Ɵ Abu al-Fazl Hubaysh bin Ibrahim al-Tiflisi, Nazm al-Suluk wa Taqwim al-Adviyeh (a dictionary of medicine and guide to herbal remedies), in Arabic, decorated manuscript on paper [Ottoman Levant (possibly Jerusalem), dated Shawwal 974 AH (1556-7 AD)] single volume, 274 leaves plus an additional endleaf at each end, perhaps lacking a Fihrist at the front of the volume (indicated by the pagination of leaves), single column, 19 lines informal black naskh with headings and important words in red, title on fol. 1r with text in alternate lines of red and black, pagination and contemporary catchwords throughout, a few marginal inscriptions and a few ink ownership inscriptions to title page, some finger-soiling to margins, else overall clean and very presentable condition, 210 by 140 mm.; eighteenth-century leather over pasteboards with flap, boards and flap with some provincial tooling in blind, Ottoman style central medallions and corner-pieces with additional florets and stamps surrounding these, rebacked, resewn and doubleurs added, some repairs to binding, overall very neat and clean conditionAbu al-Fazl Hubaysh bin Ibrahim al-Tiflisi was a physician and astronomer, given the title 'al-Mutabbib' (the doctor) for authorship of numerous medical texts; including the present volume as well as the Kafiyat al-Tibb (Encyclopedia of Medicine). Though little is known about al-Tiflisi's working life, he is thought to have lived around 600 AH (1203 AD): see Brockelmann (Suppl. i. 893) and C. P. Rieu (British Museum Catalogue, 1883, p. 852). The present codex forms a substantial work on herbal medicine and acts as a reference work for medication and the application of practical remedies. The colophon is signed by Ismail bin Abd'ulhaq al-Hamsa Damashqi al-Mutabbib, whose title most probably records the use of the volume by an early medical practitioner. It clearly stayed in such use for some centuries, and an early eighteenth-century ownership inscription to the title indicates that it was still used then by another Mutabbib, Afif al-Din bin Sadaqa bin Afif, who worked in the al-Salahi Hospital in Jerusalem. The binding currently housing the manuscript was probably added by Afif and used in the Salahi Hospital, one of the foremost centres for Islamic medical studies in the Middle East.
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Kadhim Hayder (Iraq, 1932-1985)Divine Horses (From the Marty's Epic) oil on canvas, framedsigned (lower left), executed in 196570 x 100cm (27 9/16 x 39 3/8in).Footnotes:DIVINE HORSES (1965) / APPROACHING OBLIVION (1984)TWO HIGHLY SIGNIFICANT WORKS BY KADHIM HAYDER FROM HIS ARTISTIC PRIME AND THE END OF HIS LIFE INCLUDING A MAJOR PAINTING FROM THE 1965 MARTYR'S EPIC 'A elegiac tone has marked the work of Kadhim Hayderfor some years, ever since he painted a large number of pictures onthe martyrdom of Hussein at Karbala, but in a manner quite differentfrom that of Azzawi. For him the religious inspiration of Islamcomes through a sense of tragedy, in signs and symbols that he makeshis own; horses, helmets, swords, spears, men, women, tents, conspiracies, treacheries - the whole phantasmagoria of ancient battles ina peculiarly personal idiom.Man defiant though prisoner, though martyred and quartered;such has been his theme for a long time, partly derived from Arabhistory as he understands it, where much of his modern vision isrooted. But Kadhim Hayder has also employed his style in telling ofman in search of himself, in search of love, in search of wonder.,He unabashedly mixes the figurative with the abstract, but havingdevised a vocabulary of distinctly personal forms, the mixture serveshis purpose well, when figure and abstract seem to exchange functionand complement one another very much as in Sumerian art. His Buraq is thus in part the horse of the Prophet's night journey, and inpart the soul's journey through the dark blues of man's endless nightof mystery.'