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Lot 728
A Royal provenance BUCCELATI boxItalian silverChiselled and guilloche decoration by Mario BUCCELLATIGuilloche cover set with crystal and malachite, fully guilloche body of chiselled rim and clasps. Polished and chiselled interiorCirca 1923(in very good condition)Provenance: Diplomatic gift from the Italian Royal Family to Princess Henriette of Belgium (1870-1948), Duchess of Vendôme, on the occasion of her stay in Rome in 1937 or to the Duchess, as representative of Queen Elizabeth of Belgium, on the occasion of the Prince of Naples Christening.Exceptional piece for its history and quality.The case is fully coated in the well-known guilloche work that became BUCELLATI's trademark both in his jewellery, and goldsmithing productions. Malachite combined with silver is a regular presence in the most luxurious pieces produced by the company, such as is the case of the Doge vase.9,3x3,3x7,7 cm215 g
Lot 60
Christopher Wood (British, 1901-1930)Flowers in a Blue Vase oil on canvas35.9 x 30.1 cm. (14 1/8 x 11 7/8 in.)Painted in 1922Footnotes:ProvenanceJack BeddingtonHans & Elsbeth JudaTheir sale; Sotheby's, London, 26 April 1972, lot 132, where acquired by the father of the present ownerPrivate Collection, U.K.ExhibitedSheffield, Graves Art Gallery, In Our View: Some Paintings and Sculpture bought by Hans & Elsbeth Juda between 1931-1967, May-June 1967, cat.no.160LiteratureEric Newton, Christopher Wood, Redfern Gallery, London, 1938, cat.no.9Exh.Cat., Robert Melville, In Our View: Some Paintings and Sculpture bought by Hans & Elsbeth Juda between 1931-1967, Graves Art Gallery, Sheffield, 1967, n.p., cat.no.160 (ill.b&w)For Christopher Wood the year 1922, his twenty-first, was to be the year his artistic aspirations accelerated at a profound rate. In January he wrote to his mother stating 'My ambition as I said is to be a great painter and as I am learning now I shall stand every chance of becoming one' (quoted in Richard Ingleby, Christopher Wood, An English Painter, Allison & Busby, London, 1995 p.52). By early summer his sights were set much higher. In June he would again write to his mother declaring 'I have decided to try and be the greatest painter that has ever lived' (Ibid p.59). Wood's charismatic bravado is by no means unique among young artists, however as the following years were to prove his assuredness was quite merited. Throughout the 1920s, Wood led a fascinating and fabled existence, connecting with many great artists including Picasso, Cocteau and Lhote on the continent, and the Nicholsons, Morris and John in Britain. He exhibited successfully, including as a member of The Seven and Five Society, and developed an idiosyncratic painterly vocabulary which joyfully fused post-impressionism and primitivism. The meteoric rise of his star was tragically cut short by suicide just a decade into his career. Despite his short years, it is generally accepted that without Wood's contributions and connections, the history of modern British painting could have taken a different course entirely.The present painting is a rare example dating to the year in which Wood's ambition was at its peak, and his artistry was enlivened by a rich array of influences. With minimal formal training to date, his talent and charm had already attracted the attention of a wealthy collector named Alphonse Kahn. Kahn's renowned collection of modern paintings afforded Wood close access to works by Cézanne, Matisse and the Old Masters, and his sponsorship enabled Wood to study in Paris at the Académie Julian, whilst living in Montmartre. There Wood became acquainted with the Chilean diplomat José Antonio de Gandarillas, with whom he would travel extensively. In February of 1922 Wood and Gandarillas toured Northern Europe, including Brussels, Ghent and the Netherlands. Spring would take them to the South of France and the casinos of Monte Carlo, before crossing the Mediterranean to Tunis and on to Sicily, Malta and Greece. In August they set sail from Athens to Constantinople, before weaving through central Europe back to London in autumn. Throughout he painted a small number of still-lifes, such as the present work and Lemons in a Blue Basket (Pallant House, Chichester). These paintings display Wood's early prowess as a colourist, and as noted by Katy Norris reveal that Wood 'seemed to understand that the creation of emotional narrative was related to the sensuous qualities of the objects and the manner in which they were held together within the space' (Katy Norris, exh.cat., Christopher