Zeinab El Sagini (Egypt, born 1930)The Siesta oil on canvas, framedsigned 'Zeinab El Sagini' in Arabic (lower right), executed in 2006100 x 100cm (39 3/8 x 39 3/8in).Footnotes:Provenance:Property from the collection of AbdulMagid Breish, LondonPublished:Louisa Macmillan, Mysa Kafil-Hussain et others, In Vested Interests: from Passion to Patronage, The AbdulMagid Breish Collection of Arab Art, Skira, Milan, 2020Part of a series entitled The Presence of Place, this painting by Zeinab al-Sageny explores time, specifically memories of childhood in the context of the Egyptian countryside. With rolling hills and fields, animals and pyramids in the distance, a child lies across her despondent mother, perhaps taking a break from working the fields, animals and crops. Lying in the sun, at the foot of a beautifully conceived and delicately painted tree, these figures exude a sense of exhaustion as well as innocence, especially on the part of the child. A chicken sits on the mother's shoulder, facing the child and spreading its wings, symbolising a desire for freedom. For Sageny, the 'presence of place' is embodied by the surrounding peaceful atmosphere, small intricate details, and the distant view. The fact that the child is stuck in a particular time and place contributes to her nostalgia and longing for a time gone by.-Mysa Kafil-HussainThis 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
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Sayed Abdel Rasoul (Egypt, 1917-1995)The Wedding oil on canvas, framedsigned 'Sayed Abdel Rasoul' in Arabic (lower left) (lower left), executed circa 1970s85.5 x 95.5cm (33 11/16 x 37 5/8in).Footnotes:Provenance:Property from a private collection, CairoFormerly in the collection of a distinguished Egyptian scholar and authorThence by descent to the present ownerAbdel Rasoul was born in 1917 in Egypt and was a pioneering figure in the folk art school of painting. Throughout his career, he was fascinated by the symbols and motifs of folk art, which served as the primary inspiration for his early artistic endeavors.Abdel Rasoul's unique approach to painting is what makes his works truly stand out. He blends ancient Egyptian, Arab Islamic, and folk Egyptian motifs to create original and contemporary pieces of art. His meticulous attention to detail and skilful use of colour and composition make his paintings truly captivating.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
Hamed Nada (Egypt, 1924-1990)Battle for Liberation (Maerakat al-Tahrir) oil on board, framedsigned 'Hamed Nada' and dated '1970' in Arabic (lower left), affixed with an Egyptian Ministry of Culture exhibition stamp on the verso marked 'Exposition de l'art Egyptien Paris'119 x 134cm (46 7/8 x 52 3/4in).Footnotes:Provenance:Property from a private collection, UAEFormerly in the Yousef Al-Khatib Collection, EgyptPublished: Yousef Al Khatib, Dar Filistin (The House of Palestine), Yousef Al Khatib Foundation for Culture, Media and Art, 2011Exhibited:Visages de l'art contemporain Egyptien, Musée Galliera, Paris, 1971A rare and large published painting by Hamed Nada, exhibited at a landmark show of Egyptian modernism in The Musee Galliera in Paris in 1971 and formerly in the collection of the renowned Palestinian poet Youssef Al-Khatib'Any work of art that does not have surrealist elements is no work of art. In other words, no matter what colour or direction spontaneous expression takes, a work of art can't be devoid of the artist's subjectivity if it is true art.' -Hamed Nada'Battle for Liberation' is perhaps one of the most significant works by Hamed Nada to come to market in recent years. Large in scale and distinct in subject matter, the painting stands out for its distinguished provenance and its unique exhibition history, featuring in a highly significant 1970 showcase of Modern Egyptian art at Parises Musee Galliera (which now houses the fashion museum). The 1970 exhibition was celebrated for introducing European audiences to new voices of Egyptian art, and giving a fresh account of Egyptian visual culture which up to that point had only been represented by the ancient art and sculpture of the Pharaonic and the craft of the Islamic periods in European museums. Battle for Liberation is a surreal and symbolic representation of the struggles faced by Arab peoples and mankind in general for freedom. Painted during a politically charged period, in 1970, during Egypts War of Attrition, the work depicts figures engaged in a struggle to achieve peace and fragmented surreal depictions of conflict and battle such as a figure galloping into a voide on horseback. Hamed Nada was an integral member of the Contemporary Art Group founded by Hussein Youssef Amin (1904-1984) in 1944. The movement explored issues of social realism and surrealism. Like his mentor Youssef Amin, Nada was fascinated by the mural quality of children's drawings, which particularly impressed him while teaching art at primary school in the 1950s as proved by lack of perspective and the figure's stylisation in these works. From the mid-1950s onwards Nada to look at the work of Ragheb Ayad, from the first generation of Egyptian pioneer artists, who had reinterpreted pharaonic art in his portrayals of ordinary Egyptians. Also, for inspiration Nada looked to Nubian folk art and African primitive art.Since the 1970s, Hamed Nada's oeuvre gradually shifted from tragic themes of the struggles of working-class subjects to more joyful and energetic scenes. The colours became more vibrant and the works displayed far more movement and rhythm than before. Both artworks provide you with a unique glimpse into the inner workings of Nada's lucid imagination and realisation of liberalised Egyptian men and women. A nouveau twist on ancient Egyptian art, Nada incorporates depictions of animals in his works reminiscent of hieroglyphics on ancient tombs, temples and cartouches. His use of animals further commemorates pharaonic mythology, where they existed both in reality and the celestial world.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
