial. slight rubbing/ staining between 12-1. Caseback engraved with a name
A gentleman's 1960s Oriosa diver's chronograph wristwatch circular black dial with luminous hour baton markers, telemeter scale, subsidiary seconds dial at 9 and 30 minute chronograph with flyback hand at 3, silver baton hands and centre sweep 'flyback' seconds hand, sigedn Oriosa swiss 20 ATM Incabloc 17 Jewels, manual wind Landeron 17 jewel cal 284 movement, bi-rotating bezel, chromed case, associated rubber strap in an Oriosa box with a guarantee dated 1967dial diameter 33m., case diameter 38mm.Condition: Watch winds, ticks and runs however no guarantee can be offered as to the full working order. small impact bruise to crystal at 11 o'clock, this does not reach the surface of the glass. Another similar at 3 o'clock. Some loss / scracthes to enamel on the rotating bezel. Scratches and wear to case
A gentleman's Eberhard Aviograf stainless steel Chronograph wristwatch ref.31032circular white dial with luminous Arabic numerals, minute scale, tachymetre scale subsidiary seconds and 30 minute and 12 hour chronograph dials, black hands with luminous inserts, seconds, manual wind Lemania 1873. movement, stainless steel case with signed winding crown, black leather strap bracelet, with swing tag, in a box with booklet and guarantee, outer card box dial diameter 35mm., case diameter 40mm.,Condition: Good condition. winds ticks and runs however no guarantee can be offered as to the full working order.
A gentleman's 1960s' Edox stainless steel chronograph wristwatchcircular silvered sunburst dial with raised silvered baton hour markers, minute scale and outer tachymetre scale, subsidiary seconds dial at 9 and 45 minute chronograph at 3 and silvered baton hands with luminous inserts, manual wind incabloc 17 jewels, Landeron 248 cal. movement, leather strap bracelet, in an Edox box dial diameter 32mm., case diameter 35mm.Condition: winds ticks and runs however we are unable to offer a guarantee as to the full working order. case in good condition
A gentleman's 1960's Lancia chronograph wristwatchcircular silvered dial with raised silvered Arabic numerals, tachmetre scale, subsidiary seconds dial at 9 and 30 minute chronograph at 3, silvered hands with luminous inserts, manual wind 17 jewel incabloc, cal Venus 188 movement, chromed case, black leather strap braceletdial diameter 33cm. case diameter 36mm.Condition: Winds ticks and runs however no guarantee can be offered as to the full working order. Some rubbing to chrome plaiting on edges of buttons and lugs
Chinese traveling metal scale in a wooden scale box. Scale connected to a wooden rod with string.Length: 16 1/2 in x width: 4 in x depth: 1 1/2 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
ALBUM - WOMEN WRITERS & ARTISTSAlbum of c.100 autograph letters from nineteenth-century women writers and notable artists, from the collection of Lady Maria Theresa Lewis (née Villiers) (1803-1865), the majority to Lady Lewis, some loose, including:Eleanor Butler & Sarah Ponsonby (The 'Ladies of Llangollen'); poet and dramatist Joanna Baillie (putting aside Mr Sotheby's concerns for her pamphlet, 'I am in much greater danger of being neglected than attacked'); Mary Berry (3, to Lady Lewis, on the death of her friend Lady Charlotte Lindsay and making arrangements); Agnes Berry (2, replying to an invitation on behalf of her sister and referring to malicious news concerning Mr Lewis in The Times); poet Elizabeth Carter; Maria Edgeworth; Amelia Opie; Jane Porter (2 with some verses addressed 'To Sir Robert Ker Porter on seeing his Picture of Christ at the Last Supper'); Madame de Stael (cut signature); Ottilie von Goethe (German socialite and daughter-in-law of Johann Wolfgang von Goethe, in English); Lady Caroline Lamb (to Mary Berry, on her mother's escape from a crash, flattering her and giving her a receipt for a headache, on hearing rumours about herself '...when utterly fake it grieves...'); Mary Somerville (2); Fanny Kemble (2); Harriet Martineau, Anne Isabella Noel Byron, wife of Lord Byron (6, making arrangements, talking of a calamity in her family that has cause her to neglect everything else, troubles with Lady Lovelace ('...she just vegetates...'), another fragment talking of Lord Byron ('...He is the best man, I think I may say, that