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Lot 601
WW1 British 08/14 Hybrid Haversack, webbing side haversack which started life as part of the 1914 leather equipment but has been period converted for use with 08 equipment. Blancoed and all fittings present. Accompanied by a pioneers trench saw in leather carry case with wooden handles and tool. No visible dates but appears to be WW1 period. (2 items)
Lot 210
Pirelli Ferrari Hill-climb Championship winner three times over in a previous life, now back to road-car spec after significant investment..Lovely, manual gearbox, right-hand drive F355 GTB finished in Rosso Corsa with Nero leather interiorRaced by prominent FOC member Richard Prior in the PFHC, winning the championship three times, 2011, 2013 and 2014After significant investment now back to road-spec with race items neatly boxed ready to be deployed if necessaryAccompanied by a detailed history file including fully documented restoration works with invoices and photosOriginal book-pack, service book, tool kit, charger, original rear grille, race parts in flight cases and presentation bookA retired racer, thoroughly sorted, absolutely on the button and ready for more spirited adventuresOffered here is a beautiful right-hand drive, manual gearbox, F355 GTB finished in Rosso Corsa over Nero leather with Bordeaux carpets. Previously owned by a prominent Ferrari Owners Club GB member Richard Prior and raced by him in the Pirelli Ferrari Hill-climb Championship for a number of years, winning the Driver’s Championship three times over in 2011, 2013 and 2014. Our enthusiast vendor purchased the car through a specialist Ferrari dealer in 2018 and took the decision to conduct a thorough schedule of works to return this retired racer back to road-going configuration.Highly respected Ferrari specialist QV London were commissioned to perform most of the overhaul starting with the engine out allowing access to all sub-assemblies. While many of the mechanical parts were off the car being restored the body was sent to a paintwork specialist near Silverstone for paint where required. The overhaul has been documented from start to finish with images and all invoices on file including, engine check, engine cradle with front and rear suspension frames refurbished and powder coated, all bushes replaced, shocks overhauled with re-finished springs and new actuators, new brakes, radiators, hoses and under-trays, the list goes on with complete details on request. The race specific parts removed have been neatly stored in Ferrari-style flight cases ready to be deployed once again for track days, fast road or race use.Accompanying this retired racer is the aforementioned history file, the original book pack with service book stamped up to date, Ferrari F355 tool kit, fitted car cover, C-Teck battery charger and two flight cases containing coil-over suspension units, race steering wheel and tow eye. The original grille is also supplied as a Challenge grille is currently fitted and, pleasingly, the GTB private number is included in the sale. A nicely produced hard-back book is also included showing some restoration works and documents this F355’s racing career.In summary, here we have a Ferrari full of character benefiting from a recent thorough overhaul and absolutely on the button. Early, manual GTBs are becoming highly sought after and, with many low mileage examples hidden in private collections, this one begs to be driven as often as possible and enjoyed as a Ferrari should be.Lovingly and carefully returned to road specification by our vendor, a true enthusiast, and only currently offered as an opportunity to purchase a 355 Challenge car couldn’t be refused.*Forming part of A Sale of Ferraris in association with Ferrari Owners' Club of Great Britain, the buyer of this lot will be entitled to one years free membership with Ferrari Owners Club of Great Britain* lSpecificationMake: FERRARIModel: F355Year: 1995Chassis Number: ZFFPR41C000104026Registration Number: N12 GTBTransmission: ManualEngine Number: TBCDrive Side: Right-hand DriveOdometer Reading: 72244 MilesMake: RHDInterior Colour: CharcoalClick here for more details and images
Lot 211
Hugely desirable in its own right, the appeal of this 575M is enhanced by its fastidious maintenance record, immaculate presentation and a double dose of celebrity provenance.UK-supplied, right-hand drive, matching numbers in Giallo Fly with Nero Daytona leatherOptioned from new with: Fiorano Handling-kit 2 (factory fitted, not dealer added), Satellite navigation, interior carbon pack- including dashboard, centre-console, door trims, F1-paddles, seat sides and entry sills, Hi-fi system with sub-woofer, rear parcel shelf finished in leather, Yellow brake callipers, Scuderia wing shields and a 'Tubi' exhaustIts first owner was British rock legend, Eric Clapton followed by TV personality and Virgin radio star, Chris EvansAcquired by our vendor in July 2011 at 10,000 miles and has cherished it ever sinceComplete, on-time, service history (14 stamps) warranting the mileage of 18,318 Factory battery conditioner, original Ferrari book-pack, factory tool kit and a factory car-coverA very attractive Ferrari with outstanding provenance to support future values knowing very few 575s - if any - can boast such an interesting backstoryThe Ferrari 575M Maranello (Type F133) is a two-seat, two-door Grand Tourer launched by Ferrari in 2002 and was essentially an updated 550 Maranello featuring minor styling changes from Pininfarina. Further developments included a redesigned interior and substantial mechanical improvements, including bigger brake discs, a larger and more powerful engine, improved weight distribution, refined aerodynamics and fluid-dynamics along with an adaptive suspension set-up (the four independent suspensions are also controlled by the gearbox, to minimise pitch). Two, six-speed transmissions were available, a conventional manual gearbox and, for the first time on a Ferrari V12, Magneti Marelli's "F1" automated manual