Suad Al Attar (Iraq, born 1942)Untitled (From the Paradise Garden Series) oil on canvas, framedsigned 'Suad Al Attar' in Arabic and English and dated '1970' (lower right), executed in 197035 x 100.5cm (13 3/4 x 39 9/16in).Footnotes:Provenance:Property from a prestigious private collection of Iraqi Art, EuropePublished:Salam Atta Sabri, Mary Angela Schroth, Longing for Eternity: One Century of Modern and Contemporary Iraqi Art, Skira, Milan 2014'To the ancient Babylonians and Sumerians, the garden was more than a cultivated space—it was a reflection of paradise itself, a sacred mirror of divine harmony'This rare work by Suad Al-Attar from 1970 is a remarkable example of her early Baghdad period, a time before she relocated to London in 1976. Pieces from this era are exceptionally rare, and this particular painting from the Paradise Garden series encapsulates her exploration of paradise and its symbolism, deeply rooted in Iraq's cultural history. Al-Attar's vision of paradise draws connections to the legendary gardens of Eden, historically tied to Mesopotamia, as well as the gardens of Sumer, Akkad, and Ancient Persia, where green spaces symbolized a connection to divine tranquillity and abundance. In this lush, dream-like composition, Al-Attar's world is an escape into an alternative, idyllic reality where the soul can find solace. Palm trees, and intricate flora are juxtaposed with symbols of beauty such as birds and horses, evoking a sense of lost paradise while reflecting her deep connection to Iraq's cultural heritage.Suad Al-Attar, born in Baghdad in 1942, studied under the renowned Jewad Selim and was part of the Baghdad Modern Art Group during the early 1960s. In 1965, she became the first woman to hold a solo exhibition in Baghdad, breaking new ground in the Iraqi art world. Her early works, including this pre-1976 piece, carry the influence of Baghdadi art traditions and the medieval artist Al-Wasiti, whose works also inspired Jewad Selim. After obtaining degrees in Baghdad and California and further studies in London, she returned to Iraq, where she actively exhibited and taught before her eventual relocation to the UK. Today, her works remain vital to understanding Iraq's artistic narrative, residing in major collections including Mathaf in Doha and UK institutions, but this work stands as a rare and exquisite link to her early explorations of paradise and Iraq's storied artistic legacy.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Chant Avedissian (Egypt, 1951-2018)Icons of Arabia gouache, acrylic, and hand coloured stencil on cardboard, ten panelseach panel is signed, dated and located, executed between 2011-2014each panel: 69 x 49cmFootnotes:Provenance:Property from the Rose Issa collection'In between Paris and Cairo I stopped doing any handwork, any painting. And I never wanted to do painting, but I discovered that people put photos of people on the wall- football players, movie stars- and I thought to do the stencils, but I didn't know what was going to happen, that it was going to go on for so long. I did two or three stencils at the beginning and that was it. And then it went on and on and on and it became like a drug; you can't stop. In the beginning it was my childhood memories, and then little by little I was shocked by what I discovered in newspapers, I mean the mise en scène that was there. Mise en scène means how a photo is directed; how an image is not true. Neither the people stand like that nor look like that; everything was artificial. The images said things about liberty and happiness and sports, but the photos were composed, for propaganda, so it was very amazing to do this work' – Chant AvadessianWhilst studying in Canada and France, first at Fine Arts in Montreal, then at Ecole Superieure des Arts Decoratifs in Paris, where he investigated printmaking and silkscreen techniques, Avedissian came to the conclusion that Western academia and its rigidity was not a system within which he could recognise himself. This disillusion resulted in a return to his homeland, where he merged techniques learnt in the West with his strongly rooted Egyptian heritage.He gradually integrated knowledge gained from his formal studies in Canada and France with personal research into legendary Pharaonic iconography, geometric Islamic architecture, floral patterns of Ottoman textiles, and popular 20th century imagery of icons from the Arab world. Avedissian first started his stencils series during the Gulf War in 1991. The series was catalysed by the overwhelming media coverage of the political situation, which consumed him with feelings of hopelessness and despair, resulting in a collection of faces, places and symbols from his past.In his stunning stencilled works, Avedissian fuses symbols taken from Ancient Egypt such as hieroglyphics and dynastic monuments, with pictures of national heroes, admired politicians, popular singers and actors. These pictures are based on media imagery from Gamel Abdel Nasser's rule (1956-1970), a decade that witnessed a socio-cultural reawakening permeated with a vigorous wave of Arab nationalism. Avedissian's concern for the disappearance of Egypt's rich heritage at the outbreak of the first Gulf War motivated him to explore topics such as; memory, history, imagery and self-representation in Egyptian culture. This shift in focus was a defining moment in his career as a contemporary artist, which had previously concentrated on photography and hand-dyed and sewn textile panels.In Avedissian's Icons of the Niles series, he creates a grandiose mosaic of Egyptian cultural history retracing his country's past, combining