We found 13526 price guide item(s) matching your search
There are 13526 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
13526 item(s)/page
Lot 695
SEVEN BOXES AND LOOSE METALWARES, SCARVES, TEXTILES, COLLECTORS DOLLS, PICTURES, etc including a metal letter box with key, a pine cased quartz clock with picture dial, cameras, soda syphon, two reproduction telephones, collectors spoons in display rack, Monopoly, bags, etc (seven boxes and loose)
Lot 1
A Qing dynasty full length court robe, most probably Qianlong period, it is most unusual to have the two lower dragons looking downward at their respective pearls, as they usually look upward. The robe has a wide band of breaking waves with bats and flowers all the way to the base of the robe, embellished with Gold buttonsProvenance of this and the subsequent textile lots is best described by the late Vendors son, lots 1-17"Our mother arrived in Hong Kong in the early 1980s accompanying our father’s lifelong career in banking. She was a keen artist and soon discovered the fascinating world of Asian antiques in frequent visits to Hollywood Road. She was especially fascinated by the quality and detail of the antique Chinese textiles that she saw there and soon learnt about the meaning and symbolism captured within them. Whenever she could, our mother would bring home an antique whether it was a particularly exquisite piece of embroidery, a sleeve-band and even occasionally, when her budget allowed, a entire robe and her taste extended beyond only Chinese antiques. These were not investments for our mother but a passion and she loved nothing better than to bring her textiles out and explain to visitors, young and old, the different symbols. She never wanted to part with her beloved textiles but, following her passing almost ten years ago, my sister and I would now like to see them go to someone who appreciates their intrinsic beauty as much as our mother and can look after them."
Lot 247
on linen canvas with an abstract design of interlocking cloud shapes in grey and cream and rectangular panels in dark brown, yellow and cream, with 'BJ' monogram in brown within a box to the lower right-hand corner 205 x 126cmFor a similar rug, see the Museum of the Home, object reference 52/1997Provenance: From the collection of Isabelle AnscombeLiterature:A larger version of this rug can be seen on page 34 of 'Design And Decoration In The Home' by Noel Carrington, Country Life Ltd., 1938Footnote: Although her career as a furniture, textile, and interior designer was sadly brief, spanning only the eleven years between 1927 and 1938, Betty Joel’s creations, though little-known by the public, are firmly ensconced within the cannon of early 20th century British design.Produced in Tientsin, present day Tianjin, China, Joel makes reference to the present lot in a diary entry, dated March 13th, 1930, where she writes: “We are getting a few [rugs] made for ourselves in China, as a matter of fact. We can get them cheaper and of better quality there than from France”. Typified by a dexterous and harmonious synthesis of Western modernism and restrained Eastern aesthetics, influenced by a childhood spent in Hong Kong, Joel’s textiles also demonstrate a refined understanding of tone and colour.Lent by Michael and Julia Pruskin, the present lot was included alongside other iconic designs in the Brighton Royal Pavilion Art Gallery’s 1975 exhibition British Carpets and Designs: The Modernist Rug 1928-1938 (October 5th- November 2nd), and, during the 1980s, was sold by the Pruskin Gallery to the present vendor, Isabelle Anscombe. An arts journalist and author of influential titles including 'Arts & Crafts in Britain and America (with Charlotte Gere), Academy Editions/Rizzoli, 1978, Anscombe has written about Betty Joel in several publications, such as ‘A Woman's Touch: Women in Design from 1860 to the Present Day', Virago, 1984, and in The Times in 1977 and again, in 1983.Condition report: In good condition, may benefit from a clean, but overall very good. Left-hand edge is a little uneven, possibly the result of re-edging?? If so, this is historic.