gearbox. The 575 model number refers to total engine displacement (5.75 litre), whilst the 'M' is an abbreviation of modificata as featured on the later cars, meaning “modified” in Italian.This particular car was supplied new to British rock legend, Eric Clapton, on 19-3-2003 by Maranello Sales of Egham, Surrey. It's a UK-supplied, right-hand drive, all matching numbers car finished today in its original colour combination of Giallo Fly with Nero Daytona leather upholstery. Eric has signed the service book which was a request at the time by its second owner, TV personality and Virgin radio star, Chris Evans, who acquired the car direct from Eric and kept it up until 2010. So two petrol-head celebrities provided exceptional early provenance for this particular car, before being owned by Silverstone Auctions MD, Nick Whale.Our vendor acquired this car directly from Silverstone Auctions in July 2011 at a mileage of 10,000 and has cherished it ever since throughout the car’s life. Today the mileage is 18,318 and the service history is complete and on-time throughout, warranting the indicated mileage.The original factory fitted options were: Fiorano Handling-kit 2 (factory fitted, not dealer added), Satellite navigation, interior carbon pack- including dashboard, centre-console, door trims, F1 paddles, seat sides and entry sills, Hi-fi system with sub-woofer, rear parcel shelf finished in leather, Yellow brake callipers, Scuderia wing shields and a 'Tubi' exhaust.The fastidious private owner has supplied a proper detailed history file with all information present including a full service history (including cam belts changed on time) with mostly Ferrari main dealers and the odd respected specialist. The most recent service was conducted by Dick Lovett, Swindon in August 2019 at 18,155 miles and the car has not been used since due to Covid restrictions.It's supplied with a factory battery conditioner, original Ferrari book pack with all the service and hand books, the factory tool kit remains intact in its original leather cases and a factory car-cover is also included.There are 14 service stamps in the service book to verify the car’s mileage and perfect maintenance record, along with a current MOT (no advisories) valid until late September 2021.This remains a very attractive Ferrari with outstanding provenance to support future values, and an excellent car to use and enjoy today, knowing very few 575s - if any - can boast such an interesting backstory.*Forming part of A Sale of Ferraris in association with Ferrari Owners' Club of Great Britain, the buyer of this lot will be entitled to one years free membership with Ferrari Owners Club of Great Britain* lSpecificationMake: FERRARIModel: 575M MARANELLO F1Year: 2003Chassis Number: ZFFBT55C000130114Registration Number: RX03 KBZTransmission: AutomaticEngine Number: 71355Drive Side: Right-hand DriveOdometer Reading: 18318 MilesMake: RHDInterior Colour: BlackClick here for more details and images
Lot 220
Brightly hued 'F1' Spider with a comprehensive main dealer service history and only 9,907 miles.This lovely Spider was first registered on the 01/10/2007 and has been enjoyed by two keepers in total over its 14 yearsSupplied by Graypaul of Edinburgh finished in Giallo Modena Yellow with a complementing Blu Scuro interior with Yellow stitching and a matching Blue topSpec'd from new with Yellow brake calipers, a Carbon-ceramic braking system, Daytona-style heated seats and a high power Hi-Fi Shipped very early on to Monaco where it was maintained by G Cavallari Monaco Motors, Ferrari Dealers in 2008, 2010, 2012 and 2014Returned to the UK in 2016. Serviced since by Graypaul Edinburgh/ Graypaul Nottingham in March of this yearThe stamped service records from these dealers support the indicated 9,900 milesSupplied with its original tool kit and full leather book pack including the all important service booklet showing the above stampsThe Ferrari F430 made its first appearance under the bright lights of the 2004 Paris Motor Show replacing Maranello’s time-served 360. The two share a rear mid-engine layout and occupy roughly the same footprint with a 102-inch wheelbase and approximately 177 inches between their bumpers, but that’s about where the similarities end.As its name implies, the F430 is powered by the new F136, a 4.3-litre, dry-sumped, V-8 which was factory-rated at 483brake-horsepower and 343 foot-pounds of torque. It was the first Ferrari V-8 to move on from engine-architecture that dated back to the single-seat racers from the 1950s. The F136 benefited directly from Scuderia Ferrari with its four-valve cylinder head and valves being sourced directly from the company’s Formula 1 programme. The complex variable valve-timing system was uplifted from the range topping Enzo, as was the dry-sump oil system and a very high compression ratio of 11.3:1, with a variable air flow plenum chamber and an enormous electronics brain operating not one, but two, Bosch Motronic ME7 ECU’s. Performance was excellent with 62mph making an appearance in just 3.7 seconds and a top speed of 196mph.The engine could be paired with either a six-speed manual gearbox with Ferrari’s signature gate or the F1 electrohydraulic six-speed automated manual. The F430 served as the debut platform for a small dial on the steering wheel to control the car’s five drive modes. The ‘Manettino’ control reconfigured the car’s stability control, its throttle response, its electronic dampers, and even its active rear differential.About six months after the Berlinetta debuted, the F430 Spider joined the line up with a neat roof panel that tucked away above the engine bay at the touch of a button.This particular Spider was first registered on the 1st of October 2007 and has been enjoyed by two keepers in total over its 14 years. It was supplied originally by Graypaul Motors Ltd of Edinburgh finished in Giallo Modena Yellow with a complementing Blu Scuro (Dark Blue) interior with Yellow stitching and a matching Blue top. The car was shipped very early