nostalgic imagery with a celebration of Egyptian iconographical motifs. Within this work, the artist avoids the use of oil on canvas. Instead, he blends his own pigments and uses a delicate stencil technique to transfer the image onto card or locally produced paper. The stencil technique requires a simplification of line and colour, and thus becomes similar to the hieroglyphic model of symbols. By means of repeating and layering images, Avedissian saturates his works with various suggestions and connotations, eloquently drawing our attention to the many faces of modern Egyptian society and Cairo's visual landscape. Each stencilled panel embodies a variety of influences and themes, creating vivid organic patterns. His process of creation skilfully combines the use of local pigments, gum arabic, and hand-coloured textiles; the conclusion is presented as a powerful vehicle for the artist's personal memories and experiences. Avedissian's work, unique in its approach and execution, repeatedly compares and contrasts the West and the Middle East, art and propaganda, and tradition and modernity. Throughout this work, he conveys his admiration and appreciation for opulently iconic Egyptian imagery, coupled with the remnants of his country's magnificent historical past with an honest and profound sincerity. His iconoclastic images commemorate the country that nourished his creative soul.Figures depicted:Taha HusseinTaha Hussein, one of Egypt's most influential writers and intellectuals of the 20th century, is known as the 'Dean of Arabic Literature.' Despite losing his sight at a young age, his prolific works challenged the status quo, advocating for education, enlightenment, and social reform across the Arab world.Faten HamamaFaten Hamama, often hailed as the 'Lady of the Arab Screen,' was an Egyptian actress whose career spanned over six decades. Known for her elegance, talent, and versatility, she became a beloved icon of Egyptian cinema, starring in some of the most influential films of her era.AsmahanAsmahan, the Syrian-Egyptian singer and actress, captivated audiences with her haunting voice and enigmatic presence. Born into royalty, her life was a mix of glamour and tragedy, and her contributions to Arab music remain unparalleled despite her untimely death.FaridFarid al-Atrash, a Syrian-Egyptian composer, singer, and actor, is one of the most celebrated figures in Arab music. Known as the 'King of Oud,' Farid's distinctive voice and emotive compositions left an indelible mark on the golden age of Egyptian cinema and music.Nazem Al GhazaliNazem Al Ghazali, the legendary Iraqi singer, is remembered for his unique style and contribution to Arabic maqam music. His soulful voice and timeless songs, such as 'Fog El Nakhal,' made him an icon of Iraqi and Arab music, influencing generations of artists.King FaroukKing Farouk, the last reigning monarch of Egypt, ascended to the throne in 1936 at the age of 16. His reign was marked by extravagance and political instability, ultimately leading to his abdication in 1952 during the Egyptian revolution. He remains a symbol of Egypt's royal past.Nezar KabbaniNizar Kabbani, a renowned Syrian poet and diplomat, is considered one of the most influential modern Arab poets. His poetry, rich with themes of love, politics, and feminism, resonated with readers across the Arab world and beyond, solidifying his status as a literary icon.Gamal Abdel NasserGamal Abdel Nasser, Egypt's charismatic leader and the face of Arab nationalism, became the country's second president in 1956. Known for his role in overthrowing the monarchy, his policies of pan-Arabism and socialism left an enduring impact on the Middle East.FawziyaFawziya, Queen of Iran and Princess of Egypt, was a royal figure who embodied elegance and diplomacy. Her marriage to Mohammad Reza Pahlavi, the Shah of Iran, made her a symbol of cross-cultural ties between Egypt and Iran, though her life was marked by public and personal challenges.YolandaYolanda Gigliotti, better known by her stage name Dalida, was a French-Italian-Egyptian singer and actress whose career spanned over three decades. Her multilingual repertoire and captivating performances made her an international star, beloved across Europe and the Arab world.For further information on this lot please visit Bonhams.com
Faeq Hassan (Iraq, 1914-1992)Abstract Couple with Dog oil on canvas, framedsigned 'Faik.H' and dated '1966' (lower right), executed in 1966100 x 86.5cm (39 3/8 x 34 1/16in).Footnotes:Provenance:Property from a private collection, GermanyAcquired directly from the artist by the present owner's familyExhibited:Faeq Hassan Touring Exhibition, in conjunction with the American Friends of the Middle East, New York, 1966Faeq Hassan Touring Exhibition, in conjunction with the American Friends of the Middle East, Washington, 1966A highly significant composition by Faeq Hassan exhibited in New York and Washington in 1966 with the American Friends of the Middle EastThis rare and monumental painting by Faeq Hassan is an exceptionally important piece within his oeuvre, exhibited in 1966 in both Washington and New York as part of the American Friends of the Middle East (AMFE) showcase. What sets this work apart is its departure from his more familiar cubist style, instead embracing a unique fusion of modernist abstraction and traditional Middle Eastern aesthetics. The grid-like composition, filled with geometric figures and rich, vibrant colours, echoes the patterns found in Persian and Iraqi tribal rugs, while also recalling the hues of Bedouin textiles.Thematically, it explores the perennial subject of family—a motif Faeq returned to many times throughout his career—but here, he approaches it with a fresh originality, blending modernist techniques with cultural heritage in a way he had not done before.This painting is not only notable for its striking visual language but also for its documented significance to the artist himself. Photographs of Faeq Hassan at the Washington and New York exhibitions highlight this piece as one of the most prominent works in the show, reflecting its importance both to him personally and within the broader context of his career. This fusion of modernist abstraction with cultural tradition makes the painting a truly unique and groundbreaking example of his artistic evolution, marking it as a highlight in his extensive body of work.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