Wood, Lund Humphries, London, 2016, p.33). Such works are informed in part by Cézanne, especially in composition, but also by Van Gogh, whose letters Wood discovered in 1922 and whom he would develop an adoration of. Specifically, it is Wood's flower paintings which can be considered the fruit of this idolisation. As Katy Norris highlights 'Wood observed a perfect synergy between the simplicity of Van Gogh's paintings and his modest rural existence that was to have a determining impact on the young artist's own approach to art and life' (Ibid. p.46). The present work was formerly in the collection of Hans and Elsbeth Juda. Hans Juda (1904-1975) founded The Ambassador export journal for textiles and fashion, and Elsbeth Juda (1911-2014) was a pioneering fashion and art photographer whose subjects included Henry Moore, John Piper, Kenneth Armitage, Peter Blake, and Graham Sutherland, whom she photographed in 1954 on the occasion of Winston Churchill's final sitting for Sutherland's famously ill-fated portrait of the statesman.We are grateful to Robert Upstone for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 10
Zubeida Agha (Pakistani, 1922-1997)Untitled (Flowers in a Vase) signed and dated Zubeida '71 lower rightoil on canvas, framed90.1 x 43.8cm (35 1/2 x 17 1/4in).Footnotes:CELEBRATING ZUBEIDA AGHA'S BIRTH CENTENARYProvenanceThe Collection of Imran R. Sheikh; family of the artist.ExhibitedLondon, Bonhams, Zubeida Agha, 2022, No. 8 PublishedSalima Hashmi for Bonhams, Zubeida Agha: Celebrating an Extraordinary Career, 2022, p.8, No.8Zubeida Agha was a socially and politically aware individual, attuned to what was happening around her, which becomes critical to the viewing of this work. The year it was painted was marked by the civil war in Pakistan, where half the country broke away and Bangladesh came into being. Agha was close to many people 'on the other side', the most eminent among them being the celebrated artist Zainul Abedin, a dear friend. Her anguish at the time was shared by many among the art community.The painting belies all these circumstances and seems instead to be celebrating a moment of optimism and vigour. This was not unusual for the artist. She was known for keeping her emotions under wraps and her stoicism intact under extreme circumstances. The vase is placed in isolation against the light, a burst of colour emanating from its form. Agha often painted single bottles and vases which took her fancy. A particular favourite was a bottle of Chianti which made a regular appearance. A vase of Murano glass was another, strategically placed under a painting in which it appeared. These were considered decisions and no accident. The symbolic use of colour and form was intrinsic to her process. In this example, the two flowers stand defiant, rising from the austere form below; the narrative in the painting is deliberate and intentional. - Salima HashmiThis 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 18
Ahmed Parvez (Pakistani, 1926-1979)Untitled (Vase) signed and dated Ahmed Parvez '75 lower rightoil on canvas, framed90.2 x 69.5cm (35 1/2 x 27 3/8in).Footnotes:ProvenanceGifted by the artist to his Brother-in-law, Mr Dilshad Najmuddin;Acquired by the vendor from the above in 2019.Parvez was a member of the Lahore Art Circle, Pakistan and the founder of the Pakistan Group in London. Despite coming from a family drawn to artistic pursuits; his sister Naz wrote poetry, his grandfather was an architect and his uncle Michael Jacobs had an art studio in Lahore, Parvez was discouraged from pursuing the same path. After a short employment stint, he dedicated himself to art and commenced his artistic training in the European academic style at his uncle's studio in Lahore. He subsequently left for London, where he gained critical acclaim with multiple solo shows, then returned to Pakistan, before leaving for New York and then finally settling in Pakistan.Known for being mercurial, his works often mirrored his state. Often chaotic and irrational, his early works, abstracts, included elements that appeared to be cluttered explosions, albeit vibrant. His works were eccentric, and he found that line and colour could be deployed to demonstrate inner compulsions and passions. In later works such as Untitled (Crucifixion II), 1974 (Akbar Naqvi, Image and Identity, 1998 p. 322, fig. 102) he repeated characteristic elements such as the hook, dots, splashes and worm like forms. The painting in the present lot, made towards the end of his life not only marries all these key motifs but also includes the vase, the icon of the home, which he longed for until the end of his life having seen his parents marriage deteriorate and having multiple failed marriages himself. He painted works with vases in the 70s in the hope of a home and domesticity, security and unconditional love, something he knew was out of reach. He died a few years later, having received the Pride of Performance Award by the Government of Pakistan in 1978.For further information on this lot please visit Bonhams.com