on to Monaco where it was maintained by G Cavallari Monaco Motors, Ferrari Dealers in 2008/10/12/ and then 2014, returning back home and being serviced by Graypaul Edinburgh in 2016 and 2018 and lastly by Graypaul Nottingham in March of this year and the stamped service records from these dealers support the indicated 9,900 miles.The car comes with its original tool kit and full book pack including the all important service booklet showing the above stamps all within its leather bound case. SN57 FCY was specified to a high level from new and including Yellow brake calipers, a Carbon-ceramic braking system, Daytona-style heated seats and a high power Hi-Fi with subwoofer and much more.The F430 has represented fantastic value for money since the arrival of the 458 and this brightly hued 'F1' Spider with an excellent spec, impeccable main dealer history, perfect mileage and sensibly guided will inevitably sit at the top of the list for potential buyers.*Forming part of A Sale of Ferraris in association with Ferrari Owners' Club of Great Britain, the buyer of this lot will be entitled to one years free membership with Ferrari Owners Club of Great Britain* SpecificationMake: FERRARIModel: F430 F1Year: 2007Chassis Number: ZFFEZ59C000156564Registration Number: SN57 FCYTransmission: AutoEngine Number: 123727Drive Side: Right-hand DriveOdometer Reading: 9907 MilesMake: RHDInterior Colour: BlueClick here for more details and images
Lot 221
1/488 UK-supplied, right-hand drive 246 GTs with less than 35,000 miles from new and beautifully restored.1/488 UK-supplied, right-hand drive 246 GTs with less than 35,000 miles from new and beautifully restored Finished in Bianco Polo Park with Rosso seats with Nero inserts and matching Rosso carpets Confirmed matching numbers chassis, engine and gearbox to factory records with detailed overhaul by marque specialist, Nick Cartwright Checked over by a Ferrari specialist prior to the sale to ensure this example is on-the-button after some time in dry storage Accompanied by history file with restoration invoices, further maintenance invoices, MOT Certificates and a letter from Tony Wills Also forming part of the sale is the tool kit, which nowadays is fairly valuable in its own right Offered here is a beautiful right-hand drive Ferrari Dino 246 GT and one of, we believe, just 488 examples manufactured for the UK market. Finished in Bianco Polo Park paintwork (20-W-152) with Rosso leatherette seats with Nero inserts and matching Rosso carpets. This particular example has been subject to a detailed restoration performed by highly-regarded marque expert, Nick Cartwright, with all invoices on file. Since the restoration, the Dino has remained in dry storage with little use and has recently received further attention from another specialist (invoice on file) to ensure that the car is presented on the button and ready to be enjoyed.Accompanied by its history file containing the detailed overhaul invoices from Nick Cartwright, further maintenance records including the recent re-commissioning for £8,000 by a regarded Ferrari specialist, a letter from Tony Willis confirming the chassis, engine and gearbox numbers match Ferrari records, images of the stamped numbers on each item, its MOT Certificate valid until May 2022 and, importantly, forming part of the sale is the tool kit which nowadays command quite a premium.In summary, this is a great opportunity to get behind the wheel of a super little V6 Ferrari GT from the 70s which ticks all the boxes being right-hand drive, matching numbers, beautifully restored and absolutely on-the-button ready to be enjoyed. With restoration projects recently changing hands for sums in excess of £200,000, we believe the guide on this example is rather appealing.*Forming part of A Sale of Ferraris in association with Ferrari Owners' Club of Great Britain, the buyer of this lot will be entitled to one years free membership with Ferrari Owners Club of Great Britain* lSpecificationMake: FERRARIModel: 246Year: 1972Chassis Number: 04774Registration Number: FRB 359LTransmission: ManualEngine Number: 10181Drive Side: Right-hand DriveOdometer Reading: 34770 MilesMake: RHDInterior Colour: Red LeatheretteClick here for more details and images
Lot 50
1916 PROCLAMATION - ORIGINAL PRINTING An original copy of the Foundation Document of Modern Irish Nationhood, the Proclamation of the Irish Republic signed by the Printer Christopher Brady lower left corner A single broadsheet, overall size 76 x 49cm (30 x 19¼) Inscribed verso 'Obtained in Sackville St. Dublin, Easter Monday, April 24th, 1916' The most important document in modern Irish History. This is one of only two known original copies in private hands signed by Brady and one of a small number of surviving copies. Printed at Liberty Hall, Dublin, under the protection of soldiers of the Irish Citizen Army, on Easter Sunday, 1916, and read from the steps of the General Post Office, O'Connell St., Dublin on Easter Monday morning by P.H. Pearse, in the presence of the other signatories of the document, thereby heralding the Rising, and Irelands advance towards self-determination. The Proclamation, the corner-stone of modern Irish history, the Irish Declaration of Independence, was probably the literary composition of P.H. Pearse, with some changes and amendments by James Connolly and Thomas MacDonagh. It was printed on an old Wharfdale Double-Crown, printing machine. The work commenced about mid-day on Sunday 23rd April and was completed approx. 