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A group of 20th century Asian artworks, to include: A pair of Mughal style paintings depicting figurative scenes and stories, 22 x 30 cm each; with a gouache painting of a kingfisher on a Jaipur stamp and two contemporary Chinese embroideries, framed and glazed (5)

A large Chinese painted Cizhou jar, Ming Dynasty, 14th/15th century, the broad-shouldered jar decorated in brown and reddish-rust on a white slip with three shaped panels enclosing a scholar in a garden, a crane standing amidst grasses bird, and a floral display, all above a band of upright lappets and beneath a band of leafy floral scroll, 34cm highProvenance: From the Collection of a Lady and Gentleman in Buckinghamshire, no. 4.13 A jar of this shape with a similar style of painting, including lozenge-shaped panels of scholars, was excavated in 1976 from a tomb in Yuncheng county, Shandong province, and is illustrated in Wenwu, 1988:6, pl. 7, no. 6. Compare with a similar jar sold at Christie's, 24 July 2020, Lot 59. See another example of very similar size and shape in the Asian Art Museum, San Francisco (no.390, He Li, Chinese Ceramics 1996), which shows three scenes of the poet Li Bai enjoying wine in a garden. 明 磁州窯開光高士圖罐拍品來源：英國白金漢郡伉儷私人收藏，編號4.13  Condition Report: Body crack repair mainly on the shoulder and minor kiln flawCondition Report Disclaimer

ASIAN AND INDIAN ART INTEREST: 5 Titles: MULK RAJ ANAND, LOTIKA VARADARAJAN ET AL: HOMAGE TO KALAMKARI (WITH REFERENCE TO THE PAINTED CLOTHS OF INDIA, Bombay, Marg publications, 1979 reprint, with decorative cloth boards; CHEWON KIM AND G ST G M GOMPERTZ: THE CERAMIC ART OF KOREA, london, faber and Faber, 1961; W ZALF (Ed): BUDDHISM - ART AND FAITH, London, British Museum Publications, 1985; THE ART OF THE CH'ING DYNASTY FURNITURE, Taipei, national Museum of History, ND. Held within original slipcase; T C LAI: CHINESE PAINTING - ITS MYSTIC ESSENCE, Kowloon, Swindon Book Company, 1974. inscribed to half title by author (5)

Group of three Asian artworks including:One color on silk painting depicting a frog watching a butterfly or moth and a cricket perched on flowering branches.Tokuriki Tomikichiro (Japanese, 1902-2000). Woodblock on paper print titled "Mt.Kasagi," number 28 from the series "Seichi Shiseki Meisho (Famous Historic Places and Holy Places)," ca. 1940s.Utagawa Hiroshige (Japanese, 1797-1858). Reproduction print of "Suijin Shrine and Massaki on the Sumida River," number 35 from the series "One Hundred Famous Views of Edo."Height ranges from 15 1/2 in to 16 in; width ranges from 12 in to 19 1/2 in.Condition: Toning throughout. There is a large tears along the lower left quadrant of the cherry blossom print; another large tears along the upper left edge; a small tear along the upper right corner. The print is affixed to a cloth-bound mat. The sheet of the painting appears to have been trimmed. Old tape affixed to the verso of the painting. None of the works are framed.

A Silk painting with lady and a boy, China, 19th c.h cm 84 x l cm 44,5繪有仕女及童子絲綢画，中国，十九世纪PROVENANCEFrom the estate of the soprano Toti dal Monte (Antonietta Meneghel 1893-1975) acquired during her Asian tournée in 1928.

A painting on paper depicting a dignitary, China, 19th c.h cm 112 x l 52,5描绘朝官纸画，中国，十九世纪PROVENANCEFrom the estate of the soprano Toti dal Monte (Antonietta Meneghel 1893-1975) acquired during her Asian tournée in 1928.

A PAINTING ON PAPER DEPICTING A LADY, China, 19th c.h cm 112 x l 50 (defects)宮廷仕女纸画，中国，十九世纪初 PROVENANCEFrom the estate of the soprano Toti dal Monte (Antonietta Meneghel 1893-1975) acquired during her Asian tournée in 1928.

QIAN SHUN JU (attributed to, 1239 — 1299)Portraits of Periodical OfferingsChina, 18th century or earlierA handscroll containing two sections of painting in ink and colour on silk, each sealed, depicting foreign emissaries parading gifts of jade, coral and beautifully caparisonned horses, a title slip reading Yuan, Qianshun Ju, Zhígòngtú, and a section of calligraphy on paper with a title reading Zhígòngtú, dated December 11th 1385, stamped with five seals and signed with the name of Zhang Shen, a collector, scholar and calligrapher active at the turn of Yuan and Ming dynasties, explaining he appraised a Zhígòngtú and provided it with an introduction.31.5cm x 53cm; 35.5cm x 56cm; 35.5cm x 56cm Provenance: an English private collection, acquired in the 1990s.A very closely related painting dated to the Ming Dynasty is housed in the collection of the Smithsonian's National Museum of Asian Art, Washington DC, accession no F1915.16. The Smythsonian scroll is traditionally attributed to Han Gan (715 — 781), the Tang Dynasty painter renowned for his vivid and spirited depiction of horses from the Imperial stables. Throughout the history of the Chinese empire, the vassal states and tribes were obliged to deliver diplomatic gifts to the court on regular basis. Portraits of Periodical Offerings, Zhígòngtú, (職貢圖 / 职贡图) was a popular theme and a way of recording those foreign tributes arriving at the court and ambassadors delivering them. Each depiction was accompanied by a short description of the diplomat and their country of origin. Examples were commissioned since the Liang Dynasty (526 - 539) and copies made for circulation among the court officials. Horses played a crucial role in these tributary ceremonies as an important commodity and a symbol of status. In Tang dynasty they were imported from great distances as gifts to the Chinese emperors: there was a belief that the steeds form the Sogdian valeys in Central Asia (area roughly covering today's Kyrgyzstan, Tajikistan, Turkmenistan and Kazakhstan) have descended form dragons and have been called Tianma - Heavenly Horses. Some were said to sweat blood, a condition most likely due to a parasitic infection. Both horses and their foreign grooms were in high demand at the subsequent Chinese courts. 《元钱舜举职贡图》18世纪或更早 这幅画卷包含两部分，画布为丝绸，设色，分别有印章，画卷描绘外国使者向朝廷进贡玉器、珊瑚和装饰华丽的马匹。其中一部分为书法，带有简短的题词“洪武乙丑冬至前二日获观钱玉谭职贡图因书其首 ”和五个印章，题签上书有“职贡图”。来源：来自英国私人收藏，购于1990年代。 31.5cm x 53cm; 35.5cm x 56cm; 35.5cm x 56cm

Three prints comprising a print of Hassan El Berberi in Ottoman dress after A.S. Dujardin painting, in an oval 28x20cm, glazed and framed 45x37cm, and a pair of coloured engravings with Asian men in native costumes 22x14cm, glazed and framed 40x30cm. (3)Provenance: Chris Phylactou Collection.

A Chinese painted pottery jar Neolithic period, Majiayao culture, 2300-1800BCPainted in red and black pigment around the shoulder with four abstract human figures, 23cm high.新石器時代 馬家窯文化 马廠類型 人紋四大圈彩陶罐  Provenance: French private collection.The dating of this lot is consistent with Oxford Thermoluminescence test, sample no. C125e52, certificate dated 29 May 2024.來源：法國私人收藏此拍品年份與牛津熱釋光檢測報告第C125e52號一致。Footnotes: This burnished jar is painted with the most classic zigzags and back and red colours of Majiayao Culture. The elongated body may suggest that it is from late Banshan period or Machang Period. The bottom line of the major section of the painting consists of both a straight and a wavy lines, which are typical of these periods. The abstract patterns look like four half bodied human lifting their arms, hand in hand. Their faces are composed of well organised groups of net motifs. They may be derived from fishing nets, as the ancient people located next to the Yellow River were fishermen. It may also resemble the mat made of thick cords from plant fibre, where people at that time sat or slept on. This object may be used in a worship service as it is finely made with human figures. Looking from the top of the object, the shoulder part is covered by the symmetric four large circles, which is rather typical of Machang type pottery, later Majiayao phase.W. SHANSHAN is a London and Paris based gallery that is specialized in ancient art. The gallery exhibits a selection of rare artworks, particularly Asian ceramics, bronzes, stone sculptures from the Neolithic period to 10th century.Condition Report: Loss of pigment. Minot chip which extends to 20mm U shape hairline near the rim. Wear commensurate with age. Small areas near the rim and the lower bottom visible under UV but doesn't appear to be restoration.

Lot to include a reverse painted glass snuff bottle, collection of vintage Japanese prints, South East Asian painting on textile and other. [W]

Attributed to Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772).‘Casta painting. Black and Spanish produces mulatto’Oil on copper.52 x 48 cm. Morlete was one of the Novo-Hispanic painters who most often painted landscapes and, in fact, there are other examples by him of caste pictures painted in the open air. This characteristic, together with the great pictorial quality of the three figures depicted, and the model of the pedlar located near the family, (which is repeated in other of his artworks) and that Morlete is the only painter who  mentions the word ‘produce’ in his titles instead of other terms to define mestizos (as we find in other paintings of his, for example in the painting entitled ‘Valle de Iztacalco, de yndia y español produce mestiza’ (Indians from the Valley of Iztacalco, and Spanish produce mestiza), which is in the Kaluz Museum) allows us to attribute this marvellous caste painting to the artist.  This painting is a real rarity as it depicts the caste family scene in an outdoor landscape. Usually, these caste paintings were depicted in domestic settings, interiors of houses... and almost always with very repetitive models. In this case, we are presented with the Mexican Alameda Park, recognisable by its fountain, next to the Paseo Bucarelli. In the foreground are the protagonists, and around them, pedlars, couples strolling, a man on horseback, noblemen riding in a carriage, etc. In the lower margin we find the usual cartouche on which the painter originally entitled the work with the inscription ‘Negro y española produce mulata’ (‘Black and Spanish produces mulatto’), which one of its owners, who probably treasured it, covered with white paint and renamed it ‘Paseo de Bucarelli’, presumably in an attempt to conceal the obvious message of the work. The theme of caste painting was developed in 18th-century New Spain and was intended to show and classify the diversity that arose from the mixing of ethnicities. This was a complex task, as the Prado Museum reports in the catalogue published for the exhibition ‘Tornaviaje. Ibero-American Art in Spain’, as “natives of the West Indies, Spaniards and Europeans, African slaves and a small amount of Asian emigrants ... made up a stratified society, but with threads of communication between them”, a diverse society that gave rise to caste painting.Even so, the value of this pictorial genre does not lie exclusively in ‘the classificatory tendency of the 18th century’ or even to ‘European concepts of the exotic’, but studies such as Ilona Katzew's reveal the value of this genre for ‘the construction of its own differentiated image’ of New Spanish society. In fact, Katzew continues, caste painting ‘is a unique pictorial genre that has no equivalent in European art’, indeed, ‘it is fundamentally limited to the viceroyalty of New Spain’, although mixing of ethnicities took place in all the Spanish colonies. In this sense, the Director and Curator of Latin American Art at the Los Angeles County Museum of Art, concludes in her study that ‘caste painting is not a monolithic genre, but one that encloses multiple simultaneous meanings’ and that, furthermore, ‘it offers a clear example of how New Spain could be a generative centre and not just an area that remained on the periphery of artistic events’, as it has traditionally been considered.Reference bibliography:- Katzew, Ilona. (2004). "Casta Painting: Images of Race in Eighteenth-Century Mexico". Yale University Press.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.- López Guzmán, Rafael (Ed.). (2021). "Tornaviaje. Arte iberoamericano en España." Museo Nacional del Prado. (pp. 165-181). 