- Jabra Ibrahim JabraProvenance:Property from the collection of a prominent academic, Paris,Acquired directly from the artist by the above, who was a colleague of Kadhim Hayder at the Academy of Fine Arts Baghdad, 1970'sExhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Fanoon Tashkili, Beirut, 1965THE PRESENT WORK 'I learnt from Hussain how to achieve victory while being oppressed'- Mahatma Gandhi Vigorous, dynamic and intense, 'Divine Horses' is a seminal work by one of Iraq's most enigmatic modern artists, Kadhim Hayder. Part of the artists major body of work, known as the 'Marty's Epic', the present painting was presented at the artists landmark shows in the National Museum of Modern Art in Baghdad and then in Beirut in 1965. Being offered in the market for the first time, the work comes from the prestigious private collection of one of Hayder's colleagues at the Baghdad Faculty of fine Arts.Kadhim Hayder was a master of weaving symbolism, poetic allegory and abstraction into compositions that were predominantly narrative in subject matter. As a poet, he had a lifelong fascination with the Shi'ite epic of the Martyrdom of Imam Hussein and this episode forms the subject matter of his most significant body of work, 'The Epic of the Martyr' which was exhibited in 1965 at the National Museum of Modern Art. A popular subject in Shi'ite folklore, the story of Hussein's martyrdom has been a subject of both art and popular religious expression for centuries The present work must therefore be understood in reference to Hayder's wider cycle of works dealing with the battle of Karbala; the white horses of Imam Hussein are seen mourning the death of their Martyr beneath an ominous moon. Aesthetically rich, Hayder's horses cluster together in overlapping shapes which evoke the anthropomorphised behaviour of their mourning. Kadhim Hayder studied literature at the Higher Institute for Teachers; in 1957 he earned a diploma from the Institute of Fine Arts. Between 1959 and 1962 he studied theatre design at the Central College of the Arts in London. Upon returning to Iraq, he taught at the Institute of Fine Arts, opening a department of design. He continued to teach at the Academy of Fine Arts, when it replaced the Institute of Fine Arts; his book al-Takhtit wa Elwan (Sketching and Colours) became standard reading for students there. In 1971 he organized a group called the Academicians, based on an exhibition and around a text he wrote reclaiming a Platonic notion of the academy as a way to relate the different arts to each other, and to the arts of the past. He served as president of the Union of Iraqi Artists, the Union of Arab Artists, and the Society of Iraqi Plastic Artists. Hayder began showing work while he was still a student, at a number of collective exhibitions held at Nadi al-Mansur, the major exhibition space in Baghdad during the 1950s. When his work and that of other young artists was rejected for exhibition at Nadi al-Mansur in 1958, he organized a counter-exhibition of the rejected. He also displayed his work at Al-Wasiti Gallery in Baghdad in 1964, and in 1965 he exhibited the series The Epic of the Martyr at the National Museum of Modern Art. Selected works from the series were subsequently shown in Beirut, both on their own, and as a prominent part of a collective exhibition of work by Iraqi artists at the Sursock Museum, a show that toured a number of European capitals under the sponsorship of the Gulbenkian Foundation.His work was included in many major exhibitions throughout the 1970s, such as the First Arab Biennale, Baghdad, 1974; Musée d'Art Moderne de la Ville de Paris, 1976; and the International Art Exhibition for Palestine held in Beirut, 1978. In 1984 he held a final solo show at the Iraqi Cultural Centre in London. His work was quickly acquired by private collectors, and thus it is only in recent years that it has entered public collections beside that of the Museum of Modern Art in Baghdad, such as that of the Barjeel Art Foundation in Sharjah, and Mathaf: Arab Museum of Modern Arab Art in Doha.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Manoucher Yektai (Iran, born 1922)Still Life oil and mixed media on canvas signed 'Yektai 76' (bottom middle), executed in 1976122 x 87cm (48 1/16 x 34 1/4in).Footnotes:LOTS 33-39: PROPERTY FROM THE COLLECTION OF A DISTINGUISHED IRANIAN ACADEMIC IN NORTH AMERICAProvenance:Property from the estate of a distinguished Iranian academic, CaliforniaBonhams have the rare honour of presenting one of the most formidable examples of Manoucher Yektai's inimitable and striking expressionist still life compositions. A painting of remarkable pedigree, 'Still Life With Vase' comes back to the market for the first time since being acquired directly from the artist by a renowned Iranian academicMonumental, powerful