1.00 on Easter Monday morning. James Connolly organised all arrangements. The printer was Christopher Brady and the compositors Michael Molloy, and Liam OBrien all of whom had previously been employed in the work of printing The Workers Republic, for Connolly. Brady who worked the machine throughout described his task as one of great difficulty. He found it hard to ink the type evenly and the rollers refused to maintain an even pressure, with the result that nearly all copies show much smudging in parts and faint printing in other parts. In the beginning an attempt was made to set the entire document at the one time, but it was found this was not viable as there was not enough type available, and it had to be set in two stages. Firstly, top half, from Poblacht down to and including the words... among the nations. Secondly, the bottom half, from The Irish Republic, .. to Joseph Plunkett. The paper used was of the poorest quality, a cheap line which was purchased from Saggart Mills, and similar to that used on the Workers Republic. A print run of 2500 copies was planned, with the intention of supplying the country as well as the city. It seems unlikely however, because of the difficulties encountered in the work, dilapidated machinery, scarcity of paper etc., that any more than 1000 copies were in fact printed. Finally the work of distribution was then handed over to Mrs. Helen Moloney, as ordered by Connolly. The type for the second section or bottom half was still in the press, when the British soldiers entered Liberty Hall, on Thursday 27th April 1916. Michael J. Molloy told the story of how he came to be one of the three men who printed the 1916 Proclamation, in an article entitled My Easter Week, published in the Evening Herald, on April 4th, 1966. In 1925, Mr. Joseph J. Bouch published a booklet, for the Biographical Society of Ireland which was a short history and a bibliography of The Proclamation. He examined the few available copies of the original from libraries etc., and this paper is now the definitive tool for ascertaining the true copies. He defined six main points from which the first issue can be identified: Size of paper: approx. 30 x 20; Quality and colour of paper; Style of typography including wrong fonts and spaces; Measurements of form or type face, or length of line Differences in spelling notably in the names of the signatories; Other typographical inexactitudes. The above copy conforms in size, type of paper, etc., and contains all the typographical inexactitudes and irregularities called for by Bouch. It contains the 23 wrong font e as called for. It also contains the reversed e in the third the on the first line of the last paragraph. Also according to Bouch the spacing matter or bars between the lines frequently caught the ink and showed a line of varying lengths. In addition, this document contains further typographical errors which were missed by Bouch & other bibliographers, historians alike, & which on examination, are to be found in all other true copies of the original. These are three lower case ts. This copy also displays clearly that the original Proclamation was in fact printed in two parts, as the distance between the last two paragraphs, etc., and the top half again varies in size.
Lot 15
Jewad Selim (Iraq, 1919-1961)Mother and Child macassar ebony and metal wire in two figurinesexecuted in 1953Height: Mother: 56cm, Child: 27cmFootnotes:MOTHER AND CHILD, AND MOTHERHOODTWO ICONIC SCULPTURES BY JEWAD SELIMProvenance:Property from a private collection, EnglandFormerly property from the collection of the renowned Iraqi architect Said Ali Madhloom (1921-2017)Acquired directly from Lorna Selim, the artists wife, by the above, circa 1971Exhibited:House of Medhat Ali Madhloom, Jewad Selim, Baghdad, 1954The Jewad Selim Touring Exhibition, organised by the American Friends of the Middle East, March-April 1954:Maine, Portland, L.D.M Sweat Museum, 1954Philadelphia, De Braux Gallery, 1954Pittsburgh, Bellefield Avenue Gallery, 1954Chicago, Headquarters of the Midwestern office of the American Friends of the Middle East, 1954New York, Middle East House, 1954Baghdad Exhibition of Paintings and Sculptures, Al Mansur Club under the patronage of the King, February 1956;National Museum of Modern Art, Jewad Selim, Baghdad, January 1968Published:Jabra Ibrahim Jabra, Art in Iraq, Hayat Fil America, No.43, 1966, P26-29Jabra Ibrahim Jabra, Art in Iraq Today, Stephen Austin and Sons, 1961, p.2Majid Al-Samara'ai, The Baghdad Group for Modern Art: A Year of Giving and Continuity, 1971, Al-Adab 19, June 1971Exhibition Catalogue, Jewad Selim, National Museum of Modern Art, Baghdad, January 1968Abbas El-Saraf, Jewad Selim, Baghdad, 1972Shakir Hassan Al-Said, The History of the Plastic Arts in Iraq Part 1, p.211Ahmed Naji, Under the Palm Trees, Modern Iraqi Art with Mohamed Makiya and Jewad Selim, 2019, Rizzoli International, Page 86The present sculptures (lots 16 and 17) are two of Jewad Selim's most emblematic compositions. Instantly recognisable, striking, and deeply symbolic, Motherhood and Mother and Child are signature works by the pioneer of Iraqi modernism.Exhibited, published and critically acclaimed, these works took part in Selim's landmark retrospective exhibition at the Baghdad National Museum in 1968. Executed in divergent mediums and in radically distinctive styles, they nonetheless present us with poignant and penetrating meditations on one of Selim's key artistic subjects: the concept of motherhoodExecuted upon Jewad's return to Iraq after studying at the Slade, the sculptures are a hallmark representation of the Baghdad Group of Modern Art, with use of traditional Iraqi themes and motif's related within a distinctly modernist visual language. From the collection of the late Said Ali Madhloom who continued to preserve and care for these delicate masterpieces after resettling in the United Kingdom, they carry an immense significance within the history of Iraqi of modernism'I used to play with the Mother and Child and wanted to bring them with the to England but my mother couldn't, so she left them with Said Ali Madhloom. I am delighted that one of my childhood loves is safe' – Miriam SelimMother and Child is a remarkably original sculpture and perhaps one of the most unique and distinct creations by Selim. A simplified, semi-abstracted depiction of wire and ebony figurines depicting a mother with open arms ready to embrace her child, the work feels like a wooden transfiguration of Selim's painted works. The sculpture has been shown in over eight