Francisco Clapera (Barcelona, 1746 – Mexico, 1810)"Immaculate Conception"Oil on copper. Signed and dated "Clapera fecit 1798".There is a small dent in the upper right corner.63,5 x 41,5 cm.Francisco Clapera was a Spanish painter who, after graduating from the Royal Academy of San Fernando in Madrid in 1768, spent much of his artistic career in Mexico, where he arrived via Peru during the 1770s. He participated in the founding of the Royal Academy of San Carlos, where he also taught painting. There, under the direction of Jerónimo Antonio Gil (the first director of the Academy), Clapera introduced European artistic techniques such as Contrapposto to Mexican painting. These techniques made "his casta paintings more dynamic than those of his Mexican contemporaries," as noted by Joy Davis in her work "Eighteenth-century dress and fashion in the casta paintings of Francisco Clapera" (2015).However, in 1790, "he resigned from his position as head of painting" at the Academy, as reported by art historian Clara Bargellini, who also states that "he is known to have created the altarpiece of Our Lady of Mercy in the Sacristy of Mexico." These two quotes are taken from the publication “Dos series de pinturas de Francisco Clapera” (1994) (Two series of paintings by Francisco Clapera), in the scientific journal Anales del Instituto de Investigaciones Estéticas, where Bargellini reveals "fifteen paintings of the life of the Virgin and ten half-length figures of apostles [that] are currently in the bishop's office in the building annexed to the cathedral in the city of Durango"; two series bearing Clapera's signature that were previously unknown. According to the Doctor, "despite the Neoclassicism of the language, the artist's dramatic handling of light and shadow is striking."Francisco Clapera is also known for being the author of the only complete series of caste paintings in the United States and one of the few that remain intact in the world. It is dated circa 1775, in Mexico, and consists of sixteen oils on copper, two of which are signed (inv. 2011.428.1-.16).It has been on display at the Denver Museum of Art since 1996 and, as explained in its cataloguing information, "depicts families in domestic settings engaged in private activities, providing a rare glimpse into daily life in 18th-century Mexico. Others depict occupations and serve as a document of life in colonial times. The clothing, activities, and utensils reveal the hybridisation of 18th-century Mexican culture in its blend of European, Asian, and Mexican material culture."The collection was one of the main attractions of the exhibition "ReVision: Art in the Americas," organised by the Denver Art Museum (October 2021 - July 2022) and, in partnership with that museum, exhibited again at the Minneapolis Institute of Art very recently (June - September 2023). Reference bibliography:- Bargellini, Clara. (1994). Dos series de pinturas de Francisco Clapera. “Anales del Instituto de Investigaciones Estéticas” (Nº. 65), 159-178. https://dx.doi.org/10.22201/iie.18703062e.1994.65.1702- Davis, Joy. (2015). “Eighteenth-century Dress and Fashion in the Casta Paintings of Francisco Clapera” [Master's Thesis, Fashion Institute of Technology, State University of New York]. FIT Institutional Repository. https://institutionalrepository.fitnyc.edu/item/326- Minneapolis Institute of Art. (8th June 2023). “The Minneapolis Institute of Art’s Newest Exhibition, in Partnership with the Denver Art Museum, Provides a Poignant Look into the History of Latin America”. https://new.artsmia.org/press/the-minneapolis-institute-of-arts-newest-exhibition-in-partnership-with-the-denver-art-museum-provides-a-poignant-look-into-the-history-of-latin-america- Pierce, Donna. (2015). Descriptive file on “De Mulato, y Española, Morisco”, by Francisco Clapera. Denver Art Museum. https://www.denverartmuseum.org/en/object/2011.428.5

Lot to include an Asian oil painting depicting a river scene, boxed Chad Valley Lotto game and a quantity of Robertson's advertising figures and similar. [W] These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history. Originally handmade by mothers in Africa for their children from old fabric and cloth, the golly doll was adopted as the mascot and trademark for the Robertson's confectionery brand around 1910 after the company's founder John Robertson visited the US and noticed children playing with them. Robertson's Gollies have been collected by people across the UK and around the world for generations but garnered a contentious image in the 1980s because of links to racism. The trademark was removed from Robertson's branding in 2001.

EAST ASIAN PAINTING ON SILKdepicting birds pirched on flowering branch, in gilt frame with two pierced brass hanging attachments, frames size 49cm x 128cm

Kleiner barocker Thüringer Fayence-Walzenkrug mit Chinoiserie. Mitte 18. Jh. Weiß glasiert, farbige Scharffeuerfarbenmalerei. H 22,5 cm. Zylindrischer Korpus mit strichverziertem Bandhenkel, schauseitig ein kniender Asiate zwischen Baumgruppen. Zinndeckel mit Kugeldrücker, graviert "U.K. 1771", innen gepunzt, Henkelband, Zinnstand. Boden und Wandung rissig, partiell leicht berieben und kleinere Defekte an der Glasur. Provenienz : Aus einer sächsischen Privatsammlung. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 10:22 Uhr (CET)Small baroque Thuringian faience jug with chinoiserie. Mid 18th century White glaze, colored hot-fire painting. H 22.5 cm. Cylindrical body with decorated band handle, on the front a kneeling Asian between groups of trees. Pewter lid with ball pusher, engraved "U.K. 1771", punched inside, handle band, pewter stand. Bottom and sides cracked, slightly rubbed in places and minor defects to the glaze. Provenance : From a private collection in Saxony. Call time 25 | Oct. 2024 | probably 10:22 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Barocker Thüringer Fayence-Walzenkrug mit Chinoiserie in Barockreserve. Erfurt. Rote Pinselmarke U. 1. H. 18. Jh. Weiß glasiert, farbige Scharffeuerfarbenmalerei. H 24 cm. Zylindrischer Korpus mit manganjaspierter Wandung, schauseitig eine bekrönte Kartusche mit einem sitzenden Asiaten in Landschaft mit Architektur. Ergänzter Zinndeckel mit Kugeldrücker, ersetzter Zinnhenkel, loser Zinnstand. Feiner Riss im Mündungsbereich, Glasur und Ränder leicht berieben. Literatur : Vgl. ähnliche Modelle in Schwarze, Wolfgang: Alte deutsche Fayence-Krüge, S. 166 ff.. Provenienz : Aus einer sächsischen Privatsammlung. Aufrufzeit 25. | Okt. 2024 | voraussichtlich 10:25 Uhr (CET)Baroque Thuringian faience tankard with chinoiserie. Erfurt. Red brush mark U. 1st half 18th century White glaze, colored hot-fire painting. H 24 cm. Cylindrical body with manganese-painted walls, a crowned cartouche on the front with a seated Asian in a landscape with architecture. Replaced pewter lid with ball finial, replaced pewter handle, loose pewter stand. Fine crack in the mouth area, glaze and rims slightly rubbed. Literature : Cf. similar models in Schwarze, Wolfgang: Alte deutsche Fayence-Krüge, pp. 166 ff. Provenance : From a Saxon private collection. Aufrufzeit 25. | Oct. 2024 | probably 10:25 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

A GROUP ASIAN ART REFERENCE BOOKS, MAGAZINES AND CATALOGUES Including: A Collection of Techniques of Famous Chinese Artists of All Dynasties : Figure Drawings, Shandong Fine Arts Publishing House, 2000 Jade, Roger Keverne, Lorenz Books, 1995 Chinese Ceramics - The New Standard Guide, He Li, Thames and Hudson, 1996 The Hidden Treasures of Nanzhao & Dali Kingdoms - with other artefacts from Yunnan, Woon Wee Teng, Woon Brothers Foundation Publication (sealed) Three Thousand Years of Chinese Painting, Yang Xin, Lian Jing Publishing, 1999 Chinese Cloisonne Enamel, Art Sous Les Arcades, Asian Art Singapore Pte, 2009 Duan She Inkstones, Tsing's Books & Art, 1991 (2 copies) Living with Ink : The Collection of Dr Tan Tsze Chor, Conan Cheong, Asian Civilization Museum, 2019 Splendors of China's Forbidden City : The Glorious Reign of Emperor Qianlong, Chumei Ho, Merrell, 2004 2004 Beijing Hanhai Autumn Auction : Classical Paintings and Calligraphy, Artron, 2004 A catalogue on Yixing teapots by Fan Ying Orientations Magazine, September 200, December 2000 China Guardian 2004 Autumn Auction Classical Paintings and Calligraphy, China Guardian 2004 Autumn Auction, 2004 Chinese Ceramics : Ching Dynasty, Artist Press, 1996 (16 in total) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Ca. 500 - 600 AD or later. A stucco panel depicting Buddha, with a serene face looking sideways. The panel would have been a part of a cave painting. For similar see: Museum of Asian Art Berlin, III9028, Kizil, Cave 188. Size: 300mm x 250mm; Weight: 2.9kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

A quantity of mainly 18th century tea wares including a Worcester first period tea pot and cover (14cm high), a Pearlware plate decorated with an Asian figure, a set of four asparagus servers, a tea pot and cover with stand, tea bowls, saucers and related items. (qty)Condition Report: Stone wear tea pot has silver tip to spoutSlight losses to foot of tea bowl on far rightnew Hall pot and cover-cracked body and signs of over painting, restored finial. Stand ok.Globular tea pot has repairs to spout and restoration/paint to body.Pheasant blue and white plate chips to rim, staining to plate.China man plate delft, crack to rim and bowl and firing crackNew Hall Tea bowls Good condition, the saucers having some minor manufacturing tears.Glass decanter ok.

ALEXANDER III: (1845-1894) Emperor of Russia 1881-94. Attractive signed printed large folio copy of L´Illustration Journal Universel, French weekly edition, twenty-four pages, 2nd May 1885, signed by Alexander III, as Emperor, with his initial `A´ in red indelible pencil to the upper right corner of the front page. The Parisian journal includes multiple and very attractive large engravings, showing to the front page a drawing of multiple Asian riders, entitled "Russians in Central Asia". To the inside showing multiple engravings including the Anglo-Russian confict in central Asia, or a reproduction of a Vereschagin painting with head cuts as trophy during the war. Also including a lengthy article by Jules Claretie. To a full double page showing the 40 portraits of all the jury members of the painting exhibition of 1885, including Bonnat, Bouguereau, Breton, Constant, Detaille, Puvis de Chavanne, etc... To a further page showing three large ans attractive images of the launch of the French navy battleship "Le Formidable" in 1885, and further again a large engraving showing the concert held at the conservatory by the choral company "La Concordia" on the occasion of the bicentenary of Bach. The present copy was originally bound in a red leather folio volume for the Emperor, alongside other additions of the journal. Left edge very slightly trimmed, otherwise VG

A collection of Asian Art, to include: A Persian polychrome glazed tile depicting a huntsman on horseback holding a bow and arrow, 18 x 18 cm, mounted; Three Indian Mughal type paintings, gouache and gilt paint on paper, one with glazing on both sides of frame to reveal calligraphic inscription verso, approx. 9 x 9 cm each; together with another print after a Turko-Mongolian painting (5)

A Group of Asian art prints and paintings, to include: Eiichi Kotozuka (Japanese, 1906-1979) - 'Bamboo', woodblock, bearing seal marks lower right with inscribed label verso, 26 x 39 cm; signed with seals image 39.5 x 25.5cm, framed and glazed; A Balinese Kasman painting depicting a narrative scene with figures, 76 x 41 cm; A batik painting of two flowers, ink on fabric, 43 x 37 cm; together with two Chinese silk paintings depicting fish and a bird on branch, both with red seal marks, all framed (5)

A Collection of Art Reference Books, including MacCarthy (Fiona), William Morris. Faber and Faber, 1995; Berenson (Bernard), The Italian Painters of the Renaissance. Phaidon, 1967, dust jacket; and others including sculpture, Asian art, ceramics, painting, etc. (eight boxes)

A quantity of pictures to include: an Asian ceremonial painting, a print of The Shambles Manchester, a watercolour portrait of a Donkey and a triptych floral watercolour by Irene George, etc.