I have ever known, and the more his powers are called forth, the more his character will be generally be appreciated... He is very glad to be released from the proposed voyage to St Petersburg, and will I hope enjoy a little rest on the home station at Portsmouth...'); Caroline Norton ('...I send my 'doggerel' – it amused me to write it...'); Mary Seward (7, including some verses); and others such as George du Maurier; Richard Owen (returning a book); Charles Eastlake; Edwin Landseer (4, regarding the 'Spanish Lady'); David Wilkie; John Hayter (2, with sketches); and much else, some annotations, index titled 'British Artists' on blue paper and sheet of blotting paper at front, c.148 leaves (some blank, some excised), half maroon roan gilt, decorative spine gilt stamped 'Autographs' and 'Authoresses/ Artists/ &c.', worn, 4to (235 x 280mm.), [nineteenth-century]Footnotes:'I SEND MY DOGGEREL – IT AMUSED ME TO WRITE IT': LADY LEWIS' COLLECTION OF WOMEN WRITERS. As well as a wide correspondence, including comments on Lord Byron from his wife, the album also includes a printed notice, dated January 1845: 'M. & A. Berry are happy in the occasion of this new year to offer their sincere thanks to all the numerous body of distinguished friends, affectionate intimates, and entertaining companions, by whose aid and assistance they have passed the last twenty years of their lives... on a much smaller scale, an attempt will still be made to combine octogenarian cheerfulness, with the valued society of such as may be disposed to allow themselves to assist the OLD FIRM'.Provenance: Lady Maria Theresa Lewis (née Villiers) (1803-1865); her son Sir Thomas Villiers Lister (1832-1902); thence by descent.The collection of Lady Maria Theresa Lewis (1803-1865) was initially formed through the amalgamation of two significant collections of letters, royal and political correspondence from the collection of her mother the Hon. Theresa Villiers (1775-1856), and that of her close friend, the writer Mary Berry (1763–1852). Impressed by Lady Lewis' writings, Mary Berry bequeathed her papers to her so that she could edit them for publication, and the three volume Extracts of the Journals and Correspondence of Miss Berry was published in 1865. To this inheritance Lady Lewis subsequently added her own correspondence and collection of autographs gathered through her wide circle of social, political and literary connections entertained at her home, Kent House, St James's. Not seen outside the family until now, the collection is a remarkable survival and tells the story of a family at the heart of English society. An intricate web of connections and alliances is revealed, bringing together the worlds of royalty and politics, the arts and literature. It is also a story of influential women both as collectors and as correspondents: Theresa Villiers as keeper of royal secrets, Mary Berry and her circle of intellectuals, and, importantly, Lady Lewis as collector and salonnière bringing them all together in this extraordinary collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
JAPAN -- HIROSHIGE. Meisho Edo hyakkei/Hundred Famous Views of Edo/(…). Ota Memorial Museum of Art, Tokyo. Texts by M. Trede & L. Bichler. Hong Kong, (etc.), Taschen, (2007). 294 pp. Lge-fol. Bound Japanese style in limp stab sewn silk paper wrps. In or. silk paper covered box w. simili ivory fasteners. NOTE: Very well produced facsimile of the 'Hundred Famous Views of Edo', scale 1:1, together w. extensive explanatory notes.
CHARTS -- "A CHART of Guinea describeing the seacost from Cape de Verde to Cape Bona Esperanca". (Lond.), J. Sellers a.o., (c. 1677). Engr. sea chart of the west coast of Africa w. dec. cartouche & scale of distance. Cont. handcol. 445 x 550 mm. (Laid down on paper, margins yellowed & slightly chipped). -- "A CHART of the Coast of Guinea from Cape de Verd to Cape Bona Esperanca drawn with squares, the side of each square containing 100 English leagues." (Lond), J. Seller, (n.d.). Engr. sea chart of the west coast of Africa w. dec. cartouche. Cont. handcol. 430 x 520 mm (image size). (Laid down on paper, loosening in parts, toning & dusty in the margins, tear in the lower en of the fold, runs c. 2 cm into the image). -- (2). NOTE: Rare charts from John Seller's 'The English Pilot' (1671-1677).
