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Click here to subscribeHERMÉS, AN ENAMELLED BANGLE The decorative turquoise band with pink, white and orange designs, with gilt metal settings, the interior stamped Hermés Paris Made In Austria +L Size/dimensions: 6.2cm inner diameter Gross weight: 19.5 grams Condition Report: There is some light scuffs and scratches to the gilt decoration, the markings are clear and there is a stamp to one of the gilt bands Condition Report Disclaimer
A PAIR OF PINK SAPPHIRE EAR STUDS The circular cut pink sapphires within four claw settings, in a black Stoners box Size/dimensions: 5mm diameter Gross weight: 1.8 grams Condition Report: The sapphires are well matched, bright, the settings have minimal wear, there is a rubbed stamp on the butterflies, the settings are in our opinion gold Condition Report Disclaimer
TWO SETS OF COMMEMORATIVE SILVER GILT MEDALLIONS The Arms of the Prince and Princess of Wales, Twelve by Danbury Mint, Sheffield 1981, in case of issue; and 25th Anniversary of the Coronation of Queen Elizabeth II, Seven stamp replicas, import marks for London 1979, in case of issue 341g (10.95 oz) gross
Ww2. Flt Sgt Bill Townsend Multi Signed The Award Of The Conspicuous Gallantry Medal Dm Medals Cover, Other Signatures Include Flt Sgt Dj Allen, Warrant Officer J Bettany, Flying Officer George Dove, Flying Officer Dt Jones, Flt Sgt Jeffrey Wheeler And Warrant Officer J Norris. Postmarked Jersey 15 Apr 86 With 22p Official Jersey Stamp. Superb Signatures. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Militaria interest - Major John Harold Cooper "Jack", historic military collection, West Lancashire Army Cadet Force good service and noted devotion to duty certificate, signed by Major General in 1973, glazed and framed, 1952 pre-coronation Queen Elizabeth signed Second Lieutenant Territorial Army appointment certificate, glazed and framed, 3 Kings Regiment hats, a miniature Escape compass and souvenir album, quantity of various Kings Regiment buttons and badges, Officers order of the Bath Tria Juncta in Uno Pips, some Royal Artillery / Rifles, 6 crown badges, a 19th century Printing Union badge, a Highland Light inventory cap badge Kings crown, A.C.F. cloth and metal 2 "Kings" badges, a wooden plaque with Cadet Battalion ink stamp to rear, The Kings Regiment book by Osprey and various other related items.
China: three bank notes: Yue Soo Imperial Bank, one dollar, Kiangsu Province, corner cut, otherwise very good; The Frontier Bank, twenty cents, Mukden, Jan 1st 1925, good fine; and Shing Shun Bank Macao, ten dollars, various endorsements and with a Portuguese postage stamp applied, tape repair to central split, otherwise good. [3]
American Civil War interest: a soldier's discharge certificate, for Private Henry A. Covert (?), of Captain Grant's Company of the 20th Regiment of Michigan Infantry, who enrolled on the 12th August 1862 and was discharged on the 27th February 1865, endorsed with an 1866 dated stamp; together with two 1920s dated certificates concerning the discharge and pension arrangements of Sergeant Dean M. Seabolt of the 31st Regiment of Michigan Infantry. [3]
Saliba Douaihy (Lebanon, 1915-1994)Abstract Composition oil on canvas, framedsigned 'Saliba Douaihy', further signed and dated '1981' on the verso, numbered I, the verso bearing the Brigitte Shehadeh gallery stamp, executed in 198170 x 50cm (27 9/16 x 19 11/16in).Footnotes:Provenance:Property from a private collection, LebanonFormerly with Galerie Brigitte Shehadeh, ParisExhibited:Galerie Brigitte Shehadeh, Saliba Douaihy, Paris, 1981Bonhams are proud to be offering a superlative work from one of the leading Lebanese 20th Century artists Saliba Douaihy. Born in northern Lebanon within the small town of Ehden, Douaihy was seen as having a talent for the arts from an early age, which led to him being heavily encouraged to develop his craft. Douaihy's work transformed throughout his life, from early works following classical landscape paintings seen in Lebanese church pieces, to later works such as 'Abstract Composition' following ideas and themes from American Abstract expressionism and Formalism. His body of work involves radical changes and refined artistic instinct. 