A framed Asian painting depicting a Buddhist Tale, 21 1/2" x 27 1/4".

Ed Baynard (American, 1940-2016). Acrylic on canvas painting titled "Two Shelves (American and Asian Pots)" depicting a still life of two white shelves lined with colorful vases and vessels, three with flowers, 2007-2008. Signed, dated, titled along the verso.Height: 30 in x width: 40 in x depth: 1 in.Condition: The colors are bold and bright and the surface is stable. There is a small network of black accretions along the left edge. Light wear to the exposed edges. The work is not framed.

A grouping of Asian carved stone items, including three Buddha heads, two seared Buddhas, a white marble carved panel and two smaller scenic painting tiles. (12)

'Floating Fruit Market' - Asian painting, oil on panel, signed, unknown artist, image size: 16X23.5 cm Period: 20th century

CHURCHILL, Winston Spencer (1875-1964) - A collection of c.30 books mostly about Churchill, most FIRST EDITIONS, PRESENTATION COPIES, inscribed by their authors to the late Lady Jane Williams of Elvel. Please see the more detailed listing below. (c.30)CHURCHILL, Winston Spencer (1875-1964) - A collection of c.30 books about Winston Churchill, most FIRST EDITIONS, PRESENTATION COPIES, inscribed by their authors to the late Lady Jane Williams of Elvel, including William Manchester's The Last Lion (Boston, 1983, inscribed, "For Jane Williams - with gratitude and admiration from Bill Manchester"), Mary Soames' Speaking for Themselves. The Personal Letters of Winston and Clementine Churchill. Edited by their Daughter (London, 1998, inscribed, "For dear Jane, with love from, Mary"), Robin Brodhurst's Churchill's Anchor. Admiral of the Fleet Sir Dudley Pound (London, 2000, inscribed, "For Jane, With all best wishes and happy memories of a memorable day at Bladon and Blenheim, Robin Brodhurst"), David Reynolds' In Command of History (London, 2004, inscribed, "For Jane and Charles, with best wishes, David"), Robert Lloyd George's David & Winston (London, 2005, inscribed, "For Jane and Charles with very best wishes from the author"), Martin Gilbert's Churchill and America (London, 2005, inscribed, "To Jane and Charles - with the author's warmest regards and all good wishes, Martin"), Celia Sandys' Churchill by his Granddaughter (London, 2011, inscribed, "Darling Jane, with much love, Celia"), Cita Stelzer's Dinner with Churchill (2 copies, one: London, 2011, inscribed, "For Jane and Charles - Jane: much of this book is due to your help and encouragements, love Cita"; the other: New York, 2012, inscribed, "For my dear friend Jane with love from Cita (the first US Edition)"), Graham Farmelo's Churchill's Bomb (London, 2013, inscribed, "To Jane, With my best wishes, Graham"), David Lough's Darling Winston (London, 2018, inscribed, "To Jane, With great appreciation of your encouragement and Friendship, David"), Paul Rafferty's Winston Churchill. Painting on the French Riviera (London, [2020], inscribed, "To Jane, with all my good wishes, Paul Rafferty"), Annie Gray's Victory in the Kitchen. The Life of Churchill's Cook (London, 2020, inscribed, "Lady Williams, Thank you for sharing your memories - I hope I've done everyone justice, Annie") and Celia Sandys' Churchill's Little Redhead (London, 2021, inscribed, "Darling Jane, with so much love, Celia"); together with Elizabeth Longford's The Pebbled Shore. The Memoirs (London, 1986, finely-bound in prize black half morocco gilt, with "Historical Biography" prize label laid down at the front signed by Charles Williams; and with 3 duplicate menus for the "Elizabeth Longford Prize Dinner. Moro Restaurant. 14 June 2006", all signed by various attendees including Jane Williams). Please note that only a small part of the lot is illustrated. Provenance: The late Lady Williams of Elvel (1929-2023). Lady Jane Williams (née Portal) was Churchill's personal secretary from 1949 to 1955, a niece of the deputy Prime Minister "Rab" Butler and mother to the present Archbishop of Canterbury, Justin Welby (b.1956). Please see the following link for more information about Lady Williams of Elvel and her long professional relationship with Winston Churchill. (c.30)https://www.bellmans.co.uk/story/the-late-lady-williams-of-elvel-1929-2023 

λ&nbspANWAR JALAL SHEMZA (BRITISH 1928-1985) PAINTING 1959 Oil on canvas Signed and dated in Urdu (lower left); further signed, inscribed and dated 59 (verso) 84 x 64cm (33 x 25 in.) Provenance: Denis Bowen Acquired from the above by the present owner Exhibited: New Vision Centre Gallery, A.J.Shemza, 1959 London, Commonwealth Institute, Commonwealth Vision, 1961 (illustrated in catalogue) Bristol, Royal Commonwealth Society, Centenary Exhibition, 1968 Jarrow, Bede Gallery, New Vision 56-66, 1984, no. 45 Born in Simla, India, in 1928, Anwar Shemza initially studied Philosophy and languages at Punjab University before enrolling at the Mayo School of Art in Lahore. Graduating in 1947 he opened the Shemza Commercial Art Studio there and as an artist, poet and writer he quickly became a central figure in the cultural life of Pakistan. In 1956, he left Lahore to study at the Slade School of Art in London where his work began to fuse the earlier literary and artistic influences from Lahore with imagery and techniques that he discovered in the Museums and Galleries of London, most notably those of Paul Klee and Piet Mondrian . The Art Historian, Professor Iftikhar Dadi, describes Shemza's work from this period as "Calligraphic Modernism", observing that "among the lessons he learned from Klee was the importance of surface as the plane of modernist experimentation rather than a stress on modelling and the freedom and ability to deploy abstraction, geometry and pattern - much of it derived from Islamic art - towards modernist exploration."(I.Dadi, Calligraphic Abstraction: Anwar Jalal Shemza, London, 2015, p.12) Indeed Shemza's work from the late 1950s and early 1960s uniquely explores and celebrates his past and present artistic experiences while fighting the insular attitudes of the Post War British art establishment. His past successes in Lahore found admirers in the likes of Denis Bowen at the New Vision Centre Gallery and Victor Musgrave at Gallery One, however more mainstream galleries and critics were dismissive and hostile. As the artist and curator of the Hayward Gallery 1989 exhibition, The Other Story, Raheed Araeen observed; "Although Anwar Jalal Shemza belongs to that generation of artists who arrived here in the 50s and who had already established themselves in their countries of origin, his experience in Britain led him to an entirely different direction to his contemporaries. But his experience was not unique. Almost every Afro-Asian artist must have his or her own story to tell: how their dreams and aspirations were shattered, how they had to recover their confidence in themselves, their identity as human beings and as artists; and how the memory of their own cultures played an important role in this recovery." (Rasheed Araeen, The Other Story, Exhibition Catalogue, The Hayward Gallery, London, 1989) Shemza's work has been exhibited widely including The Other Story: Afro-Asian Artists in Post-War Britain, at the Hayward Gallery, London, 1989; Anwar Shemza, at the Birmingham Museum and Art Gallery, 1997; Anwar Shemza, at the Tate Britain, 2015; and Postwar: Art Between the Pacific and the Atlantic, 1945-1965, at Haus der Kunst, Munich, 2016. Works are also held in the permanent collections of the Ashmolean Museum, Oxford, Tate Gallery, London, Metropolitan Museum of Modern Art, New York, the Lahore Museum, Pakistan National Council of the Arts, Islamabad, the Sharjah Art Foundation, and the Guggenheim in Abu Dhabi. Condition Report: Not relined. Craquelure scattered across the surface. Slight rucking to the canvas, upper left. Stretcher marks visible. There are some small patches of light flaking and losses to the red pigment which reveals the yellow ground, areas may be consistent with artist's intent. Overall the surface appears stable. Light surface dirt throughout. Small dent to the upper right quadrant. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

4 Fayencen, Altersspuren: Walzenkrug mit Zinnstandreif und -deckel (lose), manganfarbene Malerei mit Chinoiserie. Ein Chinese mit Teller inmitten einer asiatischen Landschaft, im Hintergrund eine Pagode, Blumen und verschiedene Bergformationen, H 21 cm; kleiner Walzenkrug mit einem Rastenden, der Pfeife raucht, Zinnstand und -deckel (locker), H 13 cm; hellblauer Enghalskrug mit dunkelblauem Blumendekor, Henkel und Schankrand restauriert, H 28 cm; Kanne mit blauem Ornamentdekor, Hals restauriert, diverse Glasurfehler, H 18,5 cm. / 4 faience pieces, signs of age: a cylindrical jug with pewter stand and lid (comes off), manganese-coloured painting with chinoiserie. A Chinese man with a plate in the middle of an Asian landscape, in the background a pagoda, flowers and various mountain formations, h 21 cm; small cylinder jug with a resting man smoking a pipe, pewter stand and lid (loose), h 13 cm; light blue narrow-necked jug with dark blue floral decoration, restored handle, neck and rim, h 28 cm; jug with blue ornamental decoration, restored neck, various glaze defects, h 18.5 cm.

Sandra Blow (British, 1925-2006) Borderline, 2000 Screenprint in colours on paper Signed, titled and numbered 45/85 Framed & glazed  Measures approx. 72cm x 72cm (28" x 28") Sandra Betty Blow was an English abstract painter and one of the pioneers of the British abstract movement of the 1950s. Blow's works are characteristically large scale, colourful abstract collages made from discarded materials. Born in London, she suffered scarlet fever as a child, spending weekends and holidays at her grandparents' fruit farm in Kent. There she spent time painting, before enrolling at Saint Martin's School of Art between 1941-1946, and then the Royal Academy Schools, 1946-1947. She later enrolled at the Accademia di Belle Arti in Rome, where she met Alberto Burri, her partner of a few years. Blow and Burri travelled in Italy together before moving to and working in Paris, and Burri became a life long influence in her work. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A. B. Ibrahim (Malaysian, 1925-1977) - A 20th century watercolour on paper painting by Asian modern & contemporary artist A. B. Ibrahim. The watercolour depicting huts by the beach with moonlight and boats in the background. Signed bottom left. Unframed, in plastic sleeve. Measures approx. 27cm x 37cm.