Ismail Shammout (Palestine, 1930-2006)Vendors in Jerusalem oil on canvas, framedsigned 'Ismail' and dated '66' in Arabic (lower right), executed in 196648.5 x 98cm (19 1/8 x 38 9/16in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the Artist, early 1970sThence by descent to the present ownerThe work of celebrated Palestinian artist, Ismail Shammout is often considered a visual chronicle of Palestinian history during and after the 1948 Nakba, or 'catastrophe.' Active since the early 1950s, Shammout portrays the tragedies, traditions, and determined steadfastness of the Palestinians. Shammout and his family were expelled from their home by Israeli forces in 1948. The aspiring artist spent his childhood in a refugee camp in Khan Younes in Gaza before enrolling at the College of Fine Arts in Cairo. Upon graduating, he held his first solo exhibition in 1953 in Gaza, where he exhibited his renowned painting, Where To?. In 1954, he continued his studies in Rome, later serving as the inaugural Director of Arts and National Culture for the Palestinian Liberation Organization (PLO) in Beirut in 1965 and the Secretary General of the Union of Arab Artists in 1971. Together with his wife and fellow artist, Tamam al-Akhal, Shammout contributed to the development of an infrastructure for Palestinian art and exhibited worldwide. In 2002, Barjeel Art Foundation founder Sultan Sooud Al Qassemi visited an exhibition of Palestinian artists Ismail Shammout and Tammam Al-Akhal at the Dubai Chamber of Commerce. This was the first major exhibition by Arab artists that he had visited, an encounter that left an important mark that shaped the outlook of the collector.For further information on this lot please visit Bonhams.com
Marcos Grigorian (Iran, 1925-2007)Earthwork oil on canvas, framedsigned 'Grigorian' and dated '72', further signed 'Grigorian' and dated '1971' on the verso, executed 1971-197260 x 80cm (23 5/8 x 31 1/2in).Footnotes:Provenance:Property from the Varzi Family Collection, SpainThe present example is an important early rendition of Marcos Grigorian's inimitable earthworks.The Earthworks were inspired by the use of materials and forms that went beyond the conventional means of art-making. Compared to the Western Land Artists, who similarly created compositions through the handling of earth itself, Grigorian predated this movement by a decade.These works are mostly in a square or rectangular format, which became something of a signature for Grigorian. The square form was a representation of sacred geometry and harmonious proportions. The organic materials such as hay, straw, sand, soil and clay which he used to create his almost three-dimensional compositions were to be equally defining.In experimenting with soil and mud, he believed he was rebuilding life and exploring the complex relationship between mankind and earth. The present work is reminiscent of the commonly held theory that the Earth and the other planets developed over millions of years out of particles and gas. The traces of a convergent movement towards the centre of the canvas evoke the image of the universe forming out of primordial dust - and the monochrome earthy surface impress upon the viewer the feeling of a distant aerial view from space. The textured surface and the play between light and shadow endow the painting with an even more dramatic effect, adding to its three-dimensionality.In 1965, The Museum of Modern Art, New York acquired a work from Grigorian's Earthworks Series on the recommendation of Alfred H. Barr Jr., the legendary former director of the museum. A second work was then donated to the museum by Nelson Rockefeller in 1978. Further examples of Grigorian's works were recently acquired by the Metropolitan Museum of Art in New York and can also be found in the collections of Tehran's Museum of Contemporary Art and the National Gallery of Armenia in Yerevan.Besides being a leading figure in avant-garde Iranian and Armenian art history, Grigorian was an artist, writer, gallerist, collector, pioneer and a teacher. From his Gallery Esthétique in 1950s Tehran, which provided a free exhibition space for younger artists, to his pioneering decision to organise the first national Tehran Biennial in 1958 (after he was awarded the honour of representing Iran in the 1956 Venice Biennial) Grigorian desired to make an impact on the development of art.He was instrumental in the introduction and promotion of modern art in Iran in the 1950s and extensively promoted the works of Armenian artists in the United States in the 1980s. Despite travelling around the world, Grigorian chose to return to his ancestral home of Armenia for the remainder of his life and donated his complete collection to the Armenian government as a sign of his lifelong commitment to his nation.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