Lot 1406
A vintage Simon Massey green cotton top, in the African style with flared sleeves and white pom pom decoration, no size; a mid 20th century ladies Jaeger camel coloured coat; together with various other ladies vintage clothing and textiles including a Norma Dori scarf and a mid green Andrew Stewart pure wool scarf
Lot 450
Textiles - lady's accessories, a Canoa of Argentina green leather bowling bag vanity case, fitted, c.1940; a 1950s printed cotton tea dress and bolero jacket; an Edwardian silk blouse; other early 20th century lace edged undergarments; a 1960s Mynette viscose dress; a 1950s bathing suit; a Japurco London tweed waistcoat; a Cashmere camel coloured coat; etc
Lot 4
A fine and unusual double-sided album page from the Imperial Mughal Library during the reign of the Emperor Aurangzeb, with scenes from the life of the Sufi Shaykh Majd al-Din Baghdadi Herat, 16th Century, with Deccani and Mughal additions of the second half of the 17th Centuryrecto, six scenes in gouache and gold on paper, perhaps excised from a manuscript of Jami's Nafahat al-Uns, laid down on an album page with an inner silver-sprinkled light blue border, nasta'liq inscriptions within gold cloudbands in upper and lower border, outer border with undulating foliate motifs in gold on a light pink ground, seal impression of Mughal Imperial Librarian at lower right corner; verso, a circular painting of a noblewoman, Mughal, late 17th Century, laid down on sections from Deccani and Mughal gilt-decorated album page borders of the late 17th-early 18th Century, gold-sprinkled inner borders, fine marbled border outside these, upper outer border with nasta'liq inscription, lower border with two lines of text in nagari script in gold (trimmed at right-hand edge), perhaps later, numbered 69 in Arabic at lower left corner each scene recto 100 x 95 mm. and slightly smaller; painting verso 103 mm. diam.; album page 390 x 278 mm.Footnotes:ProvenanceThe Imperial Mughal Library, apparently during the reign of the Emperor Aurangzeb (reg. 1658-1707).Private US collection, early 1970s-present.The seal impression in the lower right corner (recto) is that of a Mughal official, and reads: sohrab khan khaneh zad-e 'alamgir padshah, 'Sohrab Khan, born in the household of 'Alamgir Padshah'. The date is not clear, but it is clearly from the reign of Aurangzeb/'Alamgir I (1658-1707), and judging by the terminology, probably the early years of his reign. The seal impression of Sohrab Khan is found on other album pages including one in the Philadelphia Museum, while another was on a portrait of the Mughal nobleman Farrukh Fal, dated 1650-75, with Francesca Galloway (Indian Miniatures, London 2005, pp. 16-17, no. 6). This also had the same kind of nagari inscription indicating a Rajput collection, perhaps Amber. An album page with Sohrab Khan's seal impression, depicting a Mughal nobleman recto and with calligraphy by Javaher Raqam verso, dated to the third quarter of the 17th Century, was sold at Sotheby's, The Khosrovani-Diba Collection, 19th October 2016, lot 15.The Persian text verso consists of a couplet in praise of the beauty of a lady (perhaps by implication, that depicted in the painting below). The nagari text at the bottom also praises her beauty, comparing it to spring.The fragments of plants on a gold ground are reminiscent of imaginary plant studies in a dispersed manuscript of Indian philosophy, the Aparoksha Siddhanta, produced in the Deccan, at Aurangbad, and dated 1669 (see Francesca Galloway, op. cit., pp. 4-7, nos. 1, 2; also N. Haidar, M. Sardar, Sultans of Deccan India 1500-1700: Opulence and Fantasy, New York 2015, pp. 292-293, no. 169).Marbling is of course a technique strongly associated with the Deccan, and the example here in the outer border verso is particularly striking. The petal-like differentiated areas were probably created using some sort of stencil or resist-masking technique for blocking off sections (though there is some suggestion that the technique is decoupage). For examples of Deccani marbling, and a discussion of the technique, see Haidar and Sardar, op. cit., pp. 156-169, esp. p. 158.The absence of text makes it impossible to say if the paintings