A LOOSE INDIAN COURTLY ALBUM WITH ENTHRONED PORTRAITS OF MUGHAL EMPERORS AND THEIR ANCESTORS PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION Delhi School, Mughal Northern India, first half 19th centuryOpaque pigments, ink, and gold on wove paper, comprising eight vertical-format portraits of Mughal Emperors and their Timurid ancestors seated on golden thrones on a courtly terrace overlooking lush gardens and natural backgrounds, each sitter identified by characterising attributes, favoured attire, and turban models, encased within concentric decorative borders in polychromes and gold, the pictorial style typical of Late Mughal Delhi School official portraits in both three-quarters and profile views, each album page numbered in the upper left corner and accompanied by black ink nominal inscriptions identifying the portrayed ruler, the front top golden border with inscriptions in cursive English, the oval golden cartouches above each sitter and the reverse in Persian nasta’liq script, the reverse marked with a rectangular dynastic grid in-filled with names, dates and brief biographical details, each mounted, glazed and framed, each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame. These eight finely painted portraits were most likely once part of an Indian courtly album collecting the likenesses and official portraits of Mughal rulers and elite members of the court, linking their dynastic heritage directly to the Central Asian Timurids. For an analogous example, please see Sotheby’s Dubai, 13 November 2013, lot 71. The represented sitters are named as follows: Timur (d. 1405); Miran Shah, son of Timur (d. 1408); Sultan Umar Sheikh Mirza II, son of Abu Sa'id Mirza (d. 1494); Emperor Babur, son of Umar Sheikh Mirza II and founder of the Mughal dynasty (d. 1530); Emperor Jahangir, son of Akbar (d. 1627); Jahandar Shah, son of Bahadur Shah (d. 1713); Muhammad Shah, grandson of Bahadur Shah (d. 1748); and lastly, Ahmad Shah Bahadur, son of Muhammad Shah (d. 1775). Each portrait is numbered in the upper left corner, starting from number 1 with Timur and finishing with number 19 with Ahmad Shah Bahadur. Originally, the album would have most certainly contained other portraits of Mughal emperors, such as Akbar and Shah Jahan, as well as the last three members of the dynasty ruling in the first half of the 19th century, who elected Delhi as their capital and settled there until the British forces took over. Portraiture has always played a crucial role in the development of the visual arts of South Asia. From the dawn of the Indian civilisation onward, the figural image encountered in sculptures, coins, architectural settings, and frescoes acted as a powerful reminder of the dharmic hierarchy ruling the world. Nevertheless, until the early 17th century, when the Mughal Empire was fully formed and established in these lands, portraits were often derived from conventional representations with repeating, standard lakshanas (identifying qualities or cognitive attributes) rather than individual likenesses. One of the most remarkable artistic achievements accomplished by the Mughals in India was to foster and spearhead the emergence of portraits of identifiable individuals, unprecedented in both South Asia and the Islamic World (Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 1 - 3). It is known that Mughal Emperors Akbar and Jahangir were eager collectors of portraits of courtly personalities and must have been impressed by specimens of European portraiture, which circulated at their courts thanks to both diplomatic exchanges with the West and the three Jesuits' missions between the 1580s and 1590s (S. Stronge, Painting for the Mughal Emperor: the Art of the Book 1560 – 1660, 2002, p. 120). Such fascination is best recorded in the A’in-I Akbari, where Abu’l Fazl mentions that 'the Emperor (Akbar) ordered to have the likenesses (surat) of all the grandees of the realm. An immense book was thus formed: those who have passed away, have now received a new life, and those who are still alive, have immortality promised them'. Despite the keen 'turn to the individual' promoted in the visual arts under Akbar's and Jahangir's reigns, Mughal portraiture and the formalisation of a 'stately image' reached their most accomplished form in the mid to late 17th century, under the rule and patronage of Shah Jahan (The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 12). By this stage, it had been established that official portraits of Mughal emperors must show the sitter in profile, and not in the Persian-style three-quarters view, as it was considered less formal and thus, reserved to lesser noble members of the court (Ibidem, p. 102). Testifying this rule, our eight portraits are divided into two groups: the four sitters of direct Central Asian lineage are all shown in three-quarters, following Persian portraiture's conventions; whilst the remaining four rulers of the Mughal dynasty are shown in profile. The use of both views in the same album set has been explained by scholars as the Mughal artists' conscious attempt to create historical distance between the current rulers and their ancestors (Laura Parodi in Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 9 - 10). Nevertheless, their Central Asian heritage is exemplified in the Mughals' passion for record-keeping and their keen interest in historical and observational documentation, which are mirrored in the visual arts commissioned at the time. Timurid rulers had already shown an attraction towards physiognomy and figural studies in the 15th century (Ibidem, pp. 64 - 65). As a consequence, their artistic legacy influenced the canons set and followed by their descendants, and the Mughals were no different. Initially through the collection of Timurid studies, and then later on, with the commission of new official royal portraits, the Mughals aimed at not only vaunting their prestigious dynastic descent but also immortalising themselves and their courts through the means of portraiture. The sacks of Delhi in 1739 and 1756 and internal dynastic frictions placed a temporary halt in the courtly production, but the first half of the 19th century witnessed a late flowering, a so-called last hurrah, for Mughal portraiture. Before the final dissolution of the Empire in 1858, artists working at the Delhi courtly atelier, such as Khayrallah and Ghulam Murtaza Khan, produced extremely fine portraits of Mughal rulers and their descent, blending features of the 16th and 17th-century production with a new naturalism derived from Western portrait models (J. P. Losty in The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 44). The Delhi artists' attempt to revive the dynasty's past glories and distinguished lineage despite the Empire's decline led to the creation of a few high-calibre portrait courtly albums and the group in the present lot must have been among them. each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame Qty: 8

Lots 222 - 225 Four exceptional works by Francis Newton Souza (1924-2002) belonging to Dr. Premlata Goel, widow of the distingished art critic, K.B. Goel (1930-2018), close friend of the artist. All four works were gifted to K.B. Goel by Souza. Francis Newton Souza, Indian (1924-2002) Untitled, Landscape, Signed and dated "Souza 1989" (upper right) Acrylic on canvas,74 x 100cm (29.2 x 39.5in)Painted in 1989Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).Gifted by Souza to K.B Goel in the late1980s. To see other works from the same collection, see Bonhams, Modern & Contemporary South Asian Art Online, 20th-28th February 2023, lots 1-5.This landscape unlike many other landscapes or cityscapes that Souza painted in the 1980s is comprised of structures that appear to acquire form from the juxtaposition of green, blue and red lines. As if Souza while painting this wanted  to exclude the use of the colour black which imparts an overall definition to the structure of the painting. However he manages to create a framework with extremely sketchy and rapidly executed strokes in a multitude of colours that remain fresh, none the same and in doing so, reveals Souza the colourist. A vibrancy of greens brings to life the dominant foliage in the foreground, the construction of which divides as well as merges with structure in the background space thereby allowing the eye to rove in and out of the picture. Footnotes: Much has been written about the different aspects of Souza’s life, right from his childhood, to multiple marriages and his journey as an artist. I consider my family very fortunate to have known Souza at such close quarters, away from the controversy and the criticism, the Souza who yearned to lead a regular family life. He was particularly close to my younger son, as if the age gap didn’t exist. He would take him to all sorts of movies, eat at fast food places and even pay a visit to a very cheap salon to get his beard and hair trimmed. Souza mentioned this in one of the letters he used to frequently write to my younger son.He would take a place near our house in old Delhi which was far from the comforts of a five star hotel. He would come every evening and go back late since he lived only a walking distance away. He enjoyed the simple home cooked meals I would serve him and found the food very flavourful. Souza’s every visit used to be cherished by all of us. It was so rich with the anecdotes, one used to feel that here was not just a great artist but a vastly read person who possessed this astonishing range of knowledge. We also sat through some stormy sessions of conversation between Goel and Souza not in agreement on some very deep philosophical issue.This also meant that, much to the chagrin of his many admirers and the gallery owners, he would frequently give up fancy parties and meetings to be with us. Souza’s multi-dimensional personality was evident, from the great artist and writer to enjoying childlike moments with my son and being a master of world affairs and philosophy. He always mesmerized us with his clarity of thought and vision, always deeply worried about wars, the human condition or his take on the ugly side of religion’.As dictated by Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel (1930-2018). Condition Report: Some losses to surface paint, some weathering, reverse of canvas with some staining

A collection of 45 reference books and auction houses catalogues, mostly concerned with Islamic and Indian artsComprising:Contadini, Anna, and Victoria. Fatimid Art at the V&a Museum. London, Victoria & Albert Museum, 1998.Crill, Rosemary, et al. Arts of India 1550-1900. Edited by Rosemary Crill and Deborah Crill, London, Victoria & Albert Museum, 1990.Grube, Ernst J, et al. Architecture of the Islamic World. London, Thames And Hudson, 1984.Islam. Edited by Markus Hattstein and Peter Delius, Koln, Konemann Verlaggesellschaft mbH, 2000.Jaffer, Amin. Furniture from British India and Ceylon. London, V&A Publications, 2001.---. Luxury Goods from India. London, Victoria & Albert Museum, 1 Nov. 2002.Komaroff, Linda, et al. The Legacy of Genghis Khan : Courtly Art and Culture in Western Asia, 1256-1353 : [Exhibition Held at the Metropolitan Museum of Art, New York, Nov. 5, 2002-Feb. 16, 2003 and at the Los Angeles County Museum of Art, Apr. 13-July 27, 2003]. New York (N.Y.), Metropolitan Museum Of Art ; New Haven (Conn.) ; London, 2002.Mez, Adam. Renesans Islamu. Warszawa, Państwowy Instytut Wydawniczy, 1980.Niloo Imami Paydar, et al. The Fabric of Moroccan Life. University of Washington Press, 2002.Nurhan Atasoy, et al. İpek, the Crescent & the Rose. London, Azimuth Editions, 2001.---. Iznik : The Pottery of Ottoman Turkey. London, Alexandria Press In Association With Laurence King, 1994.Splendeurs Du Maroc. Edited by Ivo Grammet and Min de Meersman, Tervuren, Musee Royal de l’Afrique Centrale, 1998.Taylor, Roderick. Embroidery of the Greek Islands and Epirus. Yeovil, Martson House, 1998.The Arts of Islam. Edited by George Michell, London, The Arts Council of Great Britain, 1976. Hayward Gallery, 8 April - 4 Juy 1976.Zdzisław Żygulski. Dzieje Polskiego Rzemiosła Artystycznego. Warszawa, Wydawnictwo Interpress , 1987. AUCTIONS CATALOGUE :CHRISTIE'S :London, Battilosi Tapetti d'Antiquariato, 11 February 1998London, The Bernheimer Family Collection of Carpets, 14 February 1996London, Oriental Rugs and Carpets, 30 April 1998London, Indian, Himalayan and South-East Asian Miniatures and Works of Art, 10 October 1989London, Islamic Art, Indian Miniatures, Rugs and Carpets, 8 and 10 October 1991South Kensington, Indian and Islamic Art and Textiles, Friday 14 October 2005South Kensington, Indian and Islamic Works of Art, Friday 20 April 2007 SOTHEBY'S :New York, Indian, Himalayan, South-East Asian Art and Indian Miniatures, 20 and 21 September, 1985London, Islamic Works of Art, Carpets and Textiles, 12 April 1989New York, Indian, Himalayan, South-East Asian Art, 21 and 22 March 1990London, Islamic and Indian Art, Oriental Manuscripts and Miniatures, 29 and 30 April 1992London, Islamic and Indian Art, 29 April 1993London, European and Oriental Rugs and Carpets, including Turkmen Rugs from the Collection of Dr. Werner Loges, 19 October 1994London, Islamic and Indian Art, 20 October 1994New York, Indian and Southeast Asian Art, 29 march 1996London, Islamic, Himalayan and South-East Asian Art, 24 April 1997London, the Bortz Collection, 29 May 1998New York, Indian and Southeast Asian Art, including Modern and Contemporary Indian Paintings, 16 and 17 September 1998London, Arts of the Islamic World, including 20th Century Middle Eastern Painting, 3 May 2001London, Arts of the Islamic World, 25 April 2002London, Arts of the Islamic World, 30 April 2003 BONHAMS :Knightsbridge, Islamic Works of Art, 12 April 2000Knightsbridge, Textiles from the Collection of Alistair Mc Alpine, 12 February 2008Bond Street, Islamic and Indian Art, including Carpets, 8 April 2014Bond Street, Islamic & Indian Art, including Modern and Contemporary South Asian and Middle Eastern Art, 9 June 2014London, Modern and Contemporary Middle Eastern Art, 7 October 2014 OTHERS :John McInnis Auctioneers, the Marc J. Matz Collection, 19 August 2005Chiswick Auctions, Asian Art, 6 September 2016 GALLERY CATALOGUES:V. O. C Antiguidades, Paris Catalogue, Pedro Dias, undatedMillner Manolatos, Catalogue no. 2, Arthur Millner, October 2003

