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Lot 136
A lectionary, Deacon ‘Ablahad, Iraq, circa 1870 century, biblical readings for the Chaldean Catholic community in Iraq, copied for three patrons of the Church of St Mary in Kirkuk, Syriac manuscript on paper, 199ff., 4fl., two columns of 20ll. of black script within red double-rules per page, section headings in red, polychrome strapwork frame on opening page, original blind-tooled binding, some damaged edges, some scattered marginal staining, clean text throughout, the cover with shelf wear consistent with age, 32.3 x 22.5cm.
Lot 68
Kitab al-Malahama, Ottoman Turkey, dated 15 Sha’ban AH 924 /1 September 1518 AD, Ottoman Turkish manuscript on paper, an apocalyptic compilation from verse and accounts of the prophets, 123ff., 2fl., each folio with 15ll. lines of naskh, written in two columns, section headings in red numerous annotations, contemporary and later, endpapers inscribed with various shelf marks, with a number of repeated seal impressions, 19th-century quarter roan over boards covered with decorated paper, 19.4 x 13.4cm.
Lot 290
Property from a Private London CollectionA large lacquered papier mache binding, Qajar Iran, 19th century, the upper and lower cover's central panel with concentric lobed centre pieces consisting of a central lobed cruciform pattern surrounded by large scrolling foliated tendrils, consecutive floral srollworks, the last on black ground, the frame with a gold lattice on plain red field, the border with gold interlocked floral tendrils on plain black field, the reverse with two birds perched at the bas of a young tree bearing blooms, one catching a butterfly, the spine lacking, losses and remnants of glue to the lower cover, the covers with very occasional scattered losses, some repaired, some light shelf wear to corners, inventory label to the lower upper cover, covers 27.7 x 17cm.
Lot 539
F.N. Souza (Indian 1824-2002), Still Life (skull, cross, oil lamp), 1986, oil on canvas, 120 x 60cm. (47.2in. x 23.6in.)Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).The genre of still life painting provides a glimpse into Souza’s psyche; questions of religion and morality tormented him throughout his life.In this still life by Souza, as in others by him, there is a compositional quality which is his hallmark. The assemblage of objects reveal the precision of his mental processes and remarkable draftsmanship. In the work, on the table religious symbols are interspersed with other objects reflecting Souza’s Catholic upbringing and the influence of the Church on his adolescent mind.“The Roman Catholic Church had a tremendous influence over me, not its dogmas but its grand architecture and the splendour of its services." (Edwin Mullins, Souza, Anthony Blond Ltd. London 1962, p. 42). In another instance, Souza describes dining at a priest’s home in Goa, “Sunday evenings, the vicar invited me to dine with him […] A laundered tablecloth was spread only when he [the Vicar] had guests, a luxury he permitted himself with touching simplicity.” ('Nirvana of a Maggot', F. N. Souza: Words and Lines, Villiers London 1959, pp.17-18).Writing on Souza’s still life compositions, the distinguished critic Geeta Kapur notes that ‘they are mostly ornate vessels and sacred objects. These objects retain their ritual aspect both on account of the visual description and composition... They are moreover, clustered formally as if on the shelf of the sacristy…’. (G. Kapur, Contemporary Indian Artists, Vikas Publishing New Delhi 1978, pp. 29-30)This work is predominantly painted in tones of yellow. The skull makes its presence felt in one corner - a striking reminder of the certainty of death. This symbol dating from antiquity is known as a Memento Mori, Latin for “Remember that you will die”. In the opposite corner, juxtaposed to the skull, is the large vase full of flowers symbolising the blossoming of new life. It occupies much of the space in the foreground with the bright red flowers. The thick wooden cross stands firm next to this vase. The oil lamp beside the skull illumines the entire scene. There is a more restricted yet judicious use of colours for a work of this period. Here, it is a subtle yellow shade that fills the entire background, dominating the painting. This seems to signify the dispelling of darkness and dark thoughts. Souza must have been in a happy state of mind while painting this work.This juxtaposition of ideas, hope and despair, light and dark, life and death is expressed with effortless ease and clarity. Souza signs off the work in his inimitable style; thick black outlines the foreground forms effectively enveloping them. They are remarkable for their energy and geometric visual harmony.(ARR)Condition Report: Held in a wooden frame, minor scuff marks. Slight undulation to the canvas, most noticeably in the top third of the painting and top right corner. Dent to the painted surface top right above yellow flower. Spots of surface residue across bottom third; some some possibly paper residue. vertical scuffs to the painted surface from the left of the flowers to the bottom; does not detract from image. Some pigments fluoresce under UV light, but appears original to the process of making (see video). Staining in two square patches visible to the reverse.
Lot 288
Property from a Private London CollectionA fine Mughal gilt decorated book binding, India, 18th century, of rectangular elongated format, the upper and lower cover with similar decoration consisting of a lobed centre piece with quatrefoil and pendants, on dense floral ground, the frame with fine strapwork, the border with swaying floral tendrils, the reverse with an elegant gold floral lattice on black ground, the border with gold foliate and floral tendril on red ground, scattered losses, marked shelf wear to edges, historical repair to corner, 28 x 16cm.
Lot 1236
A SELECTION OF OCCASIONAL FURNITURE, to include a mid-century Nathan lamp table, with a single drawer, 51cm squared x height 50cm, a magazine table, with a single drawer to each end, a wall hanging shelf and a pair of beech framed stools, with brown leather upholstery (condition report: cracks and losses to leather, minor surface marks to other items) (5)
Lot 1300
AN EDWARDIAN MAHOGANY OCCASIONAL TABLE, with wavy edge, a folding shelf to each end, united by a cross stretcher with central finial, width 60cm x depth 41cm x height 70cm, an oak nest of three tables, a chess table, a piano stool and a teak single door cabinet (condition report: occasional table with losses, all others with surface marks and stains) (5)
Lot 7058
Carolean Revival - Victorian carved oak open breakfront bookcase, the edge carved with foliate detail over a banded frieze with scrolling foliage carvings, fitted with nine adjustable shelves, each column flanked by acanthus decorated uprights, the shelf front edges carved with egg and dart motifsDimensions: Height: 117cm Length/Width: 183cm Depth/Diameter: 37cm
Lot 7103
Georgian design mahogany tripod table, shaped pie-crust tilt-top over foliate carved vasiform pedestal with acanthus carved cabriole supports terminating in ball and claw feet (W60cm H74cm); early 20th century mahogany hanging shelf, four-tier with shaped fronts, united by turned spindle uprights (W55cm H77cm)
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