Louay Kayyali (Syria, 1934-1978)The Shoe Shine Boy (masih al-ahdhia) oil on panel, framedsigned 'Louay Kayyali' and dated '1972' in Arabic (lower left), titled on the verso, executed in 197275 x 89.5cm (29 1/2 x 35 1/4in).Footnotes:Provenance:Property from a private collection, BeirutAcquired in Beirut, circa 197sKayyali was born in Aleppo, Syria in 1934. He received an art scholarship in 1956 to study at Rome's Academy of Fine Arts and participated in numerous exhibitions and fairs during his time in Italy, including representing Syria along with Fateh Al Moudarres at the 1960 Venice Biennale. In 1961, Kayyali returned to Syria where he took up a professorship at the Damascus Higher Institute of Fine Arts. After the Arab defeat in the Six-Day War with Israel in 1967, Kayyali abandoned painting due to depression. In the early 1970s, he returned to painting and began producing numerous paintings depicting everyday people from the streets of Syria's such as newspaper sellers, shoe-shiners, and the characters depicted in the present worksThe Shoe Shine Boy is a prime examples of Kayyali's mature period in which key characters from Syrian daily life merge to the forefront. In this body of work, Kayyali highlights the protagonist's struggle and vividly captures how political upheaval affected the Syrian population's demeanour, shaping a culture and society that led to poverty and societal marginalization. Kayyali conveys a mixture of empathetic admiration and sad affection for his poor but noble subject mattersThis mesmerizing portrait condensing all minor detail articulates the softness and vulnerability of Kayyal's subject. Melancholy, resignation and solitude best characterise much of Kayyali's work after the 1967 war and the sentiments of political failure in Syria and the Arab world in general. His paintings externalized the pressing humanitarian and political issues that surrounded him. Kayyali's powerful depictions of ordinary people are characterized by strong fluid lines that define the figures and the absence of extraneous detail.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
Naim Ismail (Syria, 1930-1979)Golan oil on canvassigned 'Naim' and dated '65' in Arabic (lower left), executed in 196570 x 90cm (27 9/16 x 35 7/16in).Footnotes:Provenance:Property from a private collection, DubaiPublished: People's Army: The Arabs and the Enemies, 1968front cover and insideThis powerful 1965 painting by Syrian artist Naim Ismail offers a poignant commentary on the clashes in the Demilitarized Zone (DMZ) of the Golan Heights during the 1950s and 60s. The tensions in this region saw the forced expulsion of Syrians and Palestinians by the Israeli Army, a traumatic period depicted in Ismail's work. The painting captures the human toll of these conflicts, illustrating the anguish of displacement and loss. On one side, we see the resolute figures of Arab women and children, symbolic of resilience, while the opposing side portrays faceless, dehumanized figures, embodying the violence of the conflict. Ismail's use of bold, flat colors and stylized forms creates a stark visual narrative, emphasizing the contrast between life and destruction. This work stands as a tribute to those affected by the upheaval and highlights the enduring struggle for justice in the region.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
Rabab Nemr (Egypt, born 1939)Boats ink on paper, framedsigned 'R.Nemr' and dated '06' in Arabic and English (lower right), executed in 200675 x 116cm (29 1/2 x 45 11/16in).Footnotes:Provenance:Property from the collection of AbdulMagid Breish, LondonPublished:Louisa Macmillan, Mysa Kafil-Hussain et others, In Vested Interests: from Passion to Patronage, The AbdulMagid Breish Collection of Arab Art, Skira, Milan, 2020Rabab Nemr's work has been widely exhibited across her native Egypt and abroad for many decades, during which her style, technique and medium have developed over time. Three of her works in the Breish Collection come from an early point in her career (the late 1970s and 1980s), when she was depicting larger-than-life figures reminiscent of mythological legends and local folklore, naively rendered in pastel shades. The figures stare, wide-eyed and seemingly frozen in time, subdued with a sense of playful melancholy in their colourful worlds. By 2006, Nemr had shifted from oil on canvas to ink on paper, working on a far larger scale, and she approaches colour differently, incorporating bright, neon hues into scenes that feel rooted in Egyptian culture (specifically coastal life in her hometown, Alexandria). In her own words, she is 'weaving the surface of the painting', in pen and ink on paper. With a contemporary style akin to pointillism, Nemr's remarkable attention to detail breathes life into her luminous artworks, and contemporary Egyptian art in general.- Mysa Kafil-HussainThis 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
A Victorian colour lithograph featuring the Royal Derby winner of 1896 Persimmon,fine quality but with no artist or publication details, featuring a picture within a picture, Persimmon portrayed as an oil painting portrait on an easel being admired by HRH The Prince of Wales and jockey John Watts, trainer Richard Marsh in a vignette lower left, title plaque to frame, mounted, framed & glazed, 63 by 76cm., very good condition; sold together with a small print of Secretariat after the artist Helen Hayse, mounted, framed & glazed, 33cm. square, good condition, (2 items).
An oil painting by Alfred Charles Havell (British, 1855-1928) of Victor Wild with Mornington Cannon up, winners of the Coronation Cup at Kempton Park 26th June 1897, signed and titled, oil on canvas, inscribed with horse's name & pedigree and the date of the race on the inner gilt-frame, also applied with a small lock of hair of Victor Wild tied with ribbon in the racing colours of the owner Tom Worton, deep outer-gilt frame, glazed, the canvas 24 by 30cm., overall 39 by 44.5cm., good condition.Victor Wild was a course specialist at Kempton Park and in addition to the Coronation Cup win, won back-to-back Jubilee Stakes in 1895 and 1896. The colt also won the Royal Hunt Cup at Ascot in 1894. The horse was trained by Joe Cannon at the Waltham House/Lethorne Stables in Lambourn.