major exhibitions, including Jewad's one-man touring show of the United States, a travelling exhibition which would result in a heap of critical acclaim and which was widely reported on in local American media; an extraordinary achievement for a Middle Eastern artist at the time.Stylistically, the work shows clear influence from Modern British sculptural movements active while Selim was studying at Slade in the late 1940's. A combination of the soft lyrical curvature and flowing smoothness of Henry Moore who Jewad Studied under at the Slade, and the distinct, mechanical wire sculptures of the 'Geometry of Fear' movement. The leading protagonist of the Geometry of Fear movement, Reg Butler, was one of Jewad's most notable teachers at the Slade; Butler grew up in the workhouse his parents managed. Close to a maternity ward, an asylum and old people's home, he encountered birth, life, difficulties and death from childhood. This Victorian setting inspired narratives in his art, which he interpreted through a Freudian framework and the human body was his most enduring subject. These complex, sometimes disturbing interpretations of the human form and familiar relations clearly influenced Jewad although Selims own work would exclude some of the darker aspects of the Geometry of Fear movement which placed more emphasis on the distortion of post-War trauma. Selim considered the Mother and Child theme a universal subject 'from the beginning of time'; an 'inexhaustible' motif that offered multiple sculptural possibilities. Throughout his works that deal with this subject matter, Jewad's fixation with the Mother and Child can in some ways be seen in straightforward compositional terms – the relationship of a small form with a big form – and ideas of protection and nurture.Selim's sculptural composition is unlike anything produced in Iraq at the time. In its novel use of material, its anatomical framework, its kineticism it demonstrates the creative power of an artist with a bold and un-daunting conviction in his own originality. A deeply personal sculpture, Mother and Child began life in Selim's own personal collection, and was a favourite toy of the artists daughter Miriam. Upon their sudden departure from Baghdad in 1971, Miriam and Selim's wife Lorna were unable to transport the fragile work to London and decided to give it to Said Ali Madhloom.'From very early on I had an obsession with the Mother and Child theme - a big form protecting a little form - it has been a universal theme from the beginning of time and some of the earliest sculptures we've found from the Neolithic Age are of a mother and child.'- Henry MooreJewad Selim (1919-61)It is impossible to understand the modern art movement in Iraq without taking into account the works of this pioneer sculptor and painter, who was undoubtedly the most influential artist in Iraq's modern art movement. To him, art was a tool to reassert national self-esteem and help build a distinctive Iraqi identity. He tried to formulate an intellectual definition for contemporary Iraqi art. In charting his country's contemporary social and political realities, he was committed to combining the indigenous historical and folkloric art forms, with contemporary Western trends.Born in Ankara, Turkey in 1919 to Iraqi parents who moved to Baghdad in 1921, Jewad Selim came from a strongly artistic family: his father was an accomplished amateur painter, whose work was influenced by the European old masters, and his brother Nizar and sister Neziha were also accomplished painters, becoming well-known in their own right.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The effects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department.In 1946, he was sent to the Slade School of Art, London. At the Slade, Jewad met his future wife and fellow art student, Lorna. Jewad returned to Baghdad in 1949 to become Head of the Department of Sculpture at the Institute of Fine Arts, where he taught his students to draw on the heritage of their country to create a distinctive Iraqi style and artistic identity, which would become the ethos of an influential art... For further information on this lot please visit Bonhams.com
Lot 36
Shakir Hassan Al Said (Iraq, 1925-2004)Hob al-Watan min al Iman (Loving the Homeland is Part of Faith) mixed media on wooden panelsigned and dated 1982110 x 90cm (43 5/16 x 35 7/16in).Footnotes:Provenance:Property from the collection of the renowned Iraqi architect Mohammed Saleh Makiya (1914-2015)Thence by descent to the present ownerExhibited:The Commemorative Exhibition of Shakir Hassan Al-Said, Salam House, The Humanitarian Dialogue Foundation, 2011Published:Catalogue of The Commemorative Exhibition of Shakir Hassan Al-Said, Salam House, The Humanitarian Dialogue Foundation, 2011Ahmed Naji, Under the Palm Trees, Modern Iraqi Art with Mohamed Makiya and Jewad Selim, 2019, Rizzoli International'The wall for Al Said since late 1970s was a 'mirror of reality' with all its cracks, marks, and graffiti . Al Said's wall paintings are a static surface with a dynamic record''Loving the homeland is part of faith'Shakir Hassan Al SaidBy Dr Ahmed Naji25 April 2021In 1983, the same year in which this outstanding artwork by Al Said was made, Jabra Ibrahim Jabra wrote in his famous concise survey of art in Iraq : 'No Iraqi artist has written about art in general, and about the artist's reflections on his own work in particular, as much as Shakir Hassan al Said.' Jabra went on to explain the significance of Al Said's writing not only on his art but also on Iraqi art in general; 'His writings over the last twenty-five years have come to form a sort of a body of doctrine which, though not easy to define, has had a considerable influence on the direction the Iraqi art movement has sometimes taken after Jewad Selim's death.' Reflecting on art to Al Said was an integral part of his art, as much as art was an integral part of his thought and existence. The artist had a progressive diverse oeuvre, though equally not easy to sum