recto were excised from a manuscript of Jami's Nafahat al-Uns, or another text on Sufis, or were simply depictions of the life of Shaykh Majd al-Din, made in an album for a specific patron.Jami's Nafahat al-Uns told the lives of six hundred and eleven Sufi saints. Shaykh Majd al-Din Baghdadi was a pupil of Najm al-Din Kubra. Khwarazm Shah asked the Caliph of Baghdad to send him a physician and Majd al-Din was sent. The Khwarazm Shah threw him in dajlah (referring, it seems, to a river as large as the Tigris - a scene perhaps depicted at lower left). Examples of the complete text have appeared at auction a few times: the only illustrated instance was a single leaf, dated to Herat, circa 1500 (see Christie's South Kensington, Indian and Islamic Works of Art and Textiles, 11th April 2008, lot 102. For complete examples of the text, see: Christie's, Islamic, Indian and Armenian Art and Manuscripts, 12th October 1999, lot 80 (dated AH 910/AD 1504); Bonhams, Islamic and Indian Art, 5th December 2002, lot 496 (Afghanistan or North India, 17th Century); Christie's, Art of the Islamic and Indian Worlds, 31st March 2009, lot 138A (a Turkish translation, dated 1520).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 Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid 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
Lot 65
A large Kashan lustre pottery star tile from the Imamzadeh Yahya at Veramin Persia, circa 1262in the form of an eight-pointed star, decorated in a golden brown lustre on a cream ground with a central cruciform motif surrounded by palmettes and split-palmettes interspersed by abstract vegetal motifs, the border with a band of inscription in naskhi 31.5 cm. diam.Footnotes:Inscriptions: Qur'an, chapters I (al-fatihah) and CXII (al-Ikhlas). This tile is one of a group of 160 tiles which originally came from the Imamzadeh Yahya tomb in Veramin which were produced between October and December 1262 and are attributed to Ali ibn Muhammad ibn Abi Tahir. Other examples are in the British Museum (G.452) and the Victoria & Albert Museum (1837L-1816). Two almost identical tiles from the same group were sold at Christie's Islamic Art and Manuscripts, 13 October 1998, lot 248, and another similar at Sotheby's Islamic Works of Art, Carpets and Textiles, 17 October 1984, lot 122.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 Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid 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: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 22
An Umayyad bronze ewer Persia or Mesopotamia, 8th/9th Centuryof piriform on a short foot with waisted neck and raised band to rim, simple handle 27.3 cm. highFootnotes:For an almost identical bronze jug sold at Sotheby's see Islamic Works of Art, Carpets and Textiles, 16 April 1987, lot 314. Another example is in the Kuwait National Museum (LNS 174M).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 Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid 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: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 2
Four illuminated Qur'an leaves Persia, Herat, circa 1550Arabic manuscript on paper, four leaves mounted together in one frame, 15 lines to each page, first, eighth and fifteenth lines written in thuluth script in gold, remainder of text in smaller naskhi script in black ink with diacritics and vowel points in black and red, gold and blue roundels between verses, naskhi text bordered by illuminated cusped vertical devices within side panels, inner margins ruled in blue and gold, catchwords in outer margins of two leaves each leaf 320 x 222 mm.; frame 113 x 95 cm.Footnotes:Text(upper left) Sura XI, Hud, The prophet Hud, bismallah, verse 1 to part of verse 10.(upper right) Sura VII, al-A'raf, The Heights, part of verse 184 to part of verse 194.(lower left) Sura VII, al-A'raf, The Heights, part of verse 143 to part of verse 150.