An oil painting by Barrie Linklater (British, 1931-2017) of the racehorse Desert Orchid,signed, oil on canvas, 61 by 91.5cm., gilt frame, overall 76 by 99cm., good condition; sold with a file containing a signed manuscript headed sheet dated 28th December 2009 from the artist discussing the painting and other related papers; and a 1994 W.H. Patterson Gallery exhibition catalogue “The Equestrian World of Barrie Linklater”, this painting of Desert Orchid featuring on the front cover, (3).Barrie Linklater's essay included in this lot reads: “Desert Orchid has been painted many times in racing situations so I felt it would be good to portray him away from those associations, without saddle or tack, galloping free, in an open landscape. I decided upon the effect of a strong overhead light to emphasise his powerful form and action, complimented by the dark thundery sky, which allows him to dominate the scene. As a preparation for this painting I was permitted to see Desert Orchid at David Elsworth's stables and observe him in action on the gallops.”
An oil painting of Lester Piggott riding a racehorse by Jean Glenn Mitchell (late 20th century),signed and dated '82, oil on canvas, 51 by 76cm., framed, overall 62.5 by 88cm., good condition.This lot is the property of David Dein MBE, former co-owner and vice-chairman of Arsenal FC and former vice-chairman of the F.A. The lot is being offered for Charity and all proceeds will be donated to The Twinning Project charity which David set up connecting football clubs with prisons helping rehabilitate prisoners.
An oil painting of Arkle by W F Perrin (British, 20th century),signed & titled, oil on canvas, head & shoulders portrait, 36 by 26cm., framed, overall 39 by 28cm., good condition; sold together with a Beswick china model of Arkle; and Ivor Herbert's book 'The Full Story of the Champion Arkle, (3 items).
Small horse racing oil painting by Thomas John Coates (British, 1941-2023),signed with initials TJC, oil on canvas, featuring a racehorse being unsaddled after a race, 18 by 25cm., framed, overall 30 by 37cm.; sold together with a pencil drawing & wash working study for this oil painting, signed TJC, 13 by 16.5cm., mounted, framed & glazed, overall 32 by 35.5cm., good condition, (2).Provenance: Lots 72 to 90. The late Richard “Dickie” Onslow, horse racing journalist, author and historian.
Oil painting by H. Dalton of the 1922 Cesarewitch winner Light Dragoon with jockey Tom Pryor up, signed, titled to reverse, oil on canvas, 41 by 53cm., framed, overall 54 by 64cm., good condition.Light Dragoon was owned by Capt. Frank Forester, who had in earlier times been a member of The Druids Lodge Confederacy whose huge betting coups were the talk of the racing world. Ironically, when Light Dragoon won the Cesarewith at odds of 100-1 he didn't have a penny on the horse as he and the trainer Edward Harper thought their runner had no chance.Provenance: Lots 72 to 90. The late Richard “Dickie” Onslow, horse racing journalist, author and historian.
LORENZO CECCONI, ITALIAN, (1863 – 1947) Fardapur, India, signed and dated Feb 1921, oil on wood panel, indistinct Italian signature on the reverse, 24.5 x 35cmProfessor Lorenzo Cecconi was both painter and restorer. This painting was probably executed when he came to India in the 1920s at the invitation of the Nizam of Hyderabad in order to undertake restoration work on the painted caves of Ajanta. Fardapur is a village in Aurangabad district, a short distance from Ajanta.
JOHN CALCOTT HORSLEY (BRITISH 1817-1903) MARY QUEEN OF SCOTS IN CAPTIVITY Signed and indistinctly dated 1871, oil on canvas 137cm x 185cm (54in x 72.75in) Provenance: Sotheby's Gleneagles, Scottish and Sporting Pictures, August 29 2007, lot 2 (sold £45,600) Exhibited: Royal Academy of Arts, London, 1871, no.193.Royal Academy of Arts, London, 1904, no.132.Note: This painting was exhibited at the Royal Academy with the following caption: 'Mary, at twenty-six years of age, was consigned to the charge of the Earl and Countess of Shrewsbury, and remained a captive in their custody for nearly sixteen years. There was little love lost between the Countess and her royal prisoner. The former, familiarly known as ‘Bess of Hardwick’, was a woman of strong character and imperious disposition, and at one time she was not free from jealousy as to the effect of the Queen's personal attractions upon her husband the Earl.'
* After Joseph Mallord William Turner (1775-1851). St Benedetto, looking towards Fusina, circa 1870, watercolour heightened with bodycolour on wove, some scattered spotting, mount aperture 46.5 x 68 cm (18 1/4 x 26 3/4 ins), framed and glazed (74 x 97 cm), printed George Rowney & Compy. label to backboardQTY: (1)NOTE:The original oil painting on canvas by Turner was exhibited at the Royal Academy in 1843, measuring 62.5 × 92 cm. It was accepted by the nation as part of the Turner Bequest in 1856 and transferred to the Tate Gallery in 1968 (Ref: N00534). Ruskin commented that the title was partly imaginary, with no church of San Benedetto being visible in reality. Several buildings to the right in the painting were also imaginary in their detail. An engraving of the original by Turner was by James Charles Armytage published 1859-61, captioned 'Approach to Venice'. An example of the print held at the Tate has a manuscript correction to the title 'St Benedetto, looking towards Fusina RA 1843'.
