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Indian/Islamic interest:- A late 19th Century watercolour of Indian man and woman on large outside carpet, signed bottom right, framed, 23cm x 35cm.

A collection of Islamic 19th Century items to include copper flask, handled pot and round pot/chapati bread container.

A collection of Eastern Islamic items to include kettle, Chinese/Japanese water pot with decorative scenes, ladle, two dishes and a wooden bird figure. signs of age related wear and tarnishing

Igshaan Adams (South African, born 1982)Prada IV, 2015 woven nylon rope and string 210 x 165cm (82 11/16 x 64 15/16in).Footnotes:ProvenanceAspire Art Auctions Inaugural Cape Auction, March 2017, Lot 178;A private collection.ExhibitedCape Town, blank projects; Parda; (June - August 2016);Norway, Vestfossen Kunstlaboratorium, KUBATANA, (May - September 2019).LiteratureJ. Ball, J. Higgins & R. Simbao, Igshaan Adams. Cape Town: blank projects, (Blank Projects), p. 93. (illustrated).Igshaan Adams embodies his captivatingly unruly and strikingly optic textiles in Prada IV, an exceptional example of the artist's ethos. The present work explores the complexities of identity through weaving. Navigating his personal identity through his work, Adams investigates themes of religion, race, and sexuality within himself, as well as his place in the world. Born and raised in South Africa during the Apartheid of the 1980s, Adams observes the hybridity of his identity, as a mixed-race homosexual man from a family of different religious practises in an environment where categorisation of society was intensely concentrated.'Navigating my way around the expectations imbedded within stereotypes of my social roles, I continue to search for new understanding, new ways of seeing my combination of identities.' (Igshaan Adams).Prada IV is a symbolically and metaphorically rich piece. The title itself refers to a veil or shroud, a mask concealing something from the lens of the world, displaying the boundary between one creates around them. The Muslim iconography of the present world indeed reflects Adams own religion and, raised by Christian grandparents, the sense of an intertwined narrative is evoked from the woven textiles. The tassels drooping from the work echo the appearance of Islamic prayer mats. Furthermore, Adams equates the act of weaving itself as having correlations with the action of prayer, explaining in his view that ' it leads to the same result internally'. The commonality of repetition and 'great consciousness and understanding'that the two actions share and also share an emotional navigation for Adams; ' internally what happens is you have to push against the feeling of wanting to give up, it's quite daunting to take on the task of weaving something huge', 'its something I experience when I pray too.'Adams therefore encapsulates the fluidity and malleability of identity, how one can both assemble and undo characteristics to enable an understanding of themselves throughout life. As the artist explains, 'need to unearth, unmask and unveil the mysteries hidden within the depths of the Self, beyond race, class, religion, sexual orientation, and gender. Who am I, beyond my identity?'. Through his work, Adams aims to deep-dive into his subconscious and his position in the cultural tapestry and imbedded ideologies. Holding his first UK solo show in 2021 at the Hayward Gallery, Kicking Dust, and currently on view at The Hepworth Wakefield with Weerhound until November 2024, Adams creates immersive installations with a focus on his weaving technique and textile art. With an extensive list of solo exhibitions globally, Adams' work is also included in the permanent collections at the Guggenheim Museum, New York; the Art Gallery of New South Wales, Sydney; the Moderna Museet, Stockholm; Stedelijk Museum, Amsterdam, Netherlands; Art Institute of Chicago; Baltimore Museum of Art; Inhotim Museum, Brazil; Iziko South African National Gallery, Cape Town; Minneapolis Institute of Art; Standard Bank collection, Johannesburg; and the University of Cape Town.BibliographyIgshaan Adams, quoted in Christine Cronjé, Jonathan Garnham, Hannah Lewis, eds., Igshaan Adams, (Cape Town, 2015), p. 109.Igshaan Adams, transcript from 'Møt Igshaan Adams', Nitja senter for samtidskunst, (YouTube, 2019).For further information on this lot please visit Bonhams.com

Helm. Konische und geflutete Glocke mit Rand mit Aussparungen für die Augen. Nebst floraler Goldtausia (teilweise stark berieben) eine Schmiedemarke. Die zu zwei Nodi auslaufende Helmspitze mit Resten von Goldtausia. Russland oder Persien. Möglicherweise 15. Jh. (siehe Hales Islamic and oriental Arms and Armour). H 30 cm