(lower right) Sura VII, al-A'raf, The Heights, part of verse 164 to part of verse 172.Compare with an illuminated Qur'an, Herat, Afghanistan, 16th Century, in the British Library (MS 13087), with the area allotted to the text partitioned within a rectangular framework to enable the use of a number of scripts, and with similar illumination (see John Reeve (ed.), Sacred: Books of the Three Faiths: Judaism, Christianity, Islam, London 2007, p. 113 & colour illustration).For a bifolium from the same manuscript, see Christie's South Kensington, Arts and Textiles of the Islamic and Indian Worlds, 28th April 2017, lot 42. The format of this bifolium, with its three lines in gold and its panels of naskhi flanked by cusped vertical devices, is strikingly similar to that of a complete Qur'an, copied in Herat by Muhammad ibn Mirak, and dated AH 965/AD 1558, sold at Christie's, Islamic Art and Manuscripts, 29th April 2003, lot 18. There is another Qur'an, ascribed to Herat or Tabriz, circa 1525-50, written in a very similar if not identical hand, and with identical verse-markers, in the Nasser D. Khalili Collection (see D. James, After Timur: Qur'ans of the 15th and 16th Centuries, London 1992, pp. 128-135, no. 35).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 Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.Lot to be sold without reserve.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 232
A Mughal woven wool garment fragment Kashmir, circa 1700of irregular rectangular form, woven in cream, green, pink, red and black wool with a repeat design of floral sprays, framed 49 x 30 cm. Footnotes:ProvenancePrivate US collection, acquired in the mid 1980s. Lengths of fabric, called jamewar, were woven with simple repeat designs and no further ornamentation, unlike in shawl manufacture, to be used for tailoring clothes. For a garment fragment made from the an almost identical length of woven wool in the Tapi collection, see R. Barnes, S. Cohen and R. Crill, Trade, Temple and Court, Indian Textiles from the Tapi Collection, New Delhi, 2002, pp. 124-5, fig. 47.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
Lot 185
A Roman banded agate cosmetic dish mounted as a spoon bearing an inscription with the name of the Mughal Emperor Jahangir (reg. 1605-27) The agate dish 1st/ 2nd Century ADan agate and silver-gilt spoon; the bowl of the spoon carved from a piece of banded agate, the elliptical shape with a low foot ring on the underside, curved at one end and irregularly ground at the other, with an engraved inscription on the outer surface; the handle of silver gilt the dish 5.5 cm. long; the whole spoon 13.9 cm. longFootnotes:ProvenanceSotheby's, Islamic Works of Art, Carpets and Textiles, London, 17th October 1984, lot 232.Private UK collection, acquired at Spink in 1993.Bonhams, Islamic and Indian Art, 19 April 2007, lot 436.The collection of Sheikh Saud bin Muhammed Al Thani (1966 - 2014).The inscription reads: Al-Sultan Jahangir Shah.The title 'Sultan' appears in the inscription on the black basalt throne of Prince Salim, that was made in Allahbad, but taken to Agra (see 'Jewelled Arts of Mughal India' in Society of Jewellery Historians Journal, vol. 10, 2003, p. 55)This agate bowl, now mounted as a spoon, was formerly a complete small cosmetic dish, dating from the Roman period. It has been broken and ground down, then reused to make the spoon. The inscription suggests that it was once in the collection of the Mughal emperor Jahangir. It is possible that the bowl was ground down in the Mughal period.The Mughal emperors are well known for inscribing their names and titles on objects in their possession, including manuscripts, jades, jewels, and ceramics. Jahangir noted unusual acquisitions in his journal, the Tuzuk-i-Jahangiri: for instance he remarks on the acquisition of a Timurid jade (Tuzuk vol 1, p. 409).Jahangir collected a variety of exotic materials, including natural phenomena such a meteorite which he had made into a knife, now in the Freer Gallery of Art, Washington (Atil, Chase and Jett 1985, no. 36, pp. 220-225). It is inscribed on the blade: 'There fell in the reign of Jahangir Shah from lightning iron (a) glittering precious piece Jahangir (son of) Akbar ordered from it two swords and this knife and (a) dagger. In the year 1030 (November 1620-November 1621 AD) In the Year 16. 