'Abstract Composition' from the series 'Hard Edge' is a rich minimalist work. Only four colours are found in the composition, Red, Blue, Yellow, and Green. Each colour is applied to the canvas in precise lines as geometric shapes. A leaf green segment sits above all other colours, engulfing the work. It leads the viewers eye to the outer edges of the work. Two rich segments of red and a single yellow shape act as barriers to either side of the green plane. A precise blue segment darts through the left-hand side cutting the outer red away from the yellow. The application of the paint within the simplistic composition can allude to a lack of perspective in some works. Here it does the opposite. Douaihy uses colour theory and precise geometric shapes to create the feeling of depth and dimension. Douaihy was awarded a grant from the Lebanese government to study abroad. He studied in New York and was introduced to the energetic and modern art scene. This was an integral part to his future themes and his 'Hard edge' series of abstract, minimalist paintings. Rothko and Hans Hoffman were important acquaintances as they were masters of colour theory, knowing how to extract depth from colour with very simplistic compositions. Douaihy became attuned to the ideas of formalism from his readings on Immanuel Kant. This inspired many parts of this work. These influences led to this dedication of hard-edged shapes depicted as flat surfaces. Douaihy's stance encapsulates the ideas and values that influenced all later pieces by him. The painting demonstrates his mastery of the minimalist aesthetic as well as the two fundamental aspects in formalist painting: colour and shape.'Abstract Composition' is truly a compositional masterpiece. Douaihy emphasises the compositional elements along with the purest idea of colour theory that creates the spectacular depth within this work. The work epitomises why he is a true pioneer of Arab Modernism.Douaihy participated in many exhibitions including the Salon Des Artistes Francais, Paris (1934); the New York fair; the Guggenheim Museum; the Salons des Realites Nouvelle, Paris; the Pennsylvania Academy of Fine Arts and University Art Gallery, New York. Douaihy won many prizes and awards. They included the Lebanses National Ord of the cedar (1956), the Philadelphia Academy of Fine Arts Award (1968) and the Medaglia d'Oro of the Accademia d'Itlia dello Arte e del Lavoro (1980).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
PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Pichet Têtes, 1956.White earthenware, decoration with oxidised paraffin, black and white enamel. Current print run of 500 copies.Work referenced in: Catalogue of the edited ceramic works 1947-1971, by Alain Ramié, Editions Madoura, 1988, illustrated under no.367, p.189.Presents stamp on the base Picasso edition. Madoura.Size: 13 x 14 cm (diameter).The artist produced a large production of ceramic works at the Madoura factory in Vallauris, in the south of France, from 1947 onwards, devoting himself to this technique until the end of 1948. He then returned to his usual activities as a painter, engraver and sculptor, combining them with ceramics until 1971.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange forms. Picasso is represented in the most important museums around the world, such as the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.
CHEMA MADOZ (Madrid, 1958)"I".Photograph, copy 2/15.With Joan Prats Gallery stamp on the back.Provenance: Important Spanish Collection.Measurements: 57 x 47 cm.The way he interprets art through photography and his poetic vision make Chema Madoz one of the most interesting, influential and recognisable creators on the contemporary art scene. Emphasising the irony that underlies the objects and the hidden relationships between them. In a surrealistic search for new meanings, through which to let the imagination wander towards new paths, there is always an undercurrent of play. Playing in the everyday, generating associations, metamorphoses, in a playful background he generates a singular strangeness. His artistic work has been described as "analytical photography or visual trope" and his visual style as "surreal rationality or logic of the oneiric", to refer to the compositions of objects that are the protagonists of his works - in the words of the philosopher and art historian Luis Arenas. Madoz manipulates, invents and photographs objects. Defined as a visual poet, the associations he develops from objects as commonplace as a key, a stone or a ladder lead to a torrent of creativity. In 1999 the Museo Nacional Centro de Arte Reina Sofía presented the exhibition Madoz. Objects 1990-1999, the first solo exhibition that the museum dedicated to a living Spanish photographer. Internationally, he has exhibited at institutions such as the Centre Pompidou in Paris, the Nederlands Fotomuseum in Rotterdam, the Fondazione M. Marangoni in Florence, the Museo de Bellas Artes in Caracas and the Multimedia Art Museum in Moscow. He has received the National Photography Prize and the PHotoEspaña Prize in 2000, and the Culture Prize of the Community of Madrid in the category of Photography in 2012, among others.