A collection of thirty one Roman and later pottery oil lamps Republic to Late Roman to include a large moulded pottery oil lamp decorated with an olive wreath, 2nd C AD . Ex Coll. Rambaut france, 1950s; an oil lamp f Vogelkopf type, late Hellenistic / early Roman, Ex. Sir Francis Sacheveral-Darwin 1786-1859, a small lamp with two spouts 2nd/3rd century AD Ex. collection A.E.Reeves, Wiltshire, an oil lamp with two counter posed volute spouts, 1st or early 2nd Century, Ex. Private collection, Oxford, brown slip pottery oil lamp moulded with a hare, the base stamped CLOSVC, Tunisia late 1st to mid 2nd C. Ex collection Marius-Victor-Enrest Dumas, a lamp moulded with the figure of Victory, 1st C AD, a lamp with volutes at the nozzle and moulded quatrefoil pattern, a late Roman oil lamp 2rd/4th C AD. a pottery saucer form oil lamp with pinched sides, Judea / Palestine, mid 1st Millennium, Ex. De Salis Collection, an Islamic wheel turned pottery oil lamp 12th-14th etc., (31)first length 11.5cm.,Condition:Commensurate with age; one restored having been in two parts Those with provenance acquired from Helios Gallery with certificates. Others purchased online with invoices.

Miscellaneous, Assorted Islamic and Indian coins in silver (30), and copper (2) [32]. The first with attractive toning, about extremely fine, the rest varied state £200-£260

A large brass Islamic tray 73cmDia

WALTER CRANE (1845-1915) FOR MAW & CO., JACKFIELD 'SKOAL' TWIN-HANDLED VASE, CIRCA 1889 lustre-glazed earthenware, bears inscription SKOAL, unmarked 21.5cm high Note: This is one of a series of vases that Crane designed for Maw & Co. around 1889 when they first appear listed in the catalogue of the Arts and Crafts Exhibition Society in London of that year, described along with a series of tiles that Crane also designed for the firm. The vases demonstrate Crane's interest in all historical forms and decoration, especially those of classical antiquity and of the Islamic world, with the current example a celebration of Viking fraternity. 

Islamic Bronze Plate, quadratic shape with rich engraved islamic calligraphic texture and decorations. Nine holes from a later date. Original patina. Probably middle East, 14 – 17 Century. 18 x 15 cm.

A Collection of Chinese bronze including an altar vase with Islamic inscription (17.5cm tall), an incense burner and a small Cachepot marked China on base. Postage category B

An Islamic, probably north African brass tray topped table, circa 1900; of circular form, with six circular reserves of Arabic script around a central reserve, bordered by a band of further script, within scalloped edging; the folding carved and stained wood stand with mashrabiya style latticework; 58cm high, 71cm diameter

Islamic Moresque Syrian jewellery box, with inlaid and arabesque decoration, 30cm wide x 19cm high x 20cm deep

Islamic Mumlok revival cast brass shield having inlaid silver and Arabic calligraphy decoration, diameter 58cm

A Collection of Various Sundries to Comprise Bronze Ewer, Brass Islamic Bottle, Postcards, Emmerdale Autographs etc

2x Islamic wall plaques

Ca. AD 800 - 1000.A collection of Nishapur terracotta bowls. The bowls are painted in ochre, yellow and white against a brown ground. The interior of the bowls features roundels and geometric designs enclosing leafy scrolls. The exterior of the bowls is painted with a red slip and clear glaze.Size: 115-155mm x 35-50mm; Weight: 445gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. 1100 - 1200.A stunning Ghaznavid round basin with a flat base and three animal shaped legs. The basin has a round body that tapers to a large neck and flared rim. The decoration comprises of a central stylised geometric motif surrounded with two bands of phytomorphic patterns. The rim is engraved with inscriptions and pseudo inscriptions. A large beautiful inscription adorns the external surface of the wall. For similar see: Islamic Metalwork, The documentation of the IsMeo, Italian Archaeological Mission, Laviola, V., n. 24.Size: 45mm x 118mm; Weight: 265gProvenance: Property of an Oxfordshire art professional; previously in an old Canadian collection of F. N., Ontario, formed in the 1980s.