EASTERN EUROPE -- POLAND -- "ESTATS DE LA COURONNE DE POLOGNE Subdivisés suivant l'estendue des Palatinats". (Par.), N. Sanson, 1708. Engr. map by H. Jaillot, cold. in outlines, with title cartouche and scale of miles in second cartouche. 470 x 650 mm. (In v.g. condition, but upper outer left corner torn off (corner however present and provisionally fixed again on v°)).
LOW COUNTRIES -- "DUCATUS BRABANTIÆ Nova Tabula (…)". Nuremberg, J.B. Homann, n.d. (c. 1720). Engr. map in cont. colouring. 585 x 500 mm. (Small split on central horizontal fold, but without loss of image). -- Added: "DIŒCESIS EPISCOPATUS ANVERPIENSIS". (Antwerp, P. Verbiest, n.d. (c. 1680)). Engr. map w. scale indicator and cartouches. 330 x 388 mm. -- "BRABANTIA, Gulick et Cleve". (Duisburg, Mercator, n.d. (c. 1600)). Engr. map in cont. colouring. 343 x 460 mm. (A bit browned/traces of former framing). -- And 7 o. (more or less the same area). (9).
LOW COUNTRIES -- GELDERLAND -- "DUCATUS GELDRIÆ et Comitatus Zutphaniæ, tabula". Amst., F. de Wit, n.d. (c. 1690). Engr. map in cont. colouring. 470 x 552 mm. (Traces of previous framing visible on v° along borders).Vredenberg-Alink 43b ("Zonder de naam van A. Deur"). -- "DUCATUS GELDRIÆ et Zutphaniæ Comitatus". (Amst.), P. Schenck, n.d. (c. 1738). Engr. map in cont. colouring w. cartouche and scale indicator. 465 x 565 mm. (Multi-folded, but in v.g. condition). Vredenberg-Alink 41c. -- And 2 similar. (4).
LOW COUNTRIES -- "NOVISSIMA ET ACCURATISSIMA XVII Provinciarum Germaniæ Inferioris Delineatio". (Amst.), N. Visscher, n.d. (between 1682-1685). Fine cold. engr. map by A. Deur w. 2 fine large cartouches, compass rose and scale indicator. 470 x 565 mm. (Sheet 520 x 623 mm.). (Strengthened on v° fol., some marg. stains). -- "TAFEL VANDE XVII NEDERLANDZE PROVINCIEN, Vertonende der zelver verdeling, grootte van Landen en Steden, Mids-gaders haar Regering, zo Politicq als Kerkelijk, en veel andere merkweerdige zaken, (…)". Amst., P. Schenk, 1707. Largely inscribed etched plate w. cold. inset map of the Netherlands w. contours of a 'Leo Belgicus', cold. distance table, and 26 nicely cold. coats of arms. 490 x 587 mm. (Some marg. stains, green colouring is browned). -- (2). NOTE: Ad 1: Van der Heijden 126 (second state).
LOW COUNTRIES -- "WALACHRIA". (Amst., Blaeu, 1662). Engr. handcold. map w. cartouche and scale indicator. 440 x 550 mm. Latin text on v°. (Margins a bit foxed). -- "ULTRAIECTUM DOMINIUM". (Amst.), Blaeu, (1643). Engr. handcold. map. 390 x 516 mm. French text on v°. (Left & right margin faintly stained). -- "TRANSISELANIA DOMINIUM vernaculè Over-Yssel". Amst., Blaeu, (1640-43). Engr. handcold. map. 419 x 523 mm. French text on v°. (Browned/foxed). -- "COMITATUS ZUTPHANIÆ et Fluminis Isulæ (…)". Amst., F. de Wit, c. (1680). Engr. handcold. map. w. cartouche in lower right corner. 495 x 570 mm. (Laid down on Japanese paper, remnants of hinges in upper corners). -- (4). NOTE: Ad 1-3: Van der Krogt, 3610:2, 3660:2, 3800:2A.