Jamini Roy (Indian, 1887-1972)Untitled (Jesus with Mary & Magdalene) initials lower rightoil on paper44.6 x 34.1cm (17 9/16 x 13 7/16in).Footnotes:ProvenanceGifted to Professor Ahmed Ali by the artist in 1947-48 before Ahmed Ali left for the National University in China as the British Council's visiting professor; Inherited from the above by the vendor.FOR THE FRONT PAGE OF THIS COLLECTION The Collection of Orooj Ahmed Ali Orooj Ahmed Ali, is a collector, dealer, consultant, curator and promoter of art, both locally and abroad. Featured twice in Nigaah magazine, first in 2012 as an art collector and then in 2016 as one of the 50 Most influential people in Pakistani Art, it is unsurprising to learn that he has been immersed in the world of art since his childhood. His mother, Bilquis Jehan Begum (1926-1985) was a musician, writer, and artist, who painted figures, abstract, and surreal subjects, in a vibrant and Impressionist style whilst his father, Professor Ahmed Ali, was a novelist, poet, critic, and diplomat, who was deeply involved in the cultural scene of pre and post partition India and Pakistan, and befriended writers and artists, including, E. M. Forster, Virginia Woolf, George Orwell, Edward Thomson, from the Bloomsbury Group, Han Su Yin, Jamini Roy and Zainul Abedin. Sadequain had great regard for him; and Qi Bai Shi, the Chinese master painter, also knew him during his second stay in China (1950-52).Despite being surrounded by antiques and antiquities, it was only in 2004 that Orooj began to collect and deal in art professionally, having spent the early part of his life working as an exporter and manufacturer of terry fabrics, and representing Pakistan at the Frankfurt Book Fair in 1987 and 1990 as a literary agent and publisher. Since then, he has successfully helped clients sell their collections, which included works by artists such as Sadequain, Shakir Ali, Zubeda Agha, Bashir Mirza, Ahmed Parvez, Gulgee, Anna Molka, Jamil Naqsh, Hamidur Rehman, and S M Sultan, to name but a few. The works being offered from Orooj's collection include works by some of Pakistan's, India's, and Bangladesh's finest artists, and Bonhams is honoured to have this opportunity to present them. AHMED ALI (1st July 1910-14th January 1994)Novelist, poet, critic, diplomat, distinguished scholar and co-founder of the All India Progressive Writers' Movement, Ahmed Ali was born in Delhi in 1910. A pioneer of the modern Urdu short story, some of his notable works include: Angarey (Embers), 1932 Hamari Gali (Our Lane), 1940; Qaid Khana (The Prison House), 1942; and Maut Se Pehle (Before Death), 1945. Equally accomplished in English, he achieved international fame with his first English novel, Twilight in Delhi, published by the Hogarth Press, London, 1940, which describes the decline of the Muslim aristocracy with the advance of British colonialism in the early 20th century. He was educated at the universities of Aligarh and Lucknow and later taught at both, amongst other universities, including Presidency College, Calcutta, where he was the Head of the English department between 1932-1947. Between 1942-1945 he was also the BBC's representative and Director Listener Research in India, and was later appointed by the British Government of India as the British Council's Visiting Professor of English to the National Central University of China, Nanking (now Nanjing).Ahmed Ali moved to Pakistan from China in 1948. Joining the Pakistan Foreign Service, he established diplomatic relations with the People's Republic of China as Pakistan's first envoy to Peking (now Beijing), 1950-52, and later with the Kingdom of Morocco. A skilled translator from the Arabic, Indonesian, and Chinese, in addition to Urdu, he is also well known for his English translation of the Qur'an: Al-Qur'an, A Contemporary Translation, Princeton University Press, which is recognized by Islamic scholars as one of the best existing translations of the Qur'an. Influenced by his travels in China, he became a collector of Chinese porcelain & art, and part of his collection was auctioned at Christies in London on 25th July 1960, as Mrs B. Ali's collection. Professor Ahmed Ali is a Founding Father of the Pakistan Academy of Letters; he received Pakistan'sSitara-i-Imitiaz (Star of Excellence), 1980, and an Honorary Doctorate of Philosophy by the University of Karachi, 1993. The Pakistan Post issued a commemorative postage stamp to honour his contributions to Pakistan and Literature, 2005; to celebrate his birth centenary an