Francis Newton Souza, Indian (1924-2002)Untitled, HeadSigned and dated "Souza  85" (upper left) Oil on canvas,61.5 x 46cm (24.3 x 18.2in)Painted in 1985Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).Gifted by Souza to K.B Goel in the late1980s. To see other works from the same collection, see Bonhams, Modern & Contemporary South Asian Art Online, 20th-28th February 2023, lots 1-5.Footnotes:‘I was 17 years of age and had gotten into the habit of waiting rather impatiently, month after month for my Uncle Souza to make another unforgettable appearance in my life. He was my guru but more importantly had been my best friend for some years now. I had not asked the great man whether he considered me his friend, his gestures and actions were enough to tell me that he did. I was one of the first people Souza would call upon arriving in Delhi. On this particular visit, it was no different. I reached his hotel on a hot summer afternoon in the heart of the city on the third day of his arrival. We greeted and hugged each other. Although it had been merely two days, the entire room, the room wasn’t all that big, had canvases propped up all along the gleaming white walls. On the floor were pots, glasses, plates and trays all of which had, not long before, been used to transport food and beverages. Now they were serving a very different role, important instruments in the makeshift studio of Francis Newton Souza. He was perfectly at home with all this improvised paraphernalia. I was probably about to witness another master class in painting, just imagine, seated a couple of feet away on a bulky uncomfortable sofa. Souza ordered sandwiches and tea for me. The waiter entered the room, glanced at the unrecognisable pots, mugs and scores of plates but knew that a fast exit would earn him a handsome tip. That day Souza looked bright and full of energy and told me how charged he felt. Pure energy filled the room and in it were these already completed pieces of astonishing quality and finish. This ochre head dated 1985 was one of a number of works painted during this visit. I can’t be absolutely sure but I do have a strong feeling that it was painted in my presence. Also spread all over the floor were newspapers and on these were some half and some fully squeezed tubes of paint. With a coffee mug in his left hand and the brush in his right, he painted a couple of mesmerising heads as I looked on in rapt attention. One could feel how his mind was racing ahead as he dipped the paint brush again and again into the coffee mug, many times over, sometimes pausing to load the brush with another colour from the waiting dinner plate. And there emerged, right before my eyes, another fabulous painting’.Brij Raj Goel, younger son of K.B. Goel, who was a particular favourite of Souza. Condition Report:Surface weathering, minor losses to paint, scuffing to corners of canvas, rusting to staples on canvas to reverse

AMENDMENT: Please note the publications  “Rome, past and present, Studio London, Spring 1966” and Bach, H., Indian Love Paintings, New Delhi, 1985 are no longer part of this lot.Please do also note all publications previously listed under “Books on Tibetan and Nepalese Art” in this lot entry will now be sold in our upcoming Chinese, Japanese & South East Asian Art on 6th November 2024.A quantity of books on Indian, Tibetan, Islamic and Ottoman art, as well as catalogues  Books on Indian ArtKhandalavala, K., et al. Miniature Painting, Lalit Kala, New Delhi, 1960Shellim, M., Patchwork to the Great Pagoda: India and British Painters, Kolkata, 1973Mehta, N. C., Gujarati Painting in the 15th Century, London, 1931 x 2Khandalavala, K., The development of style in Indian Painting, Madras, 1974Rizvi, S. A. A., Fatehpur Sikri, New Delhi, 1972Tagore, S., Rammohun Roy: His Role in Indian Renaissance, Kolkata, 1975Grindea M., Passages from India, Adam International Review, New York, 1971Colnaghi, Persian and Mughal Art, London, 1976Sharma, M. and Kaimal, P., Indian Painting, Mumbai, 2013Britschgi, J., Die 40 Groessten Meister der Inischen Malerei (1100-1900), Museum Reitberg, Zurich, 2011Pal, P., and Seid, B., Holy Cow and Other Animals: Selection of Indian Paintings from the Art Institute of Chicago, Chicago, 2002Overton, K., Iran and the Deccan, Bloomington, 2020Beach, M. C., Reflection of India; Paintings from the 16-19th Century, Toronto, 1979 x 2Aryan, B.N., Hanuman: The Divine Simian, New DelhiAhuja, N. P., The Body in Indian Art and Thought, New Delhi, 2013Bach, H., Indian Love Paintings, New Delhi, 1985Europe and the Indies, BBC publications, 1970Exhibition of Dhundhar Painting, 1977 x2Isacco, E., Les pigments des miniatures indiennes, Paris, 2008Images of Krishna, Santa Barbara, 1987 Schwartz, P. R. Printing on Cotton at Ahmedabad, Indian in 1678, Ahmedabad, 1969The British in India, Brighton Museum, 1973Simmonds, S and Digby S., Royal Asiatic Society; Its History and its treasures, 1979Chandra, M., Indian Miniatures in the Allahabad Museum, 1961Bulletin of the Royal Ontario Museum of Archaeology, April 1949Book Reviews, Ars Orientalis IV, 1961Wilkinson, JVS., An Indian Manuscript of the Golestan of the Shah Jahan Period, Ars Orientalis II, 1957Chester Beatty Monographs nos. 1-3 &7, 1951-1958   Books on Ottoman and Islamic ArtHitzel, F., Turkophilia: Ottoman Art in Private collections, Paris, 2011Zietkiewicz-Kotz, J., Treasures of the Orient in the collections of the Wawel Royal Castle, Krakow, 2020Barakat, H. N., Introduction to Islamic Arts: Calligraphy: The collection of the Islamic Arts Museum Malaysia, 2016De Guise, L., Al-Tibb: Healing Traditions in Islamic Medical Manuscripts: The collection of the Islamic Arts Museum Malaysia, 2018Freeman Fahid, D., Chess from the Islamic World: The Benaki Museum Collection, Athens, 2023Curatola, G., Al-Fann: Art from the Islamic Civilization: From the al-Sabah Collection, Milan, 2012Anand, M. R. Persian Painting, 1930Luzac and Co., Encyclopedia of Islam, supplements 1 & 2, 1934-36Set of Facsimile articles by Ivan Stchoukine, (plus duplicates) 1950-1972 Dealer CataloguesJorge Welsh, Art of the Expansion and Beyond, London, 2009Joost van den Bergh, Magic Marking: Tantra, Jain and Ritual Art in India, London, 2016 Joost van den Bergh, Tantric Drawings by Acharya Vyakul and Badrinath Pandit, 2014Francesca Galloway, Sringar: An Exhibition Celebrating Divine and Erotic Love, London, 2007Shapero Gallery, Divine Pursuits: Indian Painting Traditions from 15-19th century, 2003 x 2J Soustiel, Miniatures Orientales de L’inde, 1973J Soustiel, Miniatures Orientales de L’inde 3, 1983J Soustiel, Miniatures Orientales de L’inde 4, 1986Micheal Goedhuis, Birds in an Indian Garden, 1984Indar Pasricha, The Rajput courts, 1986 Indar Pasricha, Elephants of Fame, 1987Waddington Tooth Galleries, 1974, 1975 x 2, 1977, 1978 x 3, 1980, 1986, 1990  Auction CataloguesSothebys Parke Bernet, 26 September 1972, Bibliography, Art ReferenceSothebys London, 9 July 1987, An Apostle Mosaic from Medieval TorcelloSothebys London, 30 July 1973, Egyptian, Western Asiatic, Greek, Etruscan and Roman, Primitive, Indian, Indonesian, Tibetan and Nepalese ArtDrouot, 22 November 1960, Collection SevadjianDrouot, 20 March 1961, Collection Sevadjian pt2 x2Cornette de Saint Cyr, 23 June 1982, Collection Maldonado, TapisChristies London, 8-10 October 1991 Islamic, Indian Art, Rugs and Carpets  Contemporary and OtherDoshi, S., csmvs Research Journal, Mumbai, 2019Gallery One and the Indian Avant Garde 1953-1963, Grosvenor Gallery, 2023Moorhouse, P., Howard Hodgkin: Absent Friends, London, 2017Rome Past and Present “The Studio London” Special Spring number, 1926 Books on Tibetan and Nepalese Art Rhie, M and Thurman, R. The Sacred Art of Tibet: Expanded Edition, London, 1996Zanabazar, G., The Eminent Mongolian Sculptor, Ulan Bator, 1982Vitali, R., Early Temples of Central Tibet, London, 1990Pal, P., Himalayas: An Aesthetic Adventure, Chicago, 2003Uhlig, H., On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Reitberg, Zurich, 1995Weldon, D and Singer J C., The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999Pal, P., Art of Nepal, LACMA, 1985Pal, P., Art of the Himalayas, New York, 1991Lo Bue, E., Wonders of Lo: The Artistic Heritage of Mustang, Marg, Mumbai, 2010Pal, P., Lamaist Art: The Aesthetic of Harmony, BostonKramrisch, S., Art of Nepal, ViennaKlimburg-Salter, D., Discovering Tibet: The Tucci Expeditions and Tibetan Paintings, Milan, 2016Hackin, J., La Sculpture Indienne et Tibetaine au Musee Guimet, Paris, 1931Pal, P., Vaisnava Iconology in Nepal, Kolkata, 1985Arts of Asia, March-April 2016 Asian ArtNoriko, T., The Beauty of Imperfection, Japanese Ceramics from the collection of Hans and Anita Roth, Japan, 2016 