PTOLEMAEUS - COSMOGRAPHIA -- COLLECTION of all the original maps from the 'Cosmographia', Rome, 1490 edition. 27 double-p. maps, loose, all with central vertical fold. (All maps restored/cleaned (i.a. vertical folds skilfully strengthened on v°, remargined in places, marginal splits closed), the left outer half of world map partly skilfully remargined and w. few scale numbers and some lines in the world map skilfully redone in ink by a later hand, throughout small markings added in ink in places, a bit thumbed/soiled/brown spots in places, some small ms. annotations in an old hand in places (e.g. on first Asia map), but altog. in fine condition). NOTE: Maps from the 5th incunable edition of Ptolemy's famous 'Cosmographia', being the 4th edition with maps, and the 3rd edition with copper-engravings. Comprising 10 maps of Europe, including the famous map of the 'world' (Shirley 4), 4 maps of Africa, and 12 maps of Asia. The first printed edition of the 'Cosmography', including maps, was published in 1477 in Bologna. The first Rome edition was issued by Arnold Buckinck on 10 October 1478. Later editions were reissued on 4 November 1490 by Petrus de Turre. In 1490 the plates were still in excellent condition, having the original sharpness and quality. Watermark in our maps reveal a cardinal's hat, which indicates that these maps derive from the 1490 Rome edition (cf. on the 'Cosmographia' editions: R. Peerlings, F. Laurentius & J. v.d. Bovenkamp, Quaerendo, vol. 47, nr. 3-4, (2017), p. 315 and also (at length): https://www.berlinghieri.eu by R. Peerlings and F. Laurentius).
SOUTH AMERICA -- CARIBBEAN -- "CARTA ESFERICA DEL MAR DE LAS ANTILLAS y de las Costas de Tierra Firme, Desde las Bocas del Rio Orinoco Hasta el Golfo de Honduras (…). Construida (…) por la Direccion de Hidrografica hasta 1808, (…) por J. de Espinosa". London, 1810. Plain engr. coastal chart. 650 x 980 mm. (A bit age-toned, but in good condition). NOTE: This large scale chart depicts the coastlines surrounding the Caribbean Sea, from Belize to Venezuela, including the Caribbean islands from Jamaica through the Lesser Antilles. Below the map are insets of 4 Venezuelan ports: Puerto Cabello, Barcelona, La Guaira, and Cumana.
KEULEN, J. & G. v. De nieuwe groote lichtende zee-fakkel, van de geheele wereld. (Facs. ed. 1716-53). Amst., Theatrum Orbis Terrarum Ltd., (1969). 6 in 3 vols. Prof. ill., w. num. fold. plates. Lge-fol. Or. blind tooled & gilt dec. simili leather. NOTE: Well executed facsimile edition on 1:1 scale of this world famous maritime atlas, published in Amsterdam, 1716-53. - Printed in a limited and numb. edition of 500 copies.
Tabatière en or de forme rectangulaire partiellement émaillée, XIXe siècleA rectangular snuffbox in gold, partially enamelled, 19th centuryDecorated on all sides in scale motif and enamel ribbons imitating lapiz lazuli and blood jasper, marked 'K' for Paris 1757-1758, and 'MO' for Francois Guillaume Tiron, discharge mark to the rim, 2.9cm high, 4.9cm wide, 6.8cm long, weight 102g Footnotes:Provenance: Formerly in the J. Pierpoint Morgan CollectionFor further information on this lot please visit Bonhams.com
Groupe en bronze représentant le Chasseur au repos, Jean-Claude Chambellan Duplessis (1699-1774), vers 1750, d'après un modèle de Nicolas Coustou (1658-1733)A bronze group depicting the resting Hunter, Jean-Claude Chambellan Duplessis (1699-1774), French, Paris, circa 1750 after a model by Nicolas Coustou (1658-1733).Signed Duplessis fec; dark brown patina with green highlights, resting on a square wooden later socle, 37cm high, 45cm total high, (14 1/2in high, 17 1/2in total high)Footnotes:Provenance:By repute collection Charles François de Vintimille, Comte du Luc, Provence, his sale, C.F. Julliot et F.C. Joullain, Paris, 22-23 December 1777, lot 18;Defining Taste, Sotheby's London, 12 Novembre 2013, lot 162;Private Parisian collectionThe bronze presented, equally called Adonis se reposant de la chasse is a reduction of the famous marble sculpted by Nicolas Coustou in 1710, once