Null Pair of Kafir ritual vessels, Kos, northern Pakistan or north-eastern Afgha…

Description

Pair of Kafir ritual vessels, Kos, northern Pakistan or north-eastern Afghanistan (Nuristan), 1st half of the 20th century, probably walnut wood, patinated, one with sun wheel symbol. In good condition for age, cracks.

2096

Pair of Kafir ritual vessels, Kos, northern Pakistan or north-eastern Afghanistan (Nuristan), 1st half of the 20th century, probably walnut wood, patinated, one with sun wheel symbol. In good condition for age, cracks.

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Estim. 240 - 300 EUR

Milk or butter jar chkou of the Amazigh culture. Berber, Kabyle, northern Algeria or Rif region, Morocco. H 42cm. The bulbous, oval vessel made of yellowish-beige slipped terracotta has a slightly tapered, large, round opening with two handles attached to the sides. Intact. Provenance: ex Galerie Helga Exler, Frankfurt a.M.; ex Zemanek-Münster, auction 97, Würzburg 6 Nov. 2021, lot 117.

Estim. 1 500 - 2 000 EUR

PAIR OF SILVER CONTAINERS, 45-50s years of the 1900s. Pair of Baroque-style containers, embossed and engraved, made of 800/1000 silver DIMENSIONS: 1) height mm 230, mouth diam mm 200 2) height mm 165, mouth diam mm 125 WEIGHT: 1) gr. 1358 2) gr. 581 PUNCH: 800 and lozenge post 1944-pre 1964

Estim. 6 000 - 7 000 EUR

Pair of cups; France, restoration period, c. 1820. Chiseled bronze, patinated, gilded with mercury and burnished. Measurements: 40 x 15,5 x 12 cm (x2). Pair of ornamental cups of historicist style, whose forms are inspired by the style of classical antiquity. They consist of an ovoid amphora-shaped vessel made of bronze with gilded bronze decorations, cast in relief and with cold chiseled details. They consist of a base, typically of the period, prismatic, with sharp and smooth edges, and on it is placed directly the foot, composed of a tight crown of plant motifs, worked with the synthetic and refined style typical of around 1820. The bronze ornamentation stands out especially for the quality of the chisel work, which reproduces with great expressiveness the texture of the leaves. Over the ovoid shape of the body there is an intermediate neck that forms the union with the recipient, following classicist models.

Estim. 10 000 - 13 000 EUR

STEVE MCCURRY (USA, 1950). "Afghan Girl".Peshawar, Pakistan, 1984. Chromogenic print. Annotation on the back: "Fuji color chrystal Archive Paper". Signed in ink in the margin. Provenance: Cesare Manzo Gallery, Pescara, Italy. Measurements: 45.5 x 30.5 cm (image); 49.8 x 39.5 cm (frame). "The Afghan Girl" is the best known photograph of McCurry's career, and iconic for the history of documentary photography. He took it in 1984, in the Nasir Bagh refugee camp in Pakistan during the Soviet-Afghan war. The girl, Sharbat Gula, was an Afghan refugee who had fled the violence in her country. The girl, with piercing green eyes and wrapped in a red shawl covering her shoulders and hair, captivated viewers around the world. The image appeared on the cover of the June 1985 issue of National Geographic magazine, quickly becoming one of the best known and most powerful photographs of the 20th century. The image became a symbol of the suffering and resilience of refugees and conflict in Afghanistan. It has been widely used to illustrate the plight of refugees around the world. For many years, the identity of the girl in the photograph was a mystery. In 2002, McCurry and a National Geographic team located Sharbat Gula in a remote village in Afghanistan. Her identity was confirmed by recognizing her facial features, especially her eyes. Steve McCurry is an American photojournalist, known worldwide as the author of the photograph "The Afghan Girl," which appeared in National Geographic magazine in 1985. His career as a photographer began with the Afghan War (1978-1992). He has also covered other international conflicts such as the Iraq-Iran war or the Gulf War. After working in King of Prussia, Pennsylvania, for two years, he went to India to work on his own in 1978. After a year there, he traveled to northern Pakistan. His career as a photographer began with his coverage of the Soviet war. In Afghanistan McCurry disguised himself in the country's garb to go unnoticed while working, and took film out of the country by sewing it into his clothes. His images were among the first to depict the conflict and were widely circulated. That work won him the Robert Capa Gold Medal for best foreign photojournalism, and was published in The New York Times, TIME and Paris Match. McCurry continued to cover international conflicts, including the Iran-Iraq war, Beirut, Cambodia, the Philippines, the Gulf War and Afghanistan. He survived a plane crash in Yugoslavia. His work has been published in magazines worldwide, and he is a regular contributor to National Geographic. He has been a member of the Magnum agency since 1986. In his work, McCurry concentrates on the pain caused by war. He tries to show what war does, but not only on the battlefield, but also to the people who live there. He argues that there is always something in common between all humans despite religion, language, ethnicity, etc.

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