Lot 28
George Keyt (Sri Lankan, 1901-1993)Untitled (Woman with a Vase) signed 'G Keyt' 71 upper leftoil on canvas, framed98 x 60.3cm (38 9/16 x 23 3/4in).Footnotes:ProvenanceAcquired from Plate Loft Gallery, Sri Lanka in 2005.'The lyric painting of George Keyt is sensuous Indian poetry brought to canvas. Like earlier Indian painters of Rajasthan and the Punjab Hills, and M. F. Husain after him, Keyt takes as his primary theme woman as the focus of man's concern. He paints her in flat planes, with bounding lines and rich warmth of colour. His idiom occasionally carries in it a hint of Picasso but is, once again, in direct line with the traditional styles of Central India, Mewar, and Basohli. But the originality of Keyt's inspiration is undoubted, and his work remains uniquely his own.' (R. Bartholomew and S. S. Kapur, Husain, Abrams, New York, 1972, p. 27)For a similar work sold at Sotheby's see Indian and South East Asian Art, New York, 29th March 2006, lot 10.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 114
Jenny Villebesseyx (French, born 1854)Poppies in a blue and white vasesigned 'Jenny Villebesseyx' (lower right) oil on canvas 125.7 x 71.1cm (49 1/2 x 28in).Footnotes:ProvenanceWith Guarisco Gallery, Washington DC. Private collection, UK. Purchased from the above.For further information on this lot please visit Bonhams.com
Lot 178
Cecil Kennedy (British, 1905-1997)Still life of flowers in a silver vase, a self portrait reflected in the vasesigned 'Cecil Kennedy' (lower right) oil on panel 61.3 x 50.8cm (24 1/8 x 20in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 180
Cecil Kennedy (British, 1905-1997)Christmas roses and snowdrops in a glass vasesigned 'Cecil Kennedy' (lower right) oil on panel 30.5 x 24.8cm (12 x 9 3/4in).Footnotes:ProvenanceAnon. sale, Bonhams, London, 10 November 2020, lot 104. Private collection, UK. Purchased from the above sale.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 136
Three items of Arts and Crafts copperware, including a Dryad of Leicester vase, stamped 'Dryad Lester 286'20cm; a Newlyn style triangular form caddy, embossed with owl, serpent, and winged beast, the loose cover with a dolphin, unmarked, 21.5cm; and a candlestick, loop handle, broad drip trays, 17cm.Qty: 3
Lot 155A
Cut glass oil lamp, Hinks No 2 Lever; a brass oil lamp, etched graduating yellow glass shade; and another adapted lamp base.Qty: 3Condition report:The yellow shade has no cracks or chips to the sides, there are some very small nibbles around the base edges. The chimneys are all good. The cut glass oil lamp is matched with a glass vase that is its on. No cracks to the glass, but is very grubby inside. The metal parts are showing a bit or tarnish and a few small dings from use.
Lot 289
A silver tea strainer, E J Houlston, Birmingham 1920; six silver napkin rings; part of a silver baby's rattle; a silver and mother-of-pearl pen knife; silver-backed brushes, hand mirror and comb; a silver candlestick; a silver-rimmed stem vase; a white metal retractable pencil; and a white metal pin dish; total weighable 3.8oz.Qty: 1 box
Lot 302
A pair of Victorian silver bonbon dishes, William Hutton & Sons Ltd, Birmingham 1899, pierced scroll and floral design; three silver-topped dressing table pots, one with powder puff; a silver pin cushion in the form of an egg timer; a silver flower vase, weighted; and a three-piece silver-backed dressing table set, comprising two brushes and a hand mirror; total weighable 3.2oz.Qty: 10
Lot 37
A large pair of Chinese porcelain vases, the slightly tapering bodies heavily potted and moulded in shallow relief, the large aspects with panels of figures and musicians in court, the side aspects with floral arrangments in vases, polychrome decorated, 60cm high, some historic chipping.Qty: 2Condition report:One vase has two large chips to its rim, plus a crack to its base. The other vase has a smaller chip and some rubbing to its rim, plus a crack just above the base on the inside. Both have some loss of gilding. Please see additional uploaded images.
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650806 item(s)/page