conserved in the gardens of Marly (inv. no MR 1796). Several bronze versions of Adonis seated were commissioned throughout the 18th century to decorate the Parisian hôtels particuliers.Our bronze is the work of Jean-Claude Chambellan Duplessis, best known for his Vincennes and Sèvres porcelain creations. In 1751, Duplessis is commissioned by Louis XV to design the drawings of the first large scale service de table. In 1758, he is granted the status of Orfèvre du Roi.See the following for comparable examples:The French Bronze, 1500-1800, exh. cat. Galerie Knoedler & Co., New York, 1968, no.45;F. Souchal, French Sculptors of the 17th and 18th centuries. The reign of Louis XIV (1977), pp. 168-169, no.52;G. Bresc-Bauthier, Sculptures des jardins du Louvre (1986), p. 115;S. Lami, Dictionnaire des sculpteurs de l'école française au XVIIIe siècle, III, 1910For further information on this lot please visit Bonhams.com
Commode d'époque Louis XV de Pierre Fléchy, en marqueterie de bois de rose, amarante, bois satiné et bois teinté vert, ornementation de bronze ciselé et doré, milieu du XVIIIe siècleA Louis XV ormolu-mounted tulipwood, amaranth, green-stained wood and bois satiné marquetry bombé marquetry commode by Pierre Fléchy, mid-18th centuryThe shaped moulded brèche d'Alep marble top above two drawers inlaid sans traverse with ribbon-tied floral and foliate sprays, the central heart-shaped cartouche inlaid with a pomegranate issuing the floral spay pattern, within C-scroll encadrements, the pierced escutcheons and pulling knobs and pierced chutes above foliate sabots, the sides conformingly inlaid with large-scale foliate and floral sprays with a pomegranate, stamped twice 'P.FLECHY' and twice 'JME', the ormolu mounts stamped with a 'C' couronné poinçon, with a small oval trade label inscribed 'ROBBIG' and numbered '377', 129.5cm wide x 64.5cm deep x 89cm high, (50 1/2in wide x 25in deep x 35in high)Footnotes:Provenance:With Röbbig, Munich;The Rosa Alba CollectionLiterature: Nicolay, L'Art et la Manière des Maîtres Ebénistes du XVIIIe siècle, Paris, 1976, Vol.1, p.16Pierre Fléchy, maître ébéniste in 1756.The 'C' couronné poinçon was a tax mark employed on any alloy containing copper between March 1745 and February 1749.Pierre Fléchy (1715-1769), maître in 1756, was one of the many ébénistes working in the busy environs of the rue du Faubourg-Saint-Antoine. First working as artisan privilégié, then as maître ébéniste, Fléchy specialised in marquetry of large flowers in bois-clair which covered the entire surface of commodes, as this present commode. As many other confrères ébénistes, he produced as well a certain quantity of fashionable furniture in lacquer.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Importante tapisserie de Bruxelles figurant 'Le Colosse de Rhodes', fin XVIe siècleAn important Brussels tapestry depicting 'The Colossus of Rhodos', late 16th centuryWoven in wools and silk, after designs by Maarten van HeemskerkDepicting the Colossus of Rhodes -the monumental semi-clad statue of the sun god Helios -one of the wonders of the ancient world, with his quiver of arrows on his left shoulder and his bow grasped in his left hand, set against an extensive and bustling landscape with numerous boats, the central field flanked by large scale figures admiring the Colossus dressed in elaborate costume and gesturing to the ancient monument, to the right of the large female figures on the left is the seated sculptor (Chares of Lyndus?) dressed in a red tunic, designing a sculpture on paper while his assistants polish pieces of sculpture including a large head to the centre of the main field, the rich border with standing draped figures, flowering vases and vignettes with scenes featuring couples on boats, pastoral scenes and extensive foliate and floral surround with birds and fruited elements, with blue outer slip, 391cm wide350 cm high, (153 1/2in wide x NaNin deep x 137 1/2in high)Footnotes:Provenance:By repute, Contini Bonacossi Collection, Florence;Private Collection, AthensThe