146.' The event is mentioned in the Tuzuk p.204-5. Another Roman period hardstone known in the Mughal period, although uninscribed, is a cameo of a horse mounted within a Mughal jade (formerly in the Falkiner Collection, London 1982 no. 378).Ming ceramics with Jahangir's name on them include a blue and white jug in the Chang Collection, Taipei, which is from the Yongle period and is inscribed with Jahangir's name within in a similar cartouche to the one found on the agate dish. Anther example is a yellow dish, Hongzhi mark and period (1488-1505), inscribed on the foot ring with name of Jahangir, dated 1021/1611-12, also the weight of 28 tola 2 masha. (V&A no. 551-1878; see London 1982 no.401).The most celebrated jewels inscribed for the Mughal emperors are a group of spinels, also known in the past as 'balas rubies'. Many of the imperial inscriptions carry the names of Jahangir and his son Shah Jahan, a noted expert on gems. The form of the inscriptions vary, and may include the name of the emperor and his lineage. A typical Jahangir period inscription may read Jahangir Shah-e Akbar Shah, sometimes (but not invariably) with a date and the regnal year. One such spinel is the Carew spinel now in the Victoria and Albert Museum (London 1982 no. 237) which has several inscriptions from various owners.Inscribed jades formerly owned by Jahangir include 15th Century dark green jug with inscriptions set in cartouches dating the year of acquisition as 1619 (British Museum no. 1945-10-17-257, published Lentz and Lowry 1989 cat. 126, p. 225).The form of the inscription on the agate bowl is unusual, reading Jahangir Shah al-Sultan. However, an emerald in the Iranian Crown Jewels reads simply Jahangir Shah 1018 (AD 1613-14) (Meen and Tushingham p. 47), while another emerald in the same collection has a full list of epithets: Abu'l-Muzaffar Nur-ud-Din Jahangir Padshah Ghazi 1016 (AD 1607-8) (ibid). There was, therefore, no rigid protocol covering all inscriptions.Bibliography:Atil, Esin., Chase, W.T., Jett, Paul, Islamic Metalwork in the Freer Gallery of Art, Washington 1985Lentz, T W., Lowry, Glenn D., Timur and the Princely Vision: Persian Art and Culture in the Fifteenth Century, Los Angeles 1989Skelton. R. et al., The Indian Heritage, exhibition catalogue, Victoria and Albert Museum, London 1982Meen, V.B., Tushingham, A.D., Crown Jewels of Iran, Toronto 1968.The Tuzuk-i-Jahangiri, or Memoirs of Jahangir, translated by Alexander Rogers, edited by Henry Beveridge. London: Royal Asiatic Society, 1914.For further information on this lot please visit Bonhams.com
Lot 671
* HEATHER NEVAY (SCOTTISH b. 1965),METAMORPHOSISoil on board, signed and dated '93, titled label versoimage size 80cm x 28cm, overall size 93cm x 41cmFramed and under glass. Exhibition label verso: Fresh Perspectives Exhibition, 1993, The Edinburgh Gallery, Edinburgh.Note: A rare and large early work by Heather Nevay. Heather was born in Glasgow in 1965. She studied at Glasgow School of Art, graduating with a degree in with BA Art and Design (Printed Textiles) in 1988. A predominantly figurative painter, Nevay's works have been exhibited regularly at the Compass Gallery and Cyril Gerber Fine Art, Glasgow, and the Portal Gallery, London. She has also exhibited many times in group shows at The Royal Scottish Academy, The Society of Scottish Artists, The Royal Glasgow Institute, and at the London and Glasgow Art Fairs.Condition report: Condition is very good overall, with no visible signs of restoration, damage, or known issues. Picture is signed bottom left.
Lot 711
* HEATHER NEVAY (SCOTTISH b. 1965),THE ENGAGEMENToil on board, titled label versoimage size 20.5cm x 34cm, overall size 37cm x 50.5cm Framed and under glass. Label verso: Cyril Gerber Fine Art, Glasgow.Note: A rare early work by Heather Nevay. Heather was born in Glasgow in 1965. She studied at Glasgow School of Art, graduating with a degree in with BA Art and Design (Printed Textiles) in 1988. A predominantly figurative painter, Nevay's works have been exhibited regularly at the Compass Gallery and Cyril Gerber Fine Art, Glasgow, and the Portal Gallery, London. She has also exhibited many times in group shows at The Royal Scottish Academy, The Society of Scottish Artists, The Royal Glasgow Institute, and at the London and Glasgow Art Fairs.