A group of framed prints and paintings and a 19th century gilt gesso frame, to include: Katryna Tyczenko - Landcape oil on board; Richard Cooke - four aerial photographs of coastlines (2002) all signed and dated below; An oleograph of a harbour scene; After Salomon van Ruysdael - 'River Estuary with Watchtower, vintage reproduction print with craquelure finish, in gilt frame, frame dimensions: 54 x 44 cm; with a South East Asian painting, dated 2015 and indistinctly signed below; a black and white 19th century family photo; and a pair of framed decorative prints of palm trees (12)

Paar Tassen mit Blaumalerei. Tournay. Schwertermarke mit Kreuzen und "W", 1756 - Ende 18. Jh. H 6,5 cm. Zylindertassen mit Ohrenhenkel und unterglasurblauer Blumenmalerei im asiatischen Stil. Literatur : Zur Marke vergleiche Graesse (1974), S. 407/Nr. 11. Aufrufzeit 14. | Juni 2024 | voraussichtlich 10:00 Uhr (CET)Pair of cups with blue painting. Tournay. Sword mark with crosses and "W", 1756 - late 18th century H 6.5 cm. Cylinder cups with ear handles and underglaze blue flower painting in Asian style. Literature : For the mark see Graesse (1974), p. 407/No. 11. Call time 14 | June 2024 | probably 10:00 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Lee Ufan 1936 Haman-gun (heute Südkorea) - lebt und arbeitet in Japan und Paris Correspondance (Grün). 2006. Aquarell. Rechts unten signiert und datiert. Auf festem Velin von Arches (mit dem Trockenstempel 'AQUARELLE ARCHES' und dem Wasserzeichen). 77 x 57,5 cm (30,3 x 22,6 in), Blattgröße. [EH]. • In seiner minimalistischen Ästhetik verbindet Lee Ufan asiatische und europäische Bezüge. • Zu den wichtigsten Elementen seines Kunstschaffens gehört es, während des Malens nicht zu atmen, das Werk im Raum und in der Zeit wirken zu lassen und nicht die gesamte Oberfläche zu 'kolonisieren'. • Lee Ufan zählt zu den wichtigsten Vertretern der Mono-ha-Schule in Japan, einer der bedeutendsten Strömungen innerhalb der japanischen Nachkriegskunst. • Ab den 1970er Jahren steht sein Schaffen in enger Beziehung zur Dansaekhwa-Bewegung in Korea, in der sich die Künstler:innen insbesondere in monochromer Malerei mit Abstraktion und Materialität auseinandersetzen. • 1977 stellt Lee Ufan auf der documenta 6 in Kassel aus, 2011 und 2015 auf der Biennale von Venedig. • Bis zum 28. April 2024 zeigt der Hamburger Bahnhof, Nationalgalerie der Gegenwart, Berlin, die erste Retrospektive des Malers und Bildhauers in Deutschland. PROVENIENZ: Galerie nächst St. Stephan, Wien. Privatsammlung Österreich (2007 vom Vorgenannten erworben). AUSSTELLUNG: Lee Ufan, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Wien, 21.2.-21.4.2007. Aufrufzeit: 07.06.2024 - ca. 15.48 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONLee Ufan 1936 Haman-gun (heute Südkorea) - lebt und arbeitet in Japan und Paris Correspondance (Grün). 2006. Watercolor. Signed and dated in lower right. On firm Arches wove paper (with the blindstamp 'AQUARELLE ARCHES' and the watermark). 77 x 57.5 cm (30.3 x 22.6 in), size of sheet. [EH]. • Lee's minimalist aesthetic combines Asian and European influences. • One of the most important elements of his artistic work is not to breathe while painting, to allow the work to take effect in space and time and not to 'colonize' the entire surface. • Lee is one of the most important representatives of the Mono-ha school in Japan, a key movement in Japanese post-war art. • From the 1970s onward, his work was closely related to the Dansaekhwa movement in Korea, in which artists explored abstraction and materiality, particularly in monochrome painting. • Lee Ufan exhibited at documenta 6 in Kassel in 1977 and at the Venice Biennale in 2011 and 2015. • Until April 28, 2024, the Hamburger Bahnhof, Nationalgalerie der Gegenwart, shows the artists first retrospective in Germany. PROVENANCE: Galerie Nächst St. Stephan Private collection Austria (acquired from the above in 2007). EXHIBITION: Lee Ufan, Galerie Nächst St. Stephan Rosemarie Schwarzwälder, Vienna, February 21 - April 21, 2007. Called up: June 7, 2024 - ca. 15.48 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.

Shahid Jalal (1948-2020)Untitled (Village Scene) signed and dated 'Shahid Jalal 94' lower rightoil on canvas, framed59.2 x 89.5cm (23 5/16 x 35 1/4in).Footnotes:ProvenanceProperty from a private collection, Sweden.'He was simply passionate about painting; his mentor was our teacher Khalid Iqbal. Even though his profession was that of a chartered accountant, he thought it would be good idea to spend a year here. But even after that he went back to his profession. Still he continued to paint avidly and was dedicated to it...So many of his paintings were just given away... Once he painted the entire outside portion of an old house that belonged to Tahira Mazhar Ali, from every angle. He gave away the entire proceeds of that exhibition to the Citizen Foundation schools.' (Xari Jalil, https://www.dawn.com/news/1575157, 19th August 2020)Jalal was largely a self taught painter, who painted for leisure. An accountant by trade, he was inspired by Khalid Iqbal, a Pakistani painter and art teacher, known for his landscape paintings. Untitled (Bedian landscape), may have been painted en plein air, something Jalal was known to have done. Bedian is a village in the Kasur District of Punjab, Pakistan close to the India-Pakistan border and was founded by Baba Sahib Singh Bedi during the reign of Maharajah Ranjit Singh. Other works that he painted include Charar Marsh Jinnah Gardens and Gurudwara Dera Chal, from 1985, 1989 and 1995 respectively.To see a similar work sold at Sotheby's see Contemporary Indian and South Asian Paintings, 17th June, 1998, lot 24.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

Imran Qureshi (B.1972)Untitled gouache on paper, framed77 x 56cm (30 5/16 x 22 1/16in).Footnotes:ProvenanceProperty from a private collection, England. Gifted by the artist to the vendor in 2014. Qureshi's works are inspired by the tumultuous socio-political landscape of Pakistan. The present lot comes from the series that was initiated in 2010, after he witnessed the aftermath of a terrorist attack in a busy market place in Lahore. Central to his oeuvre is the signature motif of the 'blooms of blood,' a delicate floral pattern, rendered in a vibrant red hue that evokes beauty and violence. Trained in the meticulous techniques of the centuries-old art form of miniature painting, Qureshi infuses his works with a sense of history and cultural heritage while his innovative techniques and compositions push the boundaries of miniature painting into new and unexpected territories.For a similar work sold on these premises see Modern and Contemporary South Asian Art & Art of Pakistan, Lot 125, 24th October 2018.For further information on this lot please visit Bonhams.com

Ismail Gulgee (1926-2007)Untitled (Abstract) signed and dated 'Gulgee 98' upper rightoil on ceramic tile, framed30.2 x 30.1cm (11 7/8 x 11 7/8in).Footnotes:ProvenanceProperty from a private collection, Pakistan. Renowned for his versatility and innovation, Gulgee's foray into ceramic art represents a captivating departure from his more traditional works in painting and calligraphy. He has masterfully used oils in rich hues of blues, reds, whites, yellows, oranges and blacks to create an aesthetically unique work. The subtle variations in texture add further dimension to the piece, inviting viewers to explore the tile's tactile qualities. Beyond its aesthetic beauty, Gulgee's ceramic tile also carries deeper symbolic significance, serving as a testament to the artist's reverence for tradition and his commitment to preserving and celebrating the cultural heritage of his homeland.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, London, 24th May 2002, lot 40.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

This Male Nude (Ronin) composition is a limited edition giclee on archival watercolor paper. It is made after the original sumi ink painting by American artist Julie Keaten-Reed who combines a traditional Asian painting technique with a typical canon of Western art: the nude figure. Housed in a black frame with white and black mats. Red seal and signature on lower right: J.K.R. On lower left in graphite: 10/300. Sight size: 4.50"L x 6.50"H. Frame size: 16.25"L x 18.25"H x 1.25"W. Certificate of Authenticity included. Artwork can be unframed and rolled for shipment. Artist: Julie Keaten-Reed (American 20th-21st Century)Issued: c. 1990Dimensions: See DescriptionEdition Number: 10 of 300 Country of Origin: United StatesCondition: Age related wear.

Art Reference Books on Asian Art - Indian Dallapiccola, Anna Libera Die "Paithan"-Malerei. Studie zu ihrer stilistischen Entwicklung und Ikonographie. Mit 105 Figuren und 310 Abbildungen. (= Schriftenreihe des Südasien-Instituts der Universität Heidelberg Band 28). [The "Paithan" painting (Paithan painting). Study of their stylistic development and iconography. With 105 figures and 310 illustrations. (= Series of the South Asia Institute of the University of Heidelberg, Volume 28).] Franz Steiner Verlag, Wiesbaden, 1980  Waldschmidt, Ernst & Rose Miniatures of musical inspiration in the collection of the Berlin Museum of Indian Art. Part II: Ragamala Pictures from Northern India and the Deccan Museum fur Indische Kunst, Berlin, 1975  Goetz, Hermann The art and architecture of Bikaner State (10 tipped in plates & 95 photographs) Bruno Cassirer, Oxford, 1950  Crill, Rosemary, et al Arts of India: 1550-1900 Victoria & Albert Museum, London, 1990  Pedersen, Hugo V. Durch den Indischen Archipel, Eine Künstlerfahrt [Through the Indian Archipelago, An Artist's Journey] Deutsche Verlags-Anstalt, Stutgart & Leipzig, 1902 Jaffer, Amin Luxury Goods from India: The Art of the Indian Cabinet-Maker Victoria & Albert Museum, London, 2002   (6)

A GROUP OF MODERN CONTEMPORARY ART BOOKS Comprising: Painting Today, by Tony Godfrey, Phaidon, signed 100 Contemporary Artists A-Z, Taschen, 2 volumes Contemporary Art: World Currents, by Terry Smith, Art Today, Phaidon Alexander McQueen, V&A, Claire Wilcox Visionaire Chic no. 22, Mario Testino Bottega Veneta, Winter 23 Loewe Issue 1 Contemporary Asian Art, Melissa Chiu and Benjamin Genocchio Art of The 20th Century, Taschen Look: 100 Years of Contemporary Art, Ludion, Thierry de Duve The Art Lover's Almanac, Hume Art Now, Taschen Living With Art, McGraw Hill The Artist's Handbook: A Complete Professionals Guide to Materials and Techniques (15 in total) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A SANCAI GLAZED PEACH SHAPED WATER DROPPER Ming Dynasty, 16th-17th Century, modelled as a peach with a parrot perched on top, an opening to the back and the stalk forming the spout, covered in green, yellow and aubergine glaze Provenance: The collection of Adrian Zecha, acquired prior to 1977, listed as No.36 in Sothebys inventory of April 1977 Exhibited: South-East Asian and Chinese Trade Pottery, Oriental Ceramics Society, Hong Kong, 1979, No.157, illustrated p,145 of the catalogue, exhibition label to base Notes: A very similar example in collection of Museum Pusat, Jakarta, The World's Great Collections Oriental Ceramics Vol. 3, 1982, illustrated in colour No.86; also another peach shaped example but surmounted with a monkey, Oriental Trade Ceramics in South-East Asia, 1990, No.93, p.103 in which the present lot is referenced 9cm high Condition: Condition Report The spout has been restored and re-painted, this re-painting is flaking. The parrot also appears to have been repaired at the base of its feet and the tail feathers. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A VERY LARGE THAI WAR ELEPHANT WITH RIDERS AND SOLDIERS Sukhothai, 15th Century, the heavily potted tall elephant standing four square, two riders sit atop its back the body decorated in white glazed straps over a brown glazed body, accompanying the elephant are six soldiers with sword and shield or riding horses, on rectangular plinth base (Restoration and damages) Provenance: The collection of Adrian Zecha, acquired 1960-80s Notes: A similar elaborately potted example in the collection of the Museum of Asian Art, University of Malaysia 62cm high, 48cm length, 23cm width Condition: Condition Report Many areas of restoration and re-painting, to the group, including the ears, the two riders (one head now detached but present), the heads of three soldiers, the arms of two of the soldiers, tips of tusks, leg of one horse and other areas. Some of the re-painting and spraying is now flaking off. The main body of the elephant itself appears generally intact. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