present lot forms part of a series called 'The Wonders of the World.' For a similar examples see the 'Colosseum' tapestry at the Metropolitan Museum of Art -although this has an 'Elements' border (specifically designed by Philip II) which differs from the figurative border in the present lot.The designer for the Wonders of the World series was Maarten van Heemskerck (Netherlandish, Heemskerck 1498-1574 Haarlem). These designs are thought to have been based on Pedro Mexia of Seville's Silva de varia Leccion, published in 1540. When it comes to attribution of a weaver for the series, Standen suggests that the following could be possible candidates: Willem Segers, Francis Sweerts, Niclaes de Canter, Isaac van Asperen or Nikolaus Le Coustre. The set was made up of eight panels although the Colosseum usually does not form part of the seven wonders. Standen argues that the Colosseum attained the status of one of the Ancient Wonders of the World partly because the colossal statue of Nero that once stood within the building was confused with the Colossus of Rhodes. The ancient monument was built, circa 280 BC, to commemorate the triumphant defence of Rhodes against an attack by Demetrius I of Macedon. It was believed to stand at 33m (108ft) high and collapsed in the earthquake of 226BC. What is considered to be the original dedication for the Colossus reads as follows:Αὐτῷ σοὶ πρὸς Ὄλυμπον ἐμακύναντο κολοσσὸντόνδε Ῥόδου ναέται Δωρίδος, Ἀέλιε,χάλκεον ἁνίκα κῦμα κατευνάσαντες Ἐνυοῦςἔστεψαν πάτραν δυσμενέων ἐνάροις.οὐ γὰρ ὑπὲρ πελάγους μόνον κάτθεσαν, ἀλλὰ καὶ ἐν γᾷ,ἁβρὸν ἀδουλώτου φέγγος ἐλευθερίας·τοῖς γὰρ ἀφ' Ἡρακλῆος ἀεξηθεῖσι γενέθλαςπάτριος ἐν πόντῳ κἠν χθονὶ κοιρανίαTo you, O Sun, the people of Dorian Rhodes set up tis bronze statue reaching upto Olympus, when they had made peace with the waves of war and crowned their city with the spoils taken from their enemy. Not only over the seas but equally on land did they kindly the lovely torch of freedom. For the descendants of Herakles, theirs in dominion over land and sea. Two panels which are not thought to have survived from the series are Pharos of Alexandria and the Walls of Babylon. The known survivals from the series include Zeus at Olympia, The temple of Diana at Ephesus, The Colossus of Rhodes, The Mausoleum of Halicarnassus and the Pyramids of Egypt. A set of six pieces were sold by Francis Swerts, the Antwerp weaver and dealer to the archduke Ernst in 1594/95 and in inventory of the Hotel de Conde, Paris, made in 1719 includes 'Huit pieces de tapisserie representant les Sept Marveilles.'A set of four were sold in 1920 at Georges Petit in Paris on June 18, lots 55-58. Other sets are known to form the collections of Palazzo Venezia, Rome and the William Rockhill Nelson Gallery, Kansas City. See the following for further reading:E. Cleland, Grand Design Pieter Coeke van Aelst and Renaissance Tapestry, Yale University Press, 2015;E.A Standen, Romans and Sabines: A Sixteenth Century set of Flemish Tapestries;E.A. Standen, European Post-Medieval Tapestries and Related Hangings in The Metropolitan Museum of Art, New York, 1985, cat, 19, vol. I, pp. 154 - 161;M.F Viale, Tapisseries Flamande inédites en Italie, illustrated fig 4This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
A very rare and important small Bracket Timepiece Movement, by Daniel Quare of London, its break arch brass dial signed on its chapter ring 'D. Quare, London,' with a single winder, mock pendulum and date apertures, and a rise/fall dial in its arch. Its backplate with elaborate floral and foliate engraving and a basket of fruit, and signed "Dan. Quare, London;" its movement now with anchor escapement and with pull quarter repeat removed, c. 1720; in a fine neat later custom-made brass mounted mahogany case with a brass carrying handle and fish-scale side frets and a hole in the base for its pull quarter repeat, approx. 36cms h (14"). (1) * Daniel Quare was a very important maker, a member of the London Clockmakers Company in 1671. He died in 1724.