DAVID BOMBERG (1890-1957) Landscape at Talgwyn Farm, Red Wharf Bay, Anglesey, oil on panel, 12 1/2 x 16 inThe artist stayed at Talgwyn Farm , Anglesey on a camping holiday in 1944Provenance: with Ernest Hilton, Cambridge c.1965 ; from whom purchased by D.Wright Esq. ; thence by family descent ; Now sold on the instructions of the Executors of the late Hilary C. Wright.For other landscapes painted at Talgwyn Farm. cf. for instance a painting offered at Sotheby's, London 26/11/2015 lot 136 titled 'Trees near Talgwyn'; and another titled 'Talgwyn Farm, Red Wharf Bay', offered at Sotheby's on 12 July 2013 , lot 159. Both paintings subsequently on the London art market.The reverse of the painting bears a label which states 'authenticated by Lilian Bomberg'. A second inscription on the same label states 'Juliet's Collection. ....Mcneill). That a reference to Juliet Lamont (Lilian Bomberg's grandaughter...her married name in the 1960's was McNeill) ). Juliet did spend some time with David and Lilian Bomberg during the war and as a young girl visited Talgwyn Farm with them.Although the painting at Minster was never in the long term possession of Juliet, it is possible that it was among the many works that Juliet and her mother Dinora inherited after Lilian Bomberg died. This particular painting could have been one at least initially chosen by/or allocated to Juliet at that time, but possession not taken up by her.
18TH CENTURY ENGLISH SCHOOL "Young woman in white lace bonnet", oil on board, oval, miniature, apparently unsigned, 12 cm x 9 cm CONDITION REPORTS The painting has some light wear conducive with age and use and the frame has some cracking and patching to the veneer. There is some pitting to the slip. Otherwise general wear and tear. See images for more details.
R K W AFTER RAPHAEL "The Madonna della Sedia", miniature oil on ivory, circular, unsigned, inscribed verso variously "The Madonna & Child by Raphael - painted on ivory at Naples - 1861 R K W", 5.5 cm diameter CONDITION REPORTS Glass is missing. Areas of the frame are missing. Cracking and crazing to the frame throughout. Some light surface wear to the painting itself. Otherwise general wear and tear conducive with age and use. See images for more details.
A large collection of ephemera and photographs relating to 4127257 Gunner, later Cpl Read of the 29th Field Regiment Royal Artillery, 52nd Lowland Division. To include: some images from WW2, including a German military funeral, a convoy of Russian prisoners of war, a V2 rocket, and British soldiers below a large eagle and swastika. Other items include several regimental Christmas cards, standing orders booklet, 52nd Lowland Division post war activities booklet, numerous snapshots from the immediate post war era, booklets regarding vehicle maintenance, a military gospel book, a small album of photographs showing German bomb damaged buildings and monuments, plus other period ephemera. There is also a 1947 dated oil on board painting of a soldier, but it’s unknown if this is Cpl Read. A small selection is shown in the images. Condition: some normal age related wear to both the photographs and other ephemera.
SLAVERY - ABOLITIONISM -- "SLAVE TRADE. Lo! the poor Captive with distraction wild. Views his dear Partner torn from his embrace! A diff'rent Captain buys his Wife and Child. What time can from his Soul such ills erase?" Lond., 1791. Cont. plain mezzotint by J.R. Smith after George Morland. 480 x 655 mm. (Completely remargined (upper new margin torn), captions partly touched up in black ink). NOTE: In 1788, the popular English artist George Morland (1763-1804) produced an oil painting which he originally titled "The Affectionate Slaves" or "Execrable Human Traffic". The scene of an African man torn from his family by European slavers was engraved by John Raphael Smith for this 1791 print. It provided an enduring visual image to help promote the abolitionist cause. - Sold w.a.f., not subject to return.
STRADANUS, Giovanni (Jan v.d. Straet), (1523-1605). "Nova reperta". N.d. (c. 1600). 205 x 267 mm (plate size). -- Id. "Color olivi". N.d. (c. 1600). 205 x 270 mm (plate size). (Cut close to/on plate edge, hinged to mount). -- Id. "Hyacum, et lues venerea". N.d., Ph. Galle, (c. 1600). 200 x 268 mm (plate size). (Margins cut, but ample, later colouring). -- 3 plates from the series 'Nova reperta', engr. by Jan Collaert II w. captions in the plates. NOTE: Ad 1: Title-page of the series 'Nova reperta' on which 9 important 'inventions' are being announced. First state (of 6). Ad 2: Fourteenth plate of the series: the painter Van Eyck working in his studio. Stradanus saw Van Eyck as the inventor of oil painting. Ad 3: Sixth plate of the series: the discovery of Guaiacum as a remedy against syphilis. - New Hollstein, Stradanus, 322; 328 and 336.