international conference: Ahmed Ali, Progressive Writers, and Bilingual Creativity, was held by the Sahitya Akademi, Lucknow University, and the Association of Commonwealth Literature and Language Studies, at the Lucknow University in 2011.FOR THIS LOTIt was during the 1940s and 1950s that Roy reinterpreted iconic images in several of his paintings, as he believed that sacred art created the richest mythological traditions. His works were created for the community, and he turned his back on colonial culture, seeking to restore a simple goodness to art that had been lost to the elite of the colonial metropolis. In the two lots that form part of this collection, the first depicting Mary (left), Jesus (centre) and Mary Magdalene (right) and the second depicting Jesus we can see how Roy's intense concentration and ruthless ability to pair down the inessential details, leads to a remarkable modernist brevity, boldness and simplicity of expression, which was a vehicle for his deep and understated social commitment. (Partha Mitter, The Triumph of Modernism: India's artists and the avant-garde 1922-1947, 2007, pp.112-122)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
Ali Imam (Pakistani, 1924-2002)Untitled (Figure on a Horse) signed and dated '60 lower rightoil on canvas67 x 30.7cm (26 3/8 x 12 1/16in).Footnotes:ProvenancePrivate UK Collection.CompareFor a similar work dating from 1959, sold in these rooms, see Art of Pakistan, London, 24th May 2017, lot 26.Born in Madhya Pradesh in 1924, Ali Imam studied at the Nagpur School of Art in the early 1940s and then spent 2 years at the J.J School of Art in Bombay. Unlike his brother Sayed Haider Raza, Imam emigrated to Lahore after Partition and became well known in Pakistan as the doyen of the Pakistani modern art movement. He was one of the founders of the Lahore Art Circle, alongside Anwar Jalal Shemza, Mariam Habib, Ahmed Parvez, Shakir Ali, Moyene Najmi and Sheikh Safar and exhibited alongside Shemza and Parvez at Woodstock Gallery in London in 1958 at a show entitled 'Pakistan Group London: Five Modern Painters. Saifiuddin Ahmed and Murtaza Bashir completing the five. In 1970 he founded the Indus Gallery in Karachi, which remains to date one of the longest running galleries in Pakistan. He received the Pride of Performance Award in 1968, and in 2006 the Pakistan Postal Services issued a series of postage stamps as a posthumous tribute to 'ten Great Painters of Pakistan,' which included a stamp for Ali Imam.For further information on this lot please visit Bonhams.com
A flintlock 'Brown Bess' Tower musket, 19th century, with 39.5in steel barrel, lock stamped Tower, the walnut stock with 1800 date stamp, brass furniture and butt platetogether with an associated bayonet stamped 'John Gill', 41.5cm long (2)Lock holds in both positions. Knocks, wear and scuffs. Please the additional images.
2nd millennium B.C.-2nd century A.D. A group of ten stone seals, including five accompanied by a typed and signed note by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which state: (T-649) 'Stamp Seal of Dark-coloured Mineral Substance, 12.5 x 11 x 7mm, This is a scarab, with design on the base showing a recumbent quadruped with long neck and head turned backwards. This comes from Iran or west central Asia and dates to c. 1000-300 B.C. The edges are chipped.'; (T-549) 'Stamp Seal of Black Stone, 16 x 13.5 x 10mm. In form this is a scaraboid, pierced lengthways. The design on the face shows a standing figure in long robe with bottom fringe, a nimbus around the body as the figure raises one hand. The back also has engraving, but is too worn to identify. This comes from Syria-Palestine, and dates to c. 800-500 B.C. it is worn, but the design on the face is clear.'; (T-563) 'Stamp Seal of Black Stone, 14 x 18 x 6mm. This is a thin scaraboid, pierced lengthways. the design shows a sitting lion with head turned backwards and object above back. This comes from west central Asia and dates to c. 1200-400 B.C. It is a rare type, but worn.'; (P-74) 'Stamp Seal of Black Stone, 10 x 13 x 6mm. This is a scaraboid, pierced lengthways. The design shows a recumbent horned animal within an oval borer. The animal is stylized, in particular the horns have become a hatched shape. This is a pre-Islamic Arabian seal, c.300 B.C. to 200 A.D. It is nicely engraved, and in good condition save for some chipping of the edges.'; (1055) 'Ancient Scarab of Green Stone with White Glaze, 19 x 15 x 9mm. The design on the base shows a striding male figure