A Timurid or early Ottoman silk and metal-thread brocade panel Persia or Turkey, 15th/ 16th Centuryof rectangular form, woven in cream and silver thread with a repeat design of circle motifs interspersed by bubri motifs, all on a black ground, backed 37.5 x 23.5 cm.Footnotes:ProvenancePrivate Swiss collection.This textile panel features a distinctive combination pattern of staggered rows of circles surrounded by short wavy stripes. This pattern finds a close comparative in the famous Ottoman çintamani motif, which usually features three circles arranged in a triangle, positioned above two parallel wavy stripes. The Ottoman çintamani alludes to abstract representations of leopard spots and tiger stripes.However, in this brocade panel, the gold brocade circles and stripes are not arranged in the standardized çintamani order. This textile could be a Timurid or early Ottoman predecessor to the çintamani design. The Ottomans inherited the simplified circle motif from the Timurid dynasty, who were known to use the motif of three circles arranged in a triangle in coinage (Alexandru Gh. Sonoc, 'Some remarks on the leopard and tiger pelts in the Turko-Iranian and Indian imagery and on the origin of the chintamani motif,' Brukenthal. Acta Musei, January 2022, p.468). Timurid manuscript paintings display repeated gold-embroidered dots or circles, an adaptation of Chinese imagery, as a common motif in the representation of clothing. While there are few extant Timurid textiles, evidence from manuscripts suggests that the Timurid courtiers preferred small-scale gold brocade motifs on silk (Thomas W. Lentz and Glenn D. Lowry, Timur and the Princely Vision: Persian Art and Culture in the Fifteenth Century, Los Angeles, 1989, p.217). Ruy González de Clavijo's narrative of his ambassadorial visit to Timur's court in the years 805-08/1403-06 also indicate the fashionability of gold-embroidered circles. In his description of the young Timurid prince Pir Muhammad, Clavijo notes that the prince was 'sumptuously attired as is the Tartar custom, he was wearing a robe of blue [Chinese] Zaytuni silk embroidered in gold circles, like small wheels, which back and front covered his chest and shoulders and passed down the material of the sleeves' (Ruy González de Clavijo, Embassy to Tamerlane, 1403-1406, London 1928, p.254).The tiger-stripe or bubri motif is not as commonly found as the circle motif in extant Timurid art and does not usually accompany the circle motif. However, these stripes are often seen in Timurid Shahnama manuscripts in the painted depictions of the heroic Rustam's tiger-pelt clothing.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: * R* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on 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 FINE, RARE AND LARGE CHARLES II YEW AND BEADWORK MIRROR CIRCA 1665/1675 The beadwork depicting flowers, a lion and a lioness, the bevelled rectangular plate flanked by a depiction of King Charles II to the right and Catherine of Braganza to the left, the upper border also centred by a roundel with depiction of the King and beneath by an alternate depiction of Catherine of Braganza, within borders of yew wood cross grain moulding throughout 110cm high, 85.5cm wide Whilst it is not uncommon to find embroidery framed mirrors of this period- beadwork mirrors are altogether rarer- especially of this scale and retaining such good colour. Unlike fabric embroideries the beads tend to retain most if not all of their original colour. The beads themselves it is believed were often sourced from national and international makers- including Murano in Italy. The depictions of King Charles II and Catherine of Braganza, together with the inclusion of the heraldic lion and leopard, suggest a Royalist supporting family and may be a commemoration of the Royal marriage of 1662. The overall scale of the piece, the size of the mirror plate, further suggests a very wealthy family. For similar please see: A related but smaller Restoration period mirror with provenance possibly to the Horton Fawkes family of Farnley Hall was purchased by the Art Fund in 2014 for the Leeds Museums and Galleries and is now housed in Temple Newsam. A mixed raised work embroidery framed mirror with similar iconography and lobed corners from the Irwin Untermyer collection in the Met Museum (accession Number: 64.101.1332). A Charles II beadwork and faux tortoiseshell dressing mirror circa 1670, illustrated in Graham Child, World Mirrors 1650-1900, Sotheby's Publications, 1990, page 60, plate 2 and subsequently sold Sotheby's New York, Important European Decorative Arts, 9th June 2014, lot 167 $20,000.SALEROOM NOTICE: Please note that