NAKAJIMA RAISHŌ (1796-1871)COCKEREL, HEN, AND CHICKSEDO PERIOD, 19TH CENTURYA Japanese two-fold byōbu (paper screen), painted in ink and colour on silk, the left panel depicting the cockerel with his plumage and long tail feathers meticulously portrayed, standing proud with his chick in the foreground, the right panel with the hen also carefully rendered with her two offsprings at her feet, signed and sealed Raisho, 155.5cm x 143cm.Nakajima Raishō was born in Kyoto, and studied under two pupils of the master Maruyama Ōkyo (1733-95), Watanabe Nangaku (1767-1813) and Ōkyo's son Maruyama Ōzui (1766-1829). Raishō was celebrated for his realist Shijō style of painting, and excelled at Kachō-ga (bird-and-flower) scenes. His artworks can be found in collections around the word, including at the British Museum, London; the Museum of Fine Arts, Boston, and the Smithsonian's National Museum of Asian Art, Washington.

A black schist stele depicting Bhairava East India, Pala Period, 11th/ 12th Centurystanding in pratyalidhasana, with four arms, two holding a dagger and a severed head, the other two raised aloft holding an elephant skin, with third eye, wearing a skull garland and a dhoti, mounted excluding stand 24.5 cm. highFootnotes:ProvenanceSotheby's, Indian, Himalayan and South-East Asian Art, 24 November 1986, lot 165.Private Belgian collection acquired at J. Tucker & A. Tozer Asian Art, London, on the 7th of July 2003, and thence by descent.The deity depicted is probably Bhairava, a form of Shiva, who is often depicted holding the severed head of the God Brahma. For a 10th century bronze of Bhairava holding a severed head, see Imma Ramos, Tantra: Enlightenment to Revolution, London, 2020, pp. 28-9, fig. 12. The inclusion of the elephant skin in the present lot may also be an allusion to Shiva's defeat of the elephant demon Gajasurasamhara. A Buddhist statue of Chakrasamvara in the British Museum, London, incorporates many of Bhairava's characteristics, thus aligning him with the deity (Inv. No. 1976,0927.1). This statue also features an elephant skin being stretched out behind him. For a 19th century painting of the Goddess Bhairavi, depicted with impaled elephants, see the catalogue for the exhibition, Tantra, Hayward Gallery, London, 1971, p. 42, fig. 168. For steles of Bhairava sold at auction, see Sotheby's, Indian, Himalayan & Southeast Asian Works of Art, 20 September 2021, lot 365; and Christie's, Indian ad Southeast Asian Art Including Property from the Collections of Ariane Dandois and Robert H. Ellsworth, 21 September 2007, lot 88.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

A painting from a Baramasa series, depicting Radha and Krishna celebrating the Tej festival during the month of Sravan, with female devotees carrying statues of Parvati Bundi, circa 1780gouache and gold on paper, red border 287 x 210 mm.Footnotes:ProvenanceSotheby's, Fine Oriental Manuscripts and Miniatures, 15th October 1984, lot 77 (illustrated).For a Bundi painting of the same subject, with a very similar composition, see Sotheby's, Arts of the Islamic World and India, 30th March 2022, lot 59 (which had previously appeared at Sotheby's, Fine Oriental Manuscripts and Miniatures, 15th-16th April 1985, lot 463). There Radha and Krishna are seen twice, embracing amongst the trees in the background, and then in the upper floor of the pavilion, as in our painting. At the base of the pavilion a group of women are carrying a statue of Parvati as part of the celebrations for the festival of Tej, which is dedicated to the goddess and her union with Shiva, and it also ushers in the monsoon season, in the month of Sravan (late July-late August).Such paintings derive from the text of the Baramasa (songs of the seasons, or twelve months) written by the 16th Century poet, Keshavdas. A slightly earlier Bundi painting of 1680-1700 depicting the month of Sravan, is in the British Museum (see R. Ahluwalia, Rajput Painting, London 2008, p. 69, no. 35). For a painting depicting Asadh (the month prior to Sravan), attributed to Bundi or Kotah, mid-18th Century, and formerly in the collection of Dr Claus Virch, see Sotheby's New York, Indian, Himalayan and Southeast Asian Works of Art, 16th March 2016, lot 812.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

A butcher at work, attributed to the artist Bishan Singh (circa 1836-1900) Punjab, probably Amritsar, circa 1860-70gouache and gold on paper, blue margin rules 262 x 202 mm.Footnotes:ProvenancePrivate collection, USA: acquired at an antiques market in Paris.Bishan Singh came from a family of artists operating in Lahore and Amritsar in the second half of the 19th century, who were also known to have worked in the neighbouring princely states of Kapurthala, Patiala and Nabha. The family were responsible for painting and maintaining the murals and motifs on the walls of the Sikh holiest shrine, the Golden Temple, and it is there that Bishan (and his brother Kishan Singh) learnt their trade. A self portrait of the artist was sold in these rooms, Bonhams, Islamic and Indian Art, 25th October 2007, lot 483. At the exhibition of arts and crafts held at Lahore in 1864, Bishan Singh showed ten pictures including durbars of Ranjit Singh and Sher Singh, as well as group of paintings on the production of Kashmir shawls. Baden-Powell and Percy Brown commented that Bishan Singh's works were the 'most clever and truthful paintings' in the exhibition, the artist being awarded top merits amongst the paintings submitted to jury; 'the colour is tasteful and rich and likenesses are good and the expression is varied and truthful' (B. H. Baden-Powell, Handbook of the Manufactures and Arts of the Punjab, Lahore 1872, pp. 354-55; quoted in W. G. Archer, Paintings of the Sikhs, London 1966, p. 61). The durbar scene of Maharaja Ranjit Singh in the Toor Collection was among the ten works - see D. Toor, In Pursuit of Empire, London 2018, pp. 92-95.Most recently, a very similar work of similar size and composition, attributed to Bishan Singh, depicting Kashmiri weavers, sold at Christie's New York, Indian, Himalayan and Southeast Asian Art, 20th March 2024, lot 561. A painting depicting the court of Maharaja Ranjit Singh, ascribed to Bishan Singh, Lahore or Amritsar, and dated VS 1927/AD 1870-71, sold at Sotheby's, Arts of the Islamic World and India, 31 March 2021, lot 44.Christie's, Art of the Islamic and Indian Worlds, 31st March 2022, lot 98, depicting the Amritsar Municipal Committee, by Bishan Singh, dated VS 1940/AD 1883-84.Sotheby's, Arts of the Islamic World and India, 24th April 2024, lot 139, depicting weavers arranging shawls in bales, by a Sikh artist, style of Bishan Singh, North India, Amritsar or Lahore, circa 1860-70.Other examples include:Christie's, Indian, Himalayan and Southeast Asian Miniatures and Works of Art, 10th October 1989, lot 73 (Musicians and dancers before Maharajah Sher Singh, signed and dated VS 1931/AD 1874), and lot 74 (Procession of Maharajah Sher Singh and the young princes, signed, circa 1875).S. Canby, Princes, Poets and Paladins, London 1998, pp. 185-186, nos. 144 and 145. For unattributed works of tradespeople in a similar style, see: Sotheby's, Oriental Manuscripts and Miniatures, 26th April 1995, lots 159 and 160, both depicting Kashmir shawl weavers, Lahore, circa 1866.Simon Ray, Indian and Islamic Works of Art, April 2007, no. 59, depicting Kashmir shawl weavers, Lahore, circa 1866; and another shawl-weaving workshop, Lahore, circa 1866, November 2019, no. 52.A comparable painting of a shawl weaving workshop by Bishan Singh, dated to 1874, is in the collection of the Musée Guimet, Paris (MA 12702).Five works, there attributed to Bishan Singh, including four or tradespeople in the same vertical format as our painting, are in the Parvinder Khanuja collection: see Splendors of Punjab Heritage, Paradise Valley 2022, pp./ 390-391, nos. 49-53.A work depicting women in a cart is in the Toor Collection, London (Toor, op.cit., p.282).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