up, that is akin to a scientist looking into the entire universe through a powerful microscope; with every increasing power of magnification, a new layer of the universe is revealed without losing its relation to the preceding or succeeding layers. In his early career with Jewad Selim and the Baghdad Modern Art Group of 1951, he used figurative representation as a medium for appropriating Iraq's ancient heritage through an international modernist art lens in dialogue with cubism, fauvism etc, to create a local art movement. A few years later, during his studies in Paris between 1955 and 1959, Al Said discovered the importance of the surface texture of the artwork made by the layers of paint, instead of figurative representation, as the connection between the ancient, modern and contemporary art. Al Said discovered that texture was the essence which he saw daily in Paris both in Mesopotamian art in the Louvre and the modern art on display in the art galleries of Rue de Seine. This discovery; which he termed as 'a time-period migration towards modern art' , unlocked a technical paradigm that transformed his art in the subsequent years. The objective of Al Said's reflection was and remains to seek 'a truth that keeps escaping the frameworks of material or subjective reality' . As an artist, he sought and expressed the truth by distinctly evolving his art from the 'figure' or 'shape' to the 'trace' which serves as medium to connect the self/person directly with the world through the artwork, without a perceived mediation of the artist himself. In 1973, Al Said utilised the Arabic letter as a tool to etch space and time on the surface of the artwork in a meticulous harmony between the artist, the artwork, and the environment; a practice and theory he termed as One Dimension . The environment we see in Houb al-watan min al-iman (Loving the homeland is part of faith), which was exhibited in Baghdad in 1983 is a wall from the early years of the Iraq-Iran war (1980-1988) made of white cement and plaster, it resembles many walls that survived the aerial bombardment which the artist examined and reflected upon, for example, during his visit to Mandali , the town on the Iraq-Iran border to the east of Baghdad. The wall for Al Said since late 1970s was a 'mirror of reality' with all its cracks, marks, and graffiti . Al Said's wall paintings are a static surface with a dynamic record, as much as the mirror is a static piece of glass with a dynamic reflection of its surroundings, except that Al Said scores his walls with temporal and spatial codes that draws the viewer to delve into a deeper world, through the One Dimension of the surface and interpretation of the written letter. The word Houb (Love) captures the attention as the rest of the sentence gradually disappears into the whiteness of the scored cement. Al Said's love for his homeland during the war exists and persists like the multi-layered graffiti slogan 'Loving the homeland is part of faith' on the richly textured surface of the painting, a metaphor for the rugged and embattled Iraq. The popular slogan in this painting's graffiti resurfaces every now and again during different periods in Iraq, such as the war against ISIS in recent years, while many walls in Iraq still carry the scars of wars in a solemn remembrance of those who lost their homeland, or their lives, or both. This painting serves a spatio-temporal marker placed by Al Said in the physical and meta-physical conscience as an indelible trace of the truth. Born in Samawah, Iraq, in 1925, Shakir Hassan Al Said studied social sciences at Baghdad's Higher Institute of Teachers, obtaining his BA in 1948. He initially worked as a teacher of Social Sciences at Malak Secondary Education, the Ministry of Education from 1949 to 1954 before studying painting at the Institute of Fine Arts in Baghdad and teaching art education later on. After his graduation in 1954, he received state scholarships to pursue his studies abroad. From 1955 to 1959, he studied painting and art history in Paris, at the Académie Julien, the École des Arts Décoratifs, and the École Nationale Supérieure des Beaux-Arts.On his return to Baghdad, he taught art history at the Institute of Fine Arts from 1970 to 1980, and also taught painting and art history at the Institute of Art Education in Saudi Arabia from 1968 to 1969. From 1980 to 1983, he headed the Department of Aesthetic Studies at the Ministry of Culture and Information. In 1992, he worked as a counselor at the Abdul Hameed Shoman Foundation in Amman, Jordan.In 1994, he founded the symposium of Aesthetic Discourse at the Saddam Art Center in Baghdad. Al Said was also a Member of the National Committee League of Art Critics, the Iraqi Artists Syndicate, the Society of Iraqi Plastic Artists and the Iraqi Teachers' Syndicate. He stayed in Baghdad until his death in 2004.Dr Ahmed Naji is an independent researcher and cultural advisor on art in Iraq and the Arab world. He is the author of Under the Palm Trees: Modern Iraqi Art with Mohamed Makiya and Jewad Selim, Rizzoli New York, 2019. (Instagram: ahmednaji_alsaid)For further information on this lot please visit Bonhams.com
Lot 40