Ca. AD 1000 - 1200.A silver Seljuk penannular bracelet with a central ridge with two opposing decorated panels on the sides. Each side features a stylised scene of animals and plants. In Islamic art the arabesques, symbolise divine creation and the eternal nature of the universe. Size: 60mm x 55mm; Weight: 110gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Middle East, Iran, Nishapur, Ca. 10th century AD. A lovely pottery bowl with a shallow form and rounded sides. The bowl is decorated with yellow, green and black floral motifs, on a cream background. There is also a stylised figure of a peacock amidst the motifs. For similar see: Harvard Art Museums, object number 2002.50.69. Size: 180mm x 66mm; Weight: 400g Provenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. AD 1000 - 1200.A mortar cast from bronze featuring intricate vegetal paterns and incised arabesques framed by foliate lines and inscribed with Kufic calligraphy. The circular-based mortar has tall sides and sits on a flared rim surrounding a deep basin. Size: 100-230mm x 45mm; Weight: 5kgProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 1100 - 1300.A Ghaznavid round copper alloy basin with an hemispherical body. The interior of the basin is decorated with floral motifs, muqranas and a large Kufic inscription. For similar: Islamic Metalware from Afghanistan, The documentation of the Ismeo, Italian, Archaeological Mission, no. 24.Size: 381mm x 389mm; Weight: 1.1KgProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. AD 800 - 1000. A large Samanid ceramic bowl with a wide disc base and flared walls features minimal decoration, a band of Kufic script can be found under the rim. The script is painted in a deep black, manganese-based pigment against a creamy white, glazed background, and consists of a repetition of a prayer. For similar see: MET Museum Accession Number: 65.106.2. Size: 205mm x 70mm; Weight: 675g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. AD 800 - 1000.A collection of Nishapur terracotta bowls painted in brown glaze against a cream background. The interior of the bowls is with stylised floral and vegetal motifs. The first bowl, on the left, is most likely a splashware bowl.Size: 175-200mm x 65-80mm; Weight: 1.52kgProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. AD 1100 - 1300.A Ghaznavid round basins with a spun-brass hemispherical form. The basin is stippled and engraved with a large band of Kufic inscription. The interior centre of the basin depicts a central flower motif adorned with arabesque. For similar see: For similar: Islamic Metalware from Afghanistan, The documentation of the Ismeo, Italian, Archaeological Mission, pl. 11.Size: 550mm x 550mm; Weight: 1.7KgProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. AD 1000 - 1200.A silver Seljuk penannular bracelet with a central ridge and two opposing decorated panels on the sides. Each side features stylised Kufic inscriptions and floral motifs along the edges. In Islamic art the arabesques, symbolise divine creation and the eternal nature of the universe. Size: 65mm x 60mm; Weight: 136gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.

Ca. AD 1600 - 1700.A Safavid processional standard called an ‘alam'. This standard has a body roughly circular body with two curved spikes extending from the top, all decorated with floral motifs and Arabic inscriptions. There is a tubular socket at the bottom for mounting and two stylized dragon heads attached to the middle of the standard. For similar see: Christie's Art of the Islamic and Indian Worlds (Live Auction 12241), Lot. 15.Size: 560mm x 285mm; Weight: 1.11kgProvenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.

Ca. AD 1100 - 1300.A Ghaznavid round basin with a spun-copper alloy hemispherical form. The basin is stippled and engraved with a large band of Kufic inscription. The interior centre depicts a circle of medallions adorned with inscriptions, around a central arabesque pattern. For similar: Islamic Metalware from Afghanistan, The documentation of the Ismeo, Italian, Archaeological Mission, no. 24.Size: 680mm x 680mm; Weight: 4KgProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. AD 1200 - 1300.A Seljuk black slip and turquoise-glazed ceramic bowl with radiating decoration. Each ray is decorated with vegetal scrolls and calligraphic decorations called "black silhouettes" completed in a black slip under the glaze. For similar see: Benaki Museum; A Guide of the Museum of Islamic Art, n. 145.Size: 80mm x 200mm; Weight: 415gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. AD 1100 - 1200.A bronze ewer displaying an inverted piriform body gracefully balances upon a flared foot. Notably, the mouth of this ewer is fashioned in the likeness of an oil lamp, harmoniously complementing the channelled spout, specifically designed for precise pouring. The ewer features an intricately shaped handle that emerges from its side, accentuating the piece's overall elegance. The distinctive oil-lamp spout stands as one of the ewer's most remarkable attributes, a characteristic frequently observed in Seljuk metalwork. Adorned with elaborate arabesques, the main body of this ewer exhibits a captivating level of detail. Additionally, an ornamental band encircles the base of the ewer. For a similar, please see The Metropolitan Museum of Art, Accession Number: 33.96.Size: L:220mm / W:125mm ; 610gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Islamic School, gouache on laid paper, 15x24cm, framed and glazed.