the beadwork mirror actually depicts Queen Henrietta Maria on the left, in full-length, opposite King Charles I, in full-length on the right and Charles II is depicted at the top of the mirror on the roundel, and the bottom of the mirror, in the roundel, is depicted, the ever so beautiful, Catherine of Braganza. Condition Report: Marks, scratches and abrasions commensurate with age and useSome old chips and splits. Some small losses including a section of moulding the the outermost lower right corner of the frame. Some old repairs and replacements as expected for age. Some areas of the beadwork replaced. Some movement, warping the frame overall creating an overall 'bow' as expected for age. (see additional images)The mirror plate has significant age and the hand bevelled edge is true to its current size and placement, however it is not possible to guarantee that this plate is entirely original to the frame. It is possibly original. Textile was previously glued to the side edges of the frame and apparently the same material to the reverse of the frame throughout. To the reverse there is various old staining to the textile. To the side edges a high percentage of the textile is lost and mainly only very small fragments remain. The reverse of the frame looks generally good and original. There are later fixtures screwed to the reverse in order that the mirror can be hung. We cannot guarantee the originality or condition of the timber immediately underlying the glued down textile to the reverse. Very good original surface, depth of colour and patina to the yew mouldingsThere is no further specific provenance regarding this lot.Please refer to the additional images available via email for visual reference to condition in addition to the images available on our website. Condition Report Disclaimer
ROMAN SCHOOL (LATE 18TH CENTURY) DRAWING OF A ROMAN CINERARY URN IN ORIENTAL ALABASTER, KNOWN AS THE URN OF LIVILLA Watercolour, pencil, and ink Inscribed 'English fecit for the vase' (lower right); further extensively inscribed (lower centre) 91 x 56.5cm (35¾ x 22 in.)Provenance: Mr. R. Doughty, Leominster, United KingdomThe ancient Roman urn of Livilla was discovered in 1777 in the remains of the Mausoleum of Augustus and takes its name from six travertine funerary cippi - the fragments of which are reproduced in the lower section of the present sheet - each bearing the name of a member of the Imperial family, and the nearest to the urn was that of Julia Livilla (c. 18-41 A.D.). She was the sister of Caligula, daughter of Germanicus and great-granddaughter of Augustus. Given the prominent location where the urn was found, its imposing size and exquisite material, it is possible that it did once contain Livilla's ashes, or those of another member of the imperial family. The urn is in the Vatican Museums and is most probably carved of Alabastro di Palombara, often referred to as Oriental, or Egyptian, alabaster. The lustrous patterns and changing hues of the alabaster's rings and veining have been so meticulously recorded , that it was most likely made in Rome, in the presence of the object. The inscription and scale in English indicates that it was made for a British audience, likely a Grand Tourist visiting the Eternal City. The art historian Professor Cinzia Sicca has suggested that given the date of the excavation of the Urn of Livilla and its presence in Rome, our sheet could have been commissioned by an agent such as the prominent antiquary Thomas Jenkins (c. 1722-1798), who employed draughtsmen including Claude François Nicole (c. 1700-1783), Nicolas Mosman (1727-1787) or Friedrich Anders (born c. 1734), all of whom specialised in drawings recording antiquities. Professor Sicca has also suggested that the present work may have served as the model for two drawings of the Urn of Livilla in the collection of the London Society of Antiquaries and perhaps the former was owned by a member of the Society, who offered to have it studied and copied. It is interesting to note that, like the present watercolour, the drawing in the Society of Antiquaries (Classical Antiquities Album 10) illustrates the alabaster urn without any cracks on its surface, nor the inscription added at the behest of pope Pius VI at its base, characteristics that reinforce the potential connection between the two drawings. Condition Report: There is a horizontal folding crease running along the centre of the sheet. Various repaired tears to the edges of the sheet, together with some further creasing. Some spots of discolouration scattered throughout. Under glass, unexamined out of frame.Condition Report Disclaimer
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