A large painting depicting Old Court House Street, Calcutta, after the print by Thomas Daniell Chinese School, probably Canton, 19th Centurygouache on paper, Chinese patterned silk border, framed 137.5 x 210 cm.; with frame 150 x 225 cm.Footnotes:ProvenanceA private San Francisco collection, assembled in the 1960s and 70s.Bonhams, San Francisco, Fine Asian Works of Art, 29th June 2009, lot 8281.In the collection of Ed Hardy, San Francisco.Abell Auction Company, Los Angeles, USA, March 2023.Our painting was probably executed between 1820 and 1860, on the basis of comparison with the development of Chinese oil paintings depicting Canton. From the late 18th Century views of the waterfront there were produced by local artists for western merchants and ship owners visiting the port. At first they were painted in bodycolour on paper, fine linens or silk, but canvas and oil paints appear to have been introduced to the Cantonese artists' studios in the last quarter of the 18th century.William Sargent notes: 'Exactly how Chinese artists learned western techniques and what their attitudes were towards their customers is not known [...] There are no records of East Asian artists studying under western teachers, other than in schools established in Asia by the Church specifically for the production of religious art. However, European artists did visit Asia, and their presence in coastal trading ports eventually influenced local imitators. It is more likely, however, that Asian artists learned western techniques from copying prints, book illustrations or other secondary sources'. A watercolour from a series of one hundred, in the Victoria and Albert Museum, depicting trades, produced in Canton, circa 1790, shows a Chinese artist painting on to glass with a European engraving propped up in front of him (see William R. Sargent, 'Asia in Europe: Chinese Paintings for the West', in A. Jackson, A. Jaffer (edd.), Encounters: the Meeting of Asia and Europe, 1500-1800, London 2004, pp. 274-275, and plate 21.2). For another example, circa 1800, see P. Conner, Paintings of the China Trade: the Sze Yuan Tang Collection of Historic Paintings, Hong Kong 2013, p. 118, no. 103.A Chinese porcelain dish of circa 1795 bears a design derived from an English engraving of 1794 of Fort William (the Company settlement which became Calcutta); the service of which the dish was part was probably produced for export to India for the use of Company employees (see P. Conner, The China Trade, 1600-1860, Brighton 1986, pp. 100-101, nos. 135 and 136). A second example is a painting on linen or silk by a Chinese artist of the late 18th Century, after a print depicting Stockholm harbour by the Swedish artist Olaf Jacobsson Arre (1731-1809). Conner notes that 'while following the original engraving in most respects, the Cantonese export artist has lent a decidedly Chinese quality to some of the ships in the harbour' (see P. Conner, op. cit. (2013), p. 85, no. 74).The copying of a Daniell print here represents an interesting complication of the direction of influence, for the Daniells were amongst the first British artists to visit China (in their case, on their homeward journey from India in 1793-94 as part of a convoy including Lord Macartney, himself returning from an embassy). Thomas Daniell produced views of the waterfront at Canton (from which prints were derived): see P. Conner, The Hongs of Canton: Western Merchants in South China, 1700-1900, as seen in Chinese Export Paintings, London 2009, pp. 61-63, and figs. 2.33 and 2.34. However, as Sargent and Conner note, prints and illustrations seem to have been the main source for the Asian artists.The Cantonese artists, in their frequent depictions of the Hongs (waterfront offices and warehouses) at Canton and the European 'factories' there, were used to portraying streets and buildings, as well as the population filling them: see, most strikingly in relation to our painting, an 1807 work showing a street scene with officials arriving outside the hongs before the trial of European seamen in Canton (see P. Conner, 2013, p. 142, no. 127). Here then, in our painting, they combine their source in a European print with the sort of scenes they were already painting of their home background - while doubtless being aware of the commercial possibilities of producing a view of Calcutta for British consumption. While our painting is still in gouache on paper, its scale is clearly related to a new familiarity with Western oil paintings of the late 18th Century.The view in our painting is a close copy of the print (coloured etching with aquatint) depicting Old Court House Street from the north, no. 9 from Thomas Daniell's Views of Calcutta, 1788 (illustrated in, for example, M. Archer, Early Views of India: the Picturesque Journeys of Thomas and William Daniell 1786-1794, London 1980, fig. 12; or J. P. Losty, Calcutta: City of Palaces, London 1990, p. 57, fig. 27).Archer writes in his caption:Old Court House Street ran north-south from the Old Court House in Tank Square along the eastern side of Government House to the Maidan. Its comfortable mansions of many different designs are set in compounds on either side of the road. The street is busy with varying forms of Indian and British transport - an elephant, a canopied bullock carriage, sedan chairs, palanquins and carriages. People of many types, including an ascetic, mingle in the road.For further information on this lot please visit Bonhams.com

A Mughal prince standing in a landscape, holding a musket, sword and shield, formerly from an album made for William Fraser Mughal, Delhi, circa 1800pencil and gouache on paper, blue and orange gold-decorated inner borders, fine floral outer border painting 187 x 105 mm.; album page 312 x 208 mm.Footnotes:ProvenanceMalcolm R. Fraser, descendant of William and James Fraser.Sotheby's, Fine Oriental Manuscripts, Miniatures and Qajar Lacquer, 13th-14th October 1980, lot 211 (not illustrated).Formerly in the collection of Saeed Motamed (1925-2013).Christie's South Kensington, The Saeed Motamed Collection: Part II, 7th October 2013, lot 271.Private UK collection, 2013-present.Five pages from the same album, all but one with the same distinctive floral borders as the present lot, were sold at Sotheby's, Arts of the Islamic World, 3rd October 2012, lots 85-89, amongst a section (lots 81-102) of works formerly in his possession. The borders of lots 82 and 84-87 are particularly close to that of our painting, and imitate 'high' Mughal 17th Century album pages.All were formerly possessed by William Fraser (1784-1835), and remained in the Fraser family until the album was dispersed (as lots 183-211) in the 1980 Sotheby's sale mentioned above.For another example of such a painting, a portrait of Sayyid Abu'l Muzaffar Khan, an early 19th Century copy of a 17th Century original by Lalchand (in the Metropolitan Museum of Art, New York), and with the same fine floral borders, see Sotheby's New York, Indian, Himalayan and Southeast Asian Art, 6th October 1990, lot 74.For further information on this lot please visit Bonhams.com

Maharajah Jam Ranmalji (reg. 1820-52), seated on a terrace with two courtiers, Bhavsar Mona and Khavas Demar Nawanagar, Kathiawar, Gujarat, circa 1840-50gouache and gold on paper, red border 356 x 460 mm.Footnotes:For a very similar composition of this Gujarat ruler and two of his courtiers, with identifying inscriptions, see Sotheby's, Art of Imperial India, 2014, lot 286; the same painting also at Christie's, Indian Art Online: Painting the Maharaja, 18th-25th May 2017, lot 14.The Jams were a Jadeja Rajput clan who had controlled the Kathiawar peninsula since the late medieval period, but there seems not to have been any court-related school of painting there until the 19th Century.For a portrait, continuing a similar style, of Jam Ranmalji's son Jam Vibhaji (reg. 1852-95), in durbar with nautch girls, dated samvat 1921/AD 1864, see Francesca Galloway, Indian Miniatures from the James Ivory Collection, London 2010, text by J. P. Losty, pp. 58-61, no. 15 (where a discussion of the Nawanagar rulers and painting relating to them can be found).A painting of Jam Vibhaji, together with three letters between him and a British civil servant, was offered in these rooms, Bonhams, Travel and Exploration, 10th February 2021, lot 91; and for a painting of him on horseback, see Bonhams New York, Indian, Himalayan and Southeast Asian Art, 18th September 2013, lot 164. He was the adoptive father of Ranjitsinghi, the famous cricketer who played for Cambridge, Sussex and England in the 1890s.For further information on this lot please visit Bonhams.com

LI FENGGONG (1884-1967) INK PAINTING OF GUANYIN, DATED 1938AD 李鳳公（1884-1967） 觀音圖 絹本設色 立軸題識: 俊齋居士供養戊寅十月李鳳公熏沐敬寫鈐印: 易畫室主、鳳公五十以後作、龍瞑家法ink and colour on silk, dated to the 10th month of the Wu Yin year, corresponded to 1938AD, signed and sealed  102cm x 40.4cm  Private Scottish collection, Kirkcudbright; Acquired by a family member in Asia when working for Jardine Matheson in Hong Kong. A collection of Asian art was shipped back to Scotland over the years adorning a country house; Thence by descent. 

A Nepalese/Tibetan copper-alloy figure of Jalamanusha16th/17th centuryThe chimera typically depicted with human head and torso, wearing a five-pointed diadem, their neck, chest and arms bedecked in beaded jewellery, both hands holding an implement before their torso, all above a bird lower body with feathered wings curling into clouds, a long tail, and the talons of a bird of prey, standing on a stepped circular base, with traces of gilt overall, 10.7cm high.尼泊爾/西藏十六/十七世紀 銅嘉拉滿努沙像Cf. Jalamanusha (aquatic being), later known in India as Kinnara and in Tibet as Miamchi, is an originally Nepalese aquatic deity, or 'rain child', connected to the ancient concept of 'weather gestation' that is ubiquitous in South Asian art. In his article 'Does Art Imitate Life or Life Imitate Art? Nepal has a unique answer', in Orientations, March/April 2017, pp. 118-127, Gautama V. Vajracharya explains how the fundamental importance of monsoons to the economy of the region means that all the local deities, before they became associated with Buddhist or Hinduism, were originally related to atmospheric events.Vajracharya also points out that the cloud-motif carved around the false entrances of ancient monolithic stupas in Nepal is known to Newari craftsmen as lahpvah, a classical Newari word for amniotic fluid; he links this to the pre-Hindu and pre-Buddhist concept of atmospheric gestation, where not only the terrestrial waters (rivers), but also the celestial ones (rain clouds) were seen as mother goddesses; ideally the cloud-mothers would conceive in autumn to then give birth to their rain-children at the very beginning of the monsoon. Such atmospheric gestation is the subject of the ceiling painting at Cave no. 1 in Ajanta, India, where, among other representations, there are images of human babies whose limbs gradually turn into clouds. This is the most likely  origin of the Newari name for the cloud-foliage motif in Vajracharya's view, as well as one of the first representations of Jalamanusha.Prior to taking the current form of half-human, half-bird creature, the author explains how originally Jalamanusha was depicted as a fetus visualised in the cloudscape, originally with the lower body turning into amniotic fluid or foliage, like in the Ajanta paintings. It is via Gupta depictions, where the cloud scrolls are interpreted as feathers, that Jalamanusha is then identified with the pre-existing depiction of a half-human, half-bird chimera. The iconography of the present lot, with its feathers curling into a cloud-foliage shape, perfectly resonates with this view of the aquatic deity and indicates a strong Whilst relatively common in Southeast Asian iconography, Tibetan or Nepalese depictions of Miamchi, or Jalamanusha, are much rarer. See Bonhams, New York, 19 March 2018 for a Nepalese covered box in the form of Jalamanusha; and two more in the Dallas Museum of Art (acc. #PG.2012.6) and another in the Nalin collection published in Vajracharya, Nepalese Seasons, Rain and Ritual, New York, 2016, p.45, no.5.Condition Report: Generally in good condition. Indentation, tarnish to metal, and scattered verdigris commensurate with age. Some expected casting flaws.

A fine Chinese copper-red 'dragon' cylindrical snuff bottleQing dynasty, Imperial workshops, 1810-1860With wide mouth with gently convex lip and slightly concave base surrounded by a wide, flat foot, the cylindrical body finely painted in a bright underglaze red with a pair of sinuous dragons emerging from tumultuous waves to chase a flaming pearl, the shoulder and neck with further clouds, the copper fired to a lively red with a few spots of greyish-green under the slightly bluish, transparent glaze, associated stopper, 7.9cm high without stopper.一八一零 - 一八六零 御製釉裡紅龍紋鼻煙壺Cf. the painting on the present bottle is extremely precise and fired to an ideal colour; see a slightly earlier bottle of slightly different shape but comparable decoration in the Meriem collection, part II,19 March 2008, lot 201.Snuff bottles from a Private Collection (Lots 95-238), mostly formed by Frederick George Ruddle (1886-1960), from Carshalton, Surrey, and Lily Beatrice Ruddle (neé Etherington) 1887-1972, from Sutton, Surrey.The Ruddle family were owners of a large bakery in Sutton, and property developers in Sutton and Carshalton, SurreyFrederick was by trade, a sign writer; Frederick and Lily left England initially for South Africa and subsequently for Australia, where they settled shortly before the first world war. They had eight children.Frederick then took up an executive role for an Australia, Southeast Asia and South Sea Island trading company, Burns Philp, which took him to travel extensively in East Asia; it is presumably during the course of these travels that he had the opportunity to discover Chinese and East Asian Art, and start amassing his collection of snuff bottles, amongst other things. He was a passionate collector of many things beside snuff bottles, including Oceanic Art and Orientalia.In 1978, the current vendor, a grandchild of Frederick, came to England to attend Cambridge university. At the time he was given power of attorney from the executors of the estate to assist in and arrange the sale of Frederick and Lily’s remaining real estate and properties in Sutton and Carshalton.As thanks for his assistance, the executors, Molly and Hilda Ruddle, gave him the collection of snuff bottles, in 1980, which he lovingly preserved, researched, and added to over the yearsCondition Report: Some overpainting to base and edge of foot, approx. 30mm long.Expected mild firing imperfections and surface wear.