holding a Was-sceptre, a cobra rearing in front of him, and a linear motif between the figure's legs. The whole design is put in a linear frame with hatched base at the bottom. This is a scarab of fine quality, and while there are problems about the precise dating of may scarabs, most likely this comes from the Second Intermediate Period (c. 1800-1600 B.C). It is a fine example, and may come either from Egypt itself, or from the East-Mediterranean coastlands. it is worn, especially at the ends where the hole emerges, but the design is well preserved.'; a black scarab with grazing bull design to the stamp; one grey scarab with antelope and plant design; a yellow stone elliptical seal with standing robed figure with beard, holding forward right arm; a white stone seal with convex surface depicting two figures standing either side of a tree with arms raised, above them the symbol of Faravahar with an additional bust to each wing; and a white plano-convex with two standing figures either side of a central post, below them a row of symbols, possibly an alphabetic inscription.' 35 grams total, 13-22 mm (1/2 - 1 in). Acquired 1980s-early 1990s. Property of a West London businessman. Academically researched and catalogued by the late Professor Lambert in the early 1990s. Accompanied by scholarly notes issued by the late Professor W.G. Lambert with collection numbers T-649, T-549, T-563, P-74, 1055. Dr. Bonewitz notes: 'The seals are made from serpentine (1), glass (1), limestone (4), composition (2), agate (2).' [10] Fine condition.
3rd-7th century A.D. A plano-convex agate stamp seal with inscription to centre and perimeter of base; pierced for suspension, with one piercing occluded; accompanied by a museum-quality impression. 16.9 grams, 24 mm (1 in). Acquired 1970-1999. London collection of the late Mr S.M., thence by descent. Fine condition.
3rd millennium B.C.-17th century A.D. A mixed group of six bronze stamp seals including four accompanied by typed and signed notes by the late W.G. Lambert, Professor of Assyriology at the University of Birmingham, 1970-1993, which state: (Q-39) 'Bronze Disk, 20.5 x 21 x 5mm. This is a round disk with strengthened and beaded edge, on the back of which a loop has been attached, made from a small strip of metal. On the face is a standing horned animal with a cross between its legs, a linear motif above its back, three dots behind its legs, and a crescent above them. This comes from west central Asia and dates most probably to c. 1400-1700 A.D. It was no doubt a button for a formal garment such as a uniform. The loop is bent, but otherwise the piece is in very good condition.'; (L-90) 'Stamp Seal of Bronze, 26.5 x 31 x 9mm. This is an oblong plate with flat face and very slightly convex back on which is mounted a pierced handle (the hole now filled with incrustation). On the face is shown a standing humped bull and below it some motifs not now clear. This is a seal from west central Asia and dates to c. 1500-800 B.C. The surface is worn, but the seal is generally in good condition.'; (T-410) 'Stamp Seal of Bronze, 21.5 x 21.5 x 9.5mm. This is a square plaque, white thin, with handle of inverted V-shape on the back. The design engraved on the face shows a single complex motif not easily interpreted to show something from the natural world. This comes from west central Asia and dates to c.2300-2000 B.C. It is nicely engraved and is in fair condition.'; (D-4) 'Stamp Seal of Bronze, 22 x 23 x 12mm. This is a flat round disc of sheet metal, with a handle of the same, pierced, mounted on the back. The design shows a stag in full gallop. This comes from eastern Iran or west central Asia and dates to c. 1000-500 B.C. It is in very good condition.' 49 grams total, 15-34 mm (1/2-1 1/4 in). Acquired 1980s-early 1990s. The Signo collection, the property of a West London businessman. Academically researched and catalogued by the late Professor Lambert in the early 1990s. Accompanied by scholarly notes issued by the late Professor W.G. Lambert with collection numbers Q-39, L-90, T-410, D-4. [6] Fine condition.
HONG KONG : Photograph album, 24 photographs (approx. size of photographs) 145 x 105mm, mainly depicting shipping a lot are in the process of being sunk or have previously sunk. oblong 4to, org. plain brown paper covers bearing the photographs stamp of Kwong Kwui. 1923. With - Wood, Winifred A. Brief History of Hong Kong, org. cloth, small 8vo, 1000 copies, South China Morning Post, 1940
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