A brass top folding occasional table, inscribed with Islamic script, 59.5cm diameter.

ETEL ADNAN (1925-2021)Untitled signed and dated 'Adnan 14' (on the reverse)oil on canvas30.4 x 24cm (11 15/16 x 9 7/16in).Painted in 2014Footnotes:ProvenanceWhite Cube, Hong Kong, no. JJ53893.Acquired from the above by the present owner in 2015.ExhibitedLondon, White Cube, Etel Adnan, 8 October - 16 November 2014.Etel Adnan was a pioneering artist, poet, playwright and essayist, whose work is imbued with the places she lived - most notably Beirut, Paris, and the San Francisco Bay area. Although widely known for her contributions to literature, including the highly acclaimed novel Sitt Marie Rose from 1977, it is her late-blooming stellar career in the visual arts that has recently gained immense recognition, solidifying her place as a key figure in modern and contemporary art history. Adnan's later works, including the present lot Untitled from 2014 were painted from memory. Intimate in scale and meditative, four distinct sections of vibrant reds, yellow and green present the essence of a rich landscape full of depth and lyricism, despite its inherent minimalist construction. It is left to the viewer to experience the work in their own way, just as these images are filled with more than one point of inspiration for the artist. 'For her, 'vision is multidimensional and simultaneous', and these (...) paintings are the meeting place for many images, coalesced into one sensorial experience.' ('Inside the White Cube: Etel Adnan.' White Cube. www.whitecube.com/gallery-exhibitions/etel-adnan-2014. Accessed 25 September 2024.)Born in 1925 in Beirut - then under French mandate - to a Syrian father and a Greek mother, she was deeply influenced by her multicultural heritage and the multiple languages spoken around her. Whilst the family language was Turkish, her mother would speak Greek with her. Arabic was forbidden and considered shameful in the in the French school she attended. Today, Adnan's work which spans multiple genres is celebrated for its exploration of themes such as exile, identity, and memory, all of which are framed by her philosophical background and profound engagement with the natural world. Adnan's journey into the visual arts began relatively late. She started painting in her mid-30s, using a palette knife to apply oil paint directly onto canvas. This technique became one of her hallmarks, allowing her to create vibrant, abstract landscapes characterized by bold, geometric forms and radiant blocks of colour. Her visual language was heavily influenced by her surroundings and extensive travels. The landscapes she encountered, particularly Mount Tamalpais in Northern California, which was visible from home in Sausalito, became a recurrent subject in her paintings. This mountain held a near spiritual significance for Adnan, and she often depicted it in simplified, luminous compositions that verge on abstraction. Adnan's art historical influences were diverse and ranged from Islamic art and Arabic calligraphy to modernist painters such as Paul Klee and Nicolas de Staël. However, her bold, saturated colour fields, simplified abstracted forms and deeply personal relationship with nature also recall the emotional and colouristic vibrancy of Vincent Van Gogh's oeuvre.Adnan's beautifully balanced composition and use of vibrant colours in this painting is a wonderful example of just one area of the artist's extensive creative output – an accomplished visual artist, novelist, and poet among many other talents. Adnan has been repositioned as a leading figure in a reappraisal of global modernism that includes female artists.For further information on this lot please visit Bonhams.com

A pair of Persian or North Indian wooden panels, painted with fruiting vine on a floral ground in the Islamic manner, lotus cresting, each 30.5cm x 15cm, Qajar period, c. 1880 (2)

Islamic School (early 20th century) Moghul Dancers unsigned, watercolour and gilt, 34cm x 26cm

An Islamic green glass tubular lamp, decorated in gilt with scrolling motifs and Arabic inscription, 19cm high, probably Syria/Egypt, 19th century or earlier