Charles Hossein Zenderoudi (Iran, born 1937)ZAMIN LARZEH acrylic on canvas, framedsigned and dated 1971150 x 134cm (59 1/16 x 52 3/4in).Footnotes:'To create a painting, I begin with the preliminary study, which consists of sketches on paper, followed immediately by the painting of letters and colouring on canvas... I am thus able to immediately express my spontaneous feelings on canvas. Sometimes I leave a canvas to work on another, this is like improvisation in music, for I treasure freedom more than anything else. I couldn't be what I am if I didn't have freedom to express my lyricism. I don't believe in teaching painting, since I do not believe that technical training is required to make one a great painter. Painting can be done with any tool or any piece of equipment, I believe all schools of fine art, all over the world, should be shut down'- Charles Hossein Zenderoudi, Midi Libre, No 9401, 9 April 1971Provenance:Property from a private French collectionCharles Hossein Zenderoudi is one of Iran's most accomplished modern artists, as a founding father Iranian neo-traditionalism Zenderoudi is a master of blending traditional Persian motif's within a distinctly avant-garde aesthetic.His choice of subject matter, calligraphy, has historically been the most established mode of formal artistic expression prevalent in Iran, but, by emphasising form over meaning, and by stripping the written word down to its aesthetic, structural, fundaments, Zenderoudi subverts the traditional values of Persian calligraphy. Zenderoudi's text is intentionally illegible and carries no literal meaning, freeing it from the constraint of linguistic limitation, and imbuing it with a sense of universality which rescues the archaic practice of calligraphy from obscurity, giving it renewed relevance in a contemporary context.Zenderoudi's compositions pay homage to centuries of Persian religious imagery and employ a systematic repetition of letter-forms that finds its genesis in the mystical practice of Sufi numerologists, who believed in the spiritual significance of singular letters and worked these principles into hugely intricate talismanic charts. Zenderoudi's methodical compositions, whilst not accurately following the grammar or axioms of numerology, capture the aesthetic and conceptual qualities of its cryptic nature.Zenderoudi's early works focused on dense talismanic imagery, mixing iconography, freehand script and numerals. The density of these compositions sought to capture the visual intensity of popular religious expression in Iran, where banners, standards, altars, murals and mosques exuberantly adorn the urban landscape.Works from the present series, composed in the 1970's, mark a shift towards a more avant-garde, patterned, technical and measured approach to calligraphy. The crowded iconography of the early works is replaced by a greater focus on singular and recurring letter-forms, which exhibit a formal refinement lacking in their earlier counterparts. The present work also marks a conceptual shift away from the more overtly traditional subject matters and more towards a pure, patterned aesthetic which emphasises the meditative and visual elements of letter depiction over their linguistic connotation.Measured but spontaneous, technical yet effuse, Zenderoudi' manipulates Persian calligraphy with effortless ease, boasting a visual scope which faithfully captures the salient elements of Iran's traditional popular religious aesthetic. Rendered with the use of rich and vibrant colours, his canvases replicate the tonal and textural qualities of the votive art so common to the Iranian urban landscape.Almost rhythmic in its grace, balance and composition, the present work is one of the finest examples of Zenderoudi's work from this period.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 54
Mohamed Melehi (Morocco, 1936-2020)Untitled oil on canvassigned MELEHI and dated 2004 on the verso90 x 90cm (35 7/16 x 35 7/16in).Footnotes:Provenance:Property from a private collection MoroccoPurchased directly from the artist by the present owner'The wave is force, strength of sensuality; it is water, it is fire. If you look through traditional African art, there is always a wave, and I took the wave many years ago as my alphabetic tool. I use it the way I wish to, and I wander through it. You can see that; I am happy with it. By the way, I actually concentrated my studies more in sculpture than in painting. I consider myself a painter afterwards. As you can no doubt notice, my work is very sculptural. The wave is a source of tension and energy for the mind, and for the body as well; it creates movement.'- Mohammed MelehiThis 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 177
Large collections of 00 Gauge Model Railway Building and Accessory Kits by Scalelink Ratio Slaters Coopercraft Tiny Signs Metcalfe Superquick and others, including Superquick Swan Inn, Heritage Tin Mine, Metcalfe Brick sheets, Stone Sheets, Signal Box, Platform Shelter, Lineside Hut, Picnic Tables, English Village designs, Ratio UQ/70 LMS Signal Kit, Windows, Platform Lamps, Lamp Tops, Chimneys, Coach Seat mouldings, Scale Link F7, F4 and F9 sheets, Tiny Signs Pub Signs, Advertising Signs (5), Southern Pride Pullman Dining Chairs, Coopercraft GWR Seats, Station Names, Pooley Rail Wagon Weighbridge, Platelayers Tools, Tool Kit, Slater's 3mm Alphabets, Station Awning, Microstrips, Cement Bags, Potato Sacks, Rodding, Heljan Barrels, Dart Castings Domestic Oil Lamps, Springside Head and Tail Lamps, Woodland Scenic Field Grass, Dee Ess Bushes, Modelcraft Trackside Features Kit, Faller A Frame House kit, various sets of Axles, loose Coach Roofs, building Roofs, most in original packets, G-E, not checked, packets G-VG (large qty)
Lot 481
Various vintage toys to include a Meccano 4M motorised kit, two tin plate Tonka toys, a Matchbox S-200 Streak Loop, Saturn 7 Hydro Pneumatic Rocket with parachute ejection, Meccano Super Tool set, Mr Men puzzle, Berwick 'Take Apart Turtle', various 'Top Trumps' sets to include Helicopters, Rally cars, modern jets, and various packet card games.
Lot 717
Miscellaneous Tokens and Checks, SUSSEX, Brighton, a France, Napoleon III, 10 Centimes, obv. countermarked h.e. mitchell edge tool grinding mills 4 north road brighton (Scott 3.1); Unlocalised issues, Thomas Spence, a George III, Penny, 1797, obv. countermarked no landlords you fools spence’s plan for ever, 27.50g [2]. Coins fair, countermarks very fine £80-£100 --- Second only illustrated
Lot 19
Artefakte aus Metall - unterschiedliche Werkzeugteile aus Metall/Eisen, Hacken, Beile. Altersbedingte Gebrauchsspuren, korrodiert, verbogen, beschädigt. Aus alter deutscher Privatsammlung. Versand nur innerhalb der EU! | Metal artefacts - Various metal tool parts. Signs of use due to age, corroded, bent, damaged. From an old private collection. Shipping only within the EU!