The Sikh polymath, inventor, soldier and statesman, Lehna Singh Majithia (d. 1854), riding past a walled city, possibly Lahore, besides a flowing river Lahore, probably from the workshop of Imam Bakhsh Lahori, circa 1830-40gouache and gold on paper, in a painted oval, cornerpieces with floral cartouches on a red ground with further floral and foliate motifs, floral inner borders 253 x 200 mm.Footnotes:Lehna Singh's father, Desa Singh, was a feudal chief who declared his fealty to Ranjit Singh in 1809. He served in the expedition to Kangra and helped drive out the Gurkhas from the hill states, for which service he was made governor of Kangra, and also governor of the city of Amritsar. In 1818 he distinguished himself in the Multan campaign. Lehna Singh was his eldest son and also served Ranjit Singh as a commander in several campaigns. After his father's death in 1832, Lehna Singh succeeded to the governorship of both Kangra and Amritsar, which gave him the prestigious position of looking after the administration of the Golden Temple, including laying marble slabs in the inner parkarma around the Harmandir, as well as gardens elsewhere in the city. He was a patron of artists, which probably developed during his governorship of Kangra. He had a keen interest in astronomy and mathematics (see a depiction of him using an astronomical instrument in a manuscript of 1833-39 in the British Library) and was a skilful mechanic and designer of ordnance, assisting General Court in making cannon after European models. He mastered several languages and is said to have translated Euclid into Punjabi. See S. Stronge (ed.), The Arts of the Sikh Kingdoms, London 1999, pp. 54, 90 and fig. 100 (the above-mentioned depiction).The painter Imam Bakhsh (active circa 1825–45) was employed by the Sikh nobility but also produced commissions for Claude Auguste Court and Jean Baptiste Ventura, French and Italian generals in Ranjit Singh's army - for example, producing paintings to illustrate Court's Mémoires in five volumes. In particular relation to our painting, in 1838 General Ventura commissioned the French artist Alfred de Dreux to paint a large oil painting based on a similar equestrian portrait of the Maharajah by Imam Bakhsh, to present to King Louis-Philippe of France (Musée du Louvre Inv. 4096). In 1841 Imam Bakhsh painted another comparable equestrian portrait (again in a painted oval with floral cornerpieces) of Maharajah Ranjit Singh for General Court (Musee Guimet BG 399756).For a general discussion of the artist's career and work, see J.-M. Lafont, B. Schmitz, 'The Painter Imam Bakhsh of Lahore', in B. Schmitz (ed.), After the Great Mughals: Painting in Delhi and the Regional Courts in the 18th and 19th Centuries, Bombay 2002, pp. 74-99.See the sale in these rooms, Bonhams, India in Art, 7th June 2022, lot 78, for a painting depicting Maharajah Ranjit Singh on horseback with attendants, Lahore, attributed to the workshop of Imam Bakhsh Lahori, circa 1830-40.For further information on this lot please visit Bonhams.com
Hugo Vilfred Pedersen (Danish, 1870-1959) A Sikh man wearing a red turbanoil on canvas, signed lower right 90.5 x 42 cm.Footnotes:Pedersen studied at the Royal Academy of Fine Arts in Copenhagen, and afterwards spent twelve years travelling in the Far East and India. He was probably present at the Delhi Durbar in 1903, painting a portrait of the Viceroy, Lord Curzon.For other works by Pedersen depicting Sikhs, see a portrait study of a Sikh bodyguard of the Maharajah of Burdwan, Bonhams, Islamic and Indian Art, 25th October 2022, lot 157; and Islamic and Indian Art Online Sale, 4th-18th June 2019, lot 85.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
GEORGE MEARS (BRITISH, 1826-1906)The Royal Yacht 'Victoria & Albert II'Signed and dated 'G Mears 1873' (lower right)Oil on canvas17½ x 35in. (44.5 x 89.5cm.) Literature:British 19th Century Marine Painting by Denys Brook-Hart, 1974, page 22, plate 54.Sotheby’s Chester: Fine Marine Pictures etc., 24 June 1982, lot 173A.Her Majesty’s Yacht Victoria & Albert (II) was built at Pembroke Dock and launched on 16th January 1855. Designed to replace the original Victoria & Albert which had become too small, the new yacht displaced 2,470 tons and measured 300 feet in length with a 40 foot beam. Powered by 2,400ihp. oscillating engines, her paddle wheels could drive her at 15 knots and she carried bunkers for 350 tons of coal. A handsome schooner-rigged vessel with a pair of elegant bell-topped funnels, she was the epitome of the mid-Victorian age yet she was to remain in service until the very end of the Queen’s long lifetime.Commissioned on 3rd March 1855, the yacht’s first outing was to convey the Queen and Prince Albert to France for their State Visit to Paris that August and the royal couple were captivated with her from the outset. Soon treated by them as a floating home, the early years aboard her - prior to the Prince Consort’s death in 1861 - were so filled with happy memories that the Queen became increasingly unwilling to travel anywhere by sea unless on her favourite yacht. Continually refusing to entertain all suggestions of a modern screw replacement, Victoria & Albert (II) was kept in constant use and her final official passage was to carry the aged Queen to Ireland in April 1900. Just prior to this, in 1897, the Queen had finally consented to the laying-down of a new yacht but by the time it was ready for sea in July 1901, Queen Victoria herself had died and she did not have to witness the demise of her much-loved Victoria & Albert (II) when it was scrapped in 1904.Scattered retouching and relining
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