Lot 29
Ludwig Deutsch (Austrian, 1855-1935)Calling the Faithful signed and dated 'L. Deutsch Paris 1893' (lower right)oil on panel49.5 x 31.7cm (19 1/2 x 12 1/2in).Footnotes:ProvenanceIrving Putnam Rexford (1884-1955).Olive Edna May Carson Rexford (1888-1977).Thence by family descent.Private collection, Canada.In 1893, the Société des Peintres Orientalistes Français was created in Paris to reinvigorate a genre that had begun to stale after half a century of dominating the European art world. Many of the giants of Orientalism had passed away or become interested in subjects beyond the Middle East, while the most influential artist in the field, Jean-Léon Gérôme (1824-1904), was now focusing almost exclusively on sculpture, often with classical themes. There were some Orientalist painters, however, who were still captivated by the region, and whose works proved that Orientalism had something left to give. Ludwig Deutsch was one of them, and his pictures from the 1890s were among the finest of his career, with themes that would become the most recognisable and coveted in Orientalist art. His meticulously painted images of Arab men at prayer or, as here, silhouetted or placed just in front of the doorway of an Egyptian religious school or mosque, were particularly successful, finding ready buyers in Paris, London, New York, and Cairo - markets that continue to embrace Deutsch's works today. In the present painting, completed just one year after winning a gold medal at the 1892 Paris Salon, Deutsch demonstrates the power of the art he created during these pivotal years. Specific yet iconic, topical yet timeless, the subject and site of Calling the Faithful reappear often in Deutsch's oeuvre, like stills from a sweeping cinematic series. The setting, in fact, was a favourite of the artist, and was likely visited in person during one of his many trips abroad (see fig 1). The distinctive bronze medallions adorning the wooden doors of the late 14th century Fatimid Mosque of al-Barquq, located in Cairo's Al-Moez Street, had been appreciated by scores of other artists as well, notably Pascal Xavier Coste (1787-1879) and Owen Jones (1809-1874). Jones reproduced similar medallions, decorative details, and architectural elements in his epic The Grammar of Ornament, published in London in 1856 and frequently used by Deutsch as an aide memoire for his Orientalist compositions. Deutsch's extensive collection of Orientalist photographs served much the same purpose. The jewel-like tones and miniaturists' technique, however, as well as the creative reconfiguration of historically accurate parts, were Deutsch's own, unique contribution to the field. The male figure in the composition, clad in a red striped qumbaz and a white turban, holds his index finger to his left ear. This gesture – performed during the call of Adhan, or invitation to pray - allowed him to project his voice with the appropriate control, modulation, and force, while also protecting his hearing. His outer robes and scarf feature metallic gold threads, suggesting that they may have been woven in the nearby village of Kerdassa, famous for its luxurious striped textiles. Such ethnographic touches were typical of Deutsch, and contributed to the astonishing realism of his art. Ironically, given this level of precision and clarity, the details of Deutsch's own life remain obscure, with only the most basic biographical information being known. It is left to his pictures to reveal who he encountered during his wide-ranging travels, what intrigued him about Egypt specifically, how he chose to paint it, and why. We are grateful to Emily M. Weeks, Ph.D. for writing the catalogue note. The painting will be included in Dr. Weeks's concise catalogue of Deutsch's works, currently in progress.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
Lot 39