and enigmatic, 'Still Life With Vase' exhibits all the lyrical intensity of Yektai's dramatic technique; an artist at the creative high point of his career, Yektai's work is exemplified by exhilarating lyric flurries of paint, thick rapier like strokes, and a virtuoso handling of impasto.Typical of his later more tightly ordered, paired down still life compositions 'Still Life With Vase',is imbued with a palpable sense of grace and serenity. Whilst we may notice the influence of action painting on Yektai's style with its powerful, energetic technique evident in the torrent of lush impastoed strokes which emanate from the vase, this painterly looseness is channeled within a well-contained, tight composition – the unlikely harmony of freedom and discipline writ large in paint.Born in Tehran, Yektai is considered one of the unsung founders of the New York School of Abstract Expressionism. After an early encounter with Iranian painter Mehdi Vishkaei, Yektai decided almost overnight to become an artist, failing to show up for his school exams one morning and proclaiming that he was destined to be a painter.Renowned for shunning easel painting, Yektai's habit of working his canvases from the floor stem from a painting session in the outskirts of Tehran in the 1930's, where he found himself unable to work with his canvas propped against a tree due to the wind, ending up finishing the composition on the ground, a method that would stay with him for his whole career, and one to which he attributes much of his dynamism and artistic freedom.Between 1945 and 1947, he studied with Amédée Ozenfant in Paris, France, and later in New York City. In 1951 and 1952 Leo Castelli brought some friends, including early Abstract-Expressionist painters, to see Yektai's New York exhibitions shows. Castelli introduced him to the 9th Street Club in 1951 and he soon became a friend of Rothko,Tobey, Guston, and others. In the mid-1950S he was included in classic group exhibitions of early Abstract-Expressionism at the Stable Gallery and elsewhere, with older generation artists such as DeKooning, Pollock, Newman, and Kline. From 1957 till 1965 he showed at Poindexter. With this background it would be easy to regard Yektai as a key member of the New York School.Conceptually and stylistically, the present work is a fascinating example of the very subtle sense of tension between naturalism and abstraction manifest in Yektais work. Firmly established as one of the founding members of the New York School of Abstract Expressionism, Yektai's work was shaped and informed by his artistic milieu: luminaries such as Rothko, Pollock, De Kooning and Kline.It is notable however that throughout his work the submission to abstraction is never complete, and that the artists love and appreciation of tangible forms ensures a strong presence of naturalism in his compositions. Yektai's desire not to forsake the identity of his surroundings, ultimately, his attachment to natural forms would not grant abstraction a total victory, and it is in this tension that his artistic sincerity is most deeply revealed.This lot is subject to the following lot symbols: * P* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.P This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Guru Nanak at Mecca, by Bhai Ram Singh Punjab, late 19th Centurypen and ink on paper, verso sketches of a man's head and a minaret or tower 255 x 340 mm.Footnotes:ProvenancePrivate UK collection: acquired as part of the artist's archive, directly from his descendants.The scene, and others from the life of Guru Nanak, appears in illustrated Janamsakhi manuscripts, though it was often painted as a scene in itself. Guru Nanak travelled throughout India and elsewhere for 24 years, spreading his message. In one of the scenes the Guru is depicted at Mecca (in the course of a journey through the Middle East made between 1517-22) being rebuked by an imam for lying with his feet facing the Qa'ba. The Guru replied 'In which direction does God not live?' Alternatively, he asked to be moved so that he faced the place where there was no God; at each attempt he found that he was still facing the Qa'ba; thus the story illustrates how God is everywhere.For another depiction of the scene, see the sale in these rooms, Bonhams, Islamic and Indian Art, 2nd October 2012, lot 206; and Christie's, Islamic and Indian