A pair of Moorish hardwood mashribaya and mother of pearl marquetry rectangular boxes, hinged covers with geometric borders in the Islamic taste, canted angles, bracket feet, 15cm wide, Middle East/North Africa, first half 20th century

A Mughal Indian brass Islamic aftaba ewer, cast and chased in the Persian taste with lotus, 26cm high, 18th/19th century (lacking cover)

A Kashmiri enamel ewer, decorated in the Persian Islamic taste, cobra handle and finial, hinged cover, skirted base, 29.5cm high

A 19th century Persian cloisonné enamel jar, of footed ovoid form, the press close cover with floral decoration on a blue ground, above floral patterns within geometric borders in the Islamic taste, 21cm high overall, Qatar Dynasty

A Mughal Indian brass Islamic aftaba ewer, cast and chased in the Persian taste with lotus, hinged cover, 26.5cm high, 18th/19th century

A large Kashmiri copper flagon or coffee dallah, hinged cover with bud finial, chased overall in the Persian Islamic taste with dense foliage and lotus, 29cm high, Northern India, 19th century

A 19th/early 20th century French colonial pine collector's box, the carved sarcophagus hinged cover above galleried sides, carved throughout in the Islamic manner with geometric and floral shapes on red and blue ground, 15cm x 29cm x 22cm, probably Morocco

Islamic Art - a 19th century Persian brass miniature plaque engraved with a nightingale, 4cm x 3.5cm; another, engraved with Arabic text (2)

A Mughal Indian brass Islamic aftaba ewer, cast and chased in the Persian taste with lotus, hinged cover, the scroll handle cast with a lion mask, 31cm high, 18th/19th century

An 18th century North Indian brass hookah base, flared neck engraved with Islamic geometric shapes above a campana bowl engraved with repeated paisley motifs within floral and geometric bands, 15cm high

A 19th century brass desk bell, as a tortoise, inlaid in the Islamic geometric style, winding key and patent number to underside, 13.5cm long

A LARGE GROUP OF ISLAMIC TILES 18TH AND 20TH CENTURIES Comprising: two Damascus Tiles, one with calligraphy, a Tunisian tile, a Panel of Tunisian tiles and the remainder Persian, European and Turkish, mostly 20th century 34cm x 23.5cm and smaller (18)  Condition Report: some damages throughoutsee additional images for visual reference to condition and sold subject to non return Condition Report Disclaimer

A Large Islamic Bronze Bowl, the exterior with incised foliate decoration, 17/19th century Diameter: 28.2cm

KLEINER (R), CHINESE SNUFF BOTTLES IN THE COLLECTION OF MARY AND GEORGE BLOCH, inscribed in green ink on the title page, 1995; CONTENT (D), edit, ISLAMIC RINGS AND GEMS, Philip Wilson Publishers, 1987; BICKERTON (L), DRINKING GLASSES, Antique Collectors' Club, reprint, 2000; with fifteen other antiques and history reference books, (18).

An Islamic manuscript: Hall Al Rumuz by Ibn Ganim Al-MaqdisiDim.: 22 x 18 cm (closed)The title roughly translates to 'Unlocking Symbols And Keys To Treasures'.

A French Samson rose-Imari style 'aftaba' ewer for the Islamic market, Paris, 19th C.H 35 cm

A French Samson Meissen style 'aftaba' ewer with floral design for the Islamic market, Paris, 19th C.H 35 cm

A Chinese tripod silver-inlaid Islamic market bronze incense burner and cover, 19th/20th C.H 11 cm - Dia.: 15 cm

A French Samson famille verte style 'aftaba' ewer for the Islamic market with floral design, Paris, 19th C.H 35 cm

A 19th Century Islamic style glass rose water sprinkler vase, with original screw lid. 26cm

A pair of small 19th Century Islamic style engraved brass samovars. 23cm

A collection of Late 19th Century painted glass rose water sprinkler vases/bottle vases. Islamic/Bohemian style. 30cm. 25cm. 22cm. 19cm. 17cm. 11cm.

A collection of 19th and Early 20th Century Islamic style silver plate.

Islamic Tiles by Venetia Porter softback book. Good condition. Sold on behalf of the Michael Sobell cancer charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99