Jean Raymond Hippolyte Lazerges (French, 1817-1887)The Tomb of Sidi Abderrahmane Al-Thaalibi signed and inscribed 'Hipt Lazerges Algiers 1878' (lower left)oil on canvas33 x 49cm (13 x 19 5/16in).Footnotes:Born 1817 in Narbonne, there is little known about the early life of the artist. By 1841 he was a regular exhibitor at the Paris Salon and was awarded the Legion d'honneur in 1867.Lazerges first visited Algeria in 1830 but settled permanently in the country in 1861. He was an author as well as a painter and musician, and celebrated North African culture through his work which found a willing market back home in France. He drew his inspiration from the everyday subjects that he witnessed in the city and surrounding countryside – real people engaged in everyday events, as opposed to the idealised vision of the East as espoused by Ingres and his followers.The present lot depicts the interior of the shrine of the saint Sidi Abderraham at-Thaalibi, the Muslim theologian who became the patron saint of the city of Algiers. A prolific author, he founded the Thaalibiya school where education in history, literature, Sufism and doctrine was provided. His shrine became a place of pilgrimage as can be seen by the three women wearing the haik who are shown here praying next to the tomb.According to Cook's Practical Guide to Algiers, Algeiria, and Tunisia 1904, 'with the exception of the Djama el Kebir ... this is the oldest religious building in Algiers ... The marabout Abd er Rahman et Thalibi was born in 1387 and died in 1471. The mosque was built between these dates and contains his tomb, over which are hung silk banners, ostrich eggs, etc and on which lights are kept burning'. This can be seen in the present work, which shows the extraordinary number of lanterns and chandeliers hanging from the ceiling and the profusion of textiles and rugs.It is unlikely that Lazerges would have been able to work on this composition in situ, which would explain why the interior would appear larger than it actually is, but the overall image is treated with careful attention to detail and with an empathy that would suggest the work of an artist fully engaged with his subject and at ease in his surroundings.For further information on this lot please visit Bonhams.com
Lot 129
comprising: a PAIR OF LINED 'KENNET' PATTERN CURTAINS, registered 1883, blue colourway, printed cotton, each 249cm x 175cm; a 'KENNET' PATTERN PANEL, blue colourway, printed 157cm x 83cm; TWO 'TULIP' PATTERN PANELS, registered 1875, blue colourway, printed cotton, 78cm x 137cm and 42cm x 210cm; a 'ROSE AND THISTLE' PATTERN PANEL, registered 1881, pink colourway, printed cotton, 155cm x 128cm; a 'WEY' PATTERN PANEL, registered 1883, printed cotton, lined, 180cm x 96cm; SIX TURNBULL & STOCKDALE PANELS, blue colourway, printed cotton, 78cm square; 80cm square; 79cm square; 80cm square; 56cm x 54cm and 136cm x 76cm; and a FURTHER TURNBULL & STOCKDALE EXAMPLE, blue colourway, printed cotton, 37cm x 52cm, both designed by Lewis Day Provenance: From the collection of Arthur Halcrow Verstage Footnote: Literature: Parry, L. William Morris Textiles, V&A 2013, p.237, no.55; p.229, no. 46; p.207, no. 8, p. 237, no. 54Note: Arthur Halcrow Verstage was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection, amassed from 1902, reflected his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
Lot 131
COMPTON pattern printed cotton, 1095cm x 136cm; and MARIGOLD, blue colourway, printed on linen, printed to selvedge "MARIGOLD"/ DESIGNED BY WILLIAM MORRIS/ AN ORIGINAL SCREENPRINT BY SANDERSON, 3655cm x 126cm Provenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.Footnote: Literature: Parry, Linda William Morris Textiles, V&A 2013, p.258, no.95, and p.207, no.10
Lot 132
comprising three panels of INDIAN DIAPER, introduced before 1875, 52cm x 49cm; 55cm x 40cm; 44cm x 55cm; two panels of SNAKESHEAD, designed 1876, printed cotton, 54cm x 36cm and 54cm x 40cm; a single panel of WANDLE, registered 1884, printed cotton, 76cm x 50cm; and a loose cover of the same pattern, main panel, 67cm x 140cm; a single panel of LEA, designed 1885, printed cotton, 92cm x 63cm; a single panel of STRAWBERRY THIEF, registered 1883, printed cotton, 49cm x 101; two loose covers of EVENLODE, registered 1883, printed cotton; and a selection of Morris & co fabric scraps; two panels of PEONY, designed by Kate Faulkner, 1875, printed cotton, 36cm x 90cm and 31cm x 88cm; and a single panel of GRAVENEY, designed J.H. Dearle, after 1892, printed cotton, 76cm x 56cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.Footnote: Literature: Parry, Linda William Morris Textiles, V&A 2013, p.209, no. 14; p.214-5, no. 24; p.240-1, no. 62; p. 243, no. 64; p. 232-3, no. 52; p. 233, no. 53; p.220, no. 32; p. 254, no. 87
Loading...-
13526 item(s)/page