Manuscripts and Works on Paper, 23rd April 2012, lot 319.Bhai Ram Singh Ramgarhia was a Sikh carpenter and architect in Amritsar who worked with Lockwood Kipling in Lahore. He later became Principal of the Mayo School of Art, and amongst his works were the Lahore Museum, Khalsa College, Amritsar and the Saragarhi Memorial Gurdwara. He had travelled to London with Kipling where he worked with him to design the Durbar Room at Osborne House, Isle of Wight, the summer house of Queen Victoria. He lived in London for some time and was invited by British nobility to design and make mouldings for various panels at their country houses.For further information on this lot please visit Bonhams.com
Krishna Hawlaji Ara (Indian, 1914-1985)Still Life mixed media on paper, framedexecuted circa 1960's-1970's55 x 73cm (21 5/8 x 28 3/4in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly by the above from The Birla Art Academy, Mumbai, 1998This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Dod Procter (1891-1972)Still LifeOil on canvasSigned61 x 51cmProvenance:From the estate of Joan Manning Sanders.Note: Joan Manning Saunders was a Cornish child prodigy who earned national acclaim in 1928 when her work was exhibited at the Royal Academy, she was just 16 years old.She was taken under the wing of fellow artists in the Newlyn colony and the influence of Dod Procter can clearly be seen in her paintings.Condition report: We have asked for the professional opinion of a picture restorer- this painting has spent its life hanging on the wall of a local private house - this is reflected in its condition - there are some minor superficial surface scratches to the lower section of the painting, it would perhaps benefit from a clean but generally is in very good original condition with no areas of restoration, retouching or paint flaking.UK postage: £60+VAT.
Michael Randall (1947-2000) 'MUDLARKS' Signed with initials and titled on the reverse, dated 1990, oil on card 51 x 63.5cm Michael Randall was captivated by drawing and painting from an early age. In the 1970s, he studied at the Royal Academy Schools, excelling in life drawing and winning silver medals for drawing and painting. His RA Diploma exhibition led to Southampton City Art Gallery purchasing ‘Daydream’, the major work of that show, which remains in the Gallery’s permanent collection. He moved to Cambridgeshire in 1978, where his studio was located and is still run by his family. He was a figurative painter excited by experimenting with colour and form, driven by the challenge of conveying an intense emotional charge through his work. He was inspired by a wide range of artists, from Rembrandt to Eardley, and developed a style all his own. He had an uncanny eye for the private or fleeting moment: a conversation between friends; a mother talking to her child; the turn of a head as the subject’s attention is caught. Numerous exhibitions, including several since his death in 2000, have gathered an enthusiastic audience. His work is represented in private collections in England, Europe, Japan, and the US.
*Joan Warburton (1920-1996) 'SUCCULENT ON A CHAIR' Signed with initials and dated '66 l.r., inscribed on artist's label verso, and verso: STILL LIFE WITH PESTLE AND MORTAR, A DISH OF EGGS AND A WINE BOTTLE Oil on canvas 61 x 51cm Provenance: The estate of Tony Venison. *Artist's Resale Right may apply to this lot.
Barbara McGivern (Canadian, 1945-2019) 'STILL LIFE WITH RED CLOTH (CEZANNE)' Signed l.r., inscribed with title and dated '94 verso, acrylic on canvas 113 x 90cm Born in Toronto, Barbara McGivern spent time in London and worked initially in television before turning to painting full time back in Toronto, graduating in Experimental Arts from Ontario College of Art in 1988. Her work encompasses many styles from richly coloured abstract works incorporating gold leaf, to works based on her interpretations of impressionist and post-impressionist works seen on her travels to Paris. She stated her aim as ‘to create an explosion of energy, to generate an electric shock to the senses that awakens the uninhibited childlike freedom that is within us all but has perhaps been lying dormant’. McGivern exhibited widely in group and solo exhibitions all over the world, including Toronto, New York, Dubai, Austria, Switzerland and London.
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