Lot 163
Klammerdrehbank, um 1900 Messing und Stahl auf Holzsockel. Großes Schwungrad mit Handkurbel für Rundriemenantrieb der horizontal gelagerten Drehachse mit Spindelstock. Drei Klammern und Zentrierspitze. Vierkantwange für Kreuzsupport und Drehmeißel. H. 30 cm. Clockmaker's lathe, around 1900. Brass and steel on wooden base. Manual belt drive on spindle, carriage with cross-slide and tool post, tailstock. Age-appropriate condition.
Lot 348
Zwei Uhrmacherwerkzeuge Geradbohrmaschine. Stahl. ''E. Kreissig'', Glashütte. Arbeitsfläche auf vier Füßen mit drei justierbaren Dornen zur Halterung sowie einem vertikalen, beweglichen Körner. H. 24 cm. Werkhalter. Messing. Universalwerkzeug eines Uhrmachers zur Arretierung von Uhrwerken und kleineren Elementen. D 6,5 cm. Set of two clockmaker's tools. Small drill or marker tool, steel, Glashuette. And fixation tool for setting up movements.
Lot 349
Eingriffszirkel Uhrmacherwerkzeug. Messing und Stahl. Stellzirkel für Taschen(?)uhren zur Ermittlung des optimalen Achsenabstands für die Eingriffstiefe der Zahnradwellen und der Übertragung dessen auf die Platine. H. 6 cm. Dephting tool, clockmaker's tool. Brass and steel. For establishing a perfect depth in rotation and point the result on the watch plate.
Lot 2905
Geniegewehr System Peabody M 1867, mit BajonettKal. 10,4x38R Vetterli, Nr. 5892, dreifach gezogener, blanker Lauf, Länge 84 cm. Visierklappe fehlt. Links am System fünfzeilig Patent und Hersteller Providence Tool, am Lauf "Verkauft". Originale Brünierung partiell fleckig und berieben, speziell an der Laufoberseite und an den Beschlägen. Vor dem Visiersockel der Lauf mit etlichen Werkzeugschrammen. Schlossplatte, Hahn und Unterhebel fleckig. Zweiteiliger, dunkler, nummerngleicher Nussholzschaft mit Tragespuren, komplett mit beiden Riemenbügeln und Entladestock. Länge 130 cm. Dazu Tüllenbajonett mit Abnahme, Länge 55 cm.WBK: Achtung - ErlaubnispflichtigZustand: II -Geniegewehr System Peabody M 1867, mit BajonettCal. 10,4x38R Vetterli, SN. 5892, dreifach gezogener, blanker Lauf, Länge 84 cm. Visierklappe fehlt. Links am System fünfzeilig Patent und Hersteller Providence Tool, am Lauf "Verkauft". Originale Brünierung partiell fleckig und berieben, speziell an der Laufoberseite und an den Beschlägen. Vor dem Visiersockel der Lauf mit etlichen Werkzeugschrammen. Schlossplatte, Hahn und Unterhebel fleckig. Zweiteiliger, dunkler, nummerngleicher Nussholzschaft mit Tragespuren, komplett mit beiden Riemenbügeln und Entladestock. Länge 130 cm. Dazu Tüllenbajonett mit Abnahme, Länge 55 cm.WBK: Attention - For this gun we will need to obtain an export license for you, based on your import permit (if needed in your country) or through your firearms dealerCondition: II -
Lot 2986
Pistole 04 (1914), DWM 1917, mit Brett und TascheKal. 9 mm Luger, Nr. 4800, nummerngleich inkl. Griffschalen. Blanker Lauf, Länge 150 mm. Achtschüssig. Schiebevisier skaliert 100 - 200. Hülsenkopf und links am Rahmen gemarkt "1917", am Vordergelenk DWM-Logo. Div. Marineabnahmen Krone/M. Vollständige, originale Brünierung, minimale Tragespur an der Deckplatte. Bedien- und Kleinteile gelb angelassen. Dunkle Nussholzgriffschalen. Korrektes, vernickeltes Falzmagazin mit Holzboden mit konzentrischen Ringen, Abnahme Krone/M, ohne S/N. Komplett mit nummerngleichem Nussholz-Anschlagbrett, auf der Stempelplatte Abnahme Krone/M, am Korpus unter der Stempelplatte dünnes, großes "M", Zwinge vollständig original brüniert. Insgesamt Gebrauchsspuren. Ferner dabei die schwarze Marinetasche ohne Hersteller mit Gebrauchsspuren, Schließknöpfe Messing, eingesteckt Schlüssel und Putzstock.WBK: Achtung - ErlaubnispflichtigZustand: IA Navy Luger (1914), DWM 1917, with stock and holsterCal. 9 mm Luger, SN. 4800, matching numbers, including grips. Bright bore, barrel length 150 mm. Magazine for eight rounds. Tangent rear sight graduated 100 - 200. The top of the receiver and left side of the frame marked "1917", DWM logo on the front toggle. Various navy marks crown/M. Original bluing almost 100%, minor traces of wear on the sideplate. Small parts strawed. Dark walnut grips. Correct nickel-plated sheet metal magazine, the wooden bottom with concentric rings, acceptance mark crown/M, no S/N. The walnut stock with matching number, the unit disc marked crown/M, the stock below thinly marked "M", the attaching iron with original finish. Signs of use. The black navy holster unmarked, signs of use, brass button, takedown tool and cleaning rod.WBK: Attention - For this gun we will need to obtain an export license for you, based on your import permit (if needed in your country) or through your firearms dealerCondition: I
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