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This is a delicate and serene Chinese panoramic watercolor and ink painting on paper featuring a botanical scene of blooming white lotus flowers and lush green leaves, accented by dragonflies in flight. The artwork captures a tranquil natural setting, showcasing intricate details such as the fine veining of the leaves, the texture of the lotus pods, and the translucent wings of the dragonflies. The muted earthy tones and precise brushwork evoke the aesthetics of traditional Asian art, specifically inspired by nature scenes. The piece is framed in an elegant gold-tone wood frame with a beaded inner edge, complementing the soft tones of the painting. The horizontal orientation makes it a striking decorative piece, ideal for adding a sense of peace and refinement to any space. Artwork dimensions with frame: 76"L x 17.75"H x 1.50"W. Dimensions: See DescriptionCountry of Origin: ChinaCondition: Age related wear. Minor color loss on upper right center.

Antique watercolour painting of an asian village signed Donne - frame 54cm x 42cm ~ Benjamin John Merifeld Donne ??

WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) DARK BORDERS LANDSCAPE, 1925 Signed and dated to canvas verso, oil on canvas 63.5cm x 76cm (25in x 30in) If you have had the pleasure of visiting the long-anticipated, newly re-opened Scottish Art wing at the National Gallery of Scotland in Edinburgh (re-opened 2023), the first painting you are likely to have set eyes on is the monumental masterpiece ‘A Point in Time’ (1929/37) by William Johnstone. The huge canvas is a formidable sight; with abstract twists of black, blues and greens creating fathomless caverns. It is hung against a bold, blood-red wall immediately facing the entrance. In this phenomenal artwork the curators of the National Galleries found the key visual within the collection to challenge tired perceptions. The re-hang’s opening statement could not be clearer: 20th century Scottish art was seriously accomplished, outward-looking and Modern with a capital ‘M’. This curatorial choice also elevates Johnstone himself emphatically and with purpose; literally centralising his significance within the story of Scottish art – not to say international modernism - as never before. Born in the Borders in 1897 to a farming background, Johnstone, a powerful personality, mixed with other radical thinkers in the Edinburgh College of Art in the 1920s. Alongside the poet Hugh MacDiarmid, Johnstone was pivotal within the conception of the “Scottish Renaissance”. This was a cultural movement spanning art and literature that looked to move away from the perceived stagnancy of the centralised British cultural self-view, advocating instead a modernisation - and independence - of Scottish political and cultural values. Though Johnstone’s origins were immutably tied to the Scottish landscape, his burgeoning career soon took a decisively international direction. In 1925 he was awarded a Carnegie Travelling Scholarship which enabled him to study in Paris with André Lhote at the Académie de la Grande Chaumière, as well as the Atelier Colarossi. In 1926 he travelled further afield to Spain, Italy and North Africa, accompanied by Max Bernd-Cohen, an American lawyer-turned-artist who become a lifelong friend. His circle of acquaintances in Paris at that time included the artists Alberto Giacometti, Fernand Léger, and the eminent collectors Leo and Gertrude Stein. In 1927, Johnstone married the American sculptor Flora MacDonald, spending subsequent years in America and Scotland. They settled in London in the 1930s, with intermittent teaching commitments enabling him to return to America sporadically for the next twenty years. Indeed, it was teaching that became his major life’s work and he was no less innovative within this field than within his art practice. He held the position of Principal at the Camberwell School of Art and Design between 1938 and 1945 and later at the Central School of Arts and Crafts. In this capacity he is credited with evolving the ideologies of each school, bringing them more in line with Continental art and design principles akin to the Bauhaus and creating teaching opportunities for exciting young avant-garde artists including Richard Hamilton, Victor Pasmore, Alan Davie and Eduardo Paolozzi. His services to education within the arts earned him an O.B.E. Sojourns teaching in America included positions as Fulbright Lecturer and Director of the Colorado Springs Fine Art Centre Summer School. He also lectured at the Frank Lloyd Wright Foundation in Taliesin, Wisconsin, in 1949 and 1950.  Johnstone’s friend and colleague, the artist and theorist Anton Ehrenzweig, identified three stylistic phases in Johnstone’s painting career. Firstly, a surrealist phase of the 1930s, a cubist phase of the 1940s and finally his calligraphic or tachist phase of the 1950s. ‘Dark Borders Landscape’, dated 1925, can be read as a psychological take on the Scottish landscape; a brooding, abstract suggestion of elemental forces, mood and place. His Borders landscapes are often executed in the darkest of tones, as here. Art historian Beth Williamson has suggested a psychological interpretation of the tumultuous dreichness inherent within these early Scottish landscapes; perceiving a troubled relationship with the soil he and his kin sprang from and laboured over so tirelessly, but which offered only the scantest living in return. She also notes the sense of alienation Johnstone felt upon his return to his home farm after having been conscripted in World War I. Despite fortunately never seeing active duty, the distress caused by the exposure to traumatised front-line soldiers, paired with the sense of his own fate hanging perilously in the balance while waiting for the call up, forever changed the young artist. Even as early as the 1920s, Johnstone had developed an innovative and unique paint application that embraced expressive, totally intuitive brushwork. This expressionistic take on abstraction - “dripping” his paint as early as the 1920s - latterly saw his work referred to in the context of American Abstract Expressionism (the so-called “action painters”). Johnstone’s work in fact pre-figures this school of artists and his approach has, as Ehrenzweig indicated, much more in common with the ‘automatic drawing’ techniques of the Parisian Surrealist school in Paris: psychological forces made tangible in paint. The goal of Johnstone’s art practice was to assimilate his interests and fields of influence to totally unique effect, evolving an entirely personal style. His reference points were diverse but always drawn to that which is distilled and instinctual over pre-meditated: from the Pictish carving of his Scottish homeland to the New Mexico school, and from Asian calligraphy to Primitivism and the artwork of children. At the heart of his paintings, whatever the period, you will always find expressive, intuitive mark-making.This creative belief-system was extrapolated to its extreme in the plaster relief series he created in 1970, as an elderly man. In these works, from one of the most celebrated decades of his artistic career, the physical and metaphysical combine to create extraordinary sculptural objects that read as simultaneously ancient and futuristic. “The earth has been a very great creative mother for the artist, the poet, the composer; but the material of the soil can produce its own art. With these thoughts I made my plaster reliefs in order to find confirmation of my conviction that the medium of plaster would itself reveal its own miracle. I knew that in myself I must produce a condition, relaxed and free from thought or deliberation; that which would be produced through my hands would then be from my inner self and be completely unconscious. I throw the lump of crude, wet plaster on the smooth polished surface; a gesture pf creation... and the plaster sets.”  – William Johnstone, in the catalogue introduction for ‘Genesis’, ten plaster reliefs exhibited by the Scottish National Gallery of Modern Art in 1973.

1.Pablo Picasso:•This book focuses on the life and works of Pablo Picasso, one of the most influential artists of the 20th century. It likely covers his various artistic phases, including Cubism and Surrealism.2.Picasso Vol. II (Black and White Art):•A continuation of Picasso’s work, possibly emphasizing his monochromatic pieces and sketches, showcasing his abstract and surreal explorations.3.Picasso Vol. I (Color Portrait):•Another volume on Picasso, featuring his colorful and expressive paintings, including works from his Blue and Rose periods.4.Picasso: The Sculptures:•This book focuses on Picasso’s lesser-known but significant work in sculpture, highlighting his creativity beyond painting.5.Botero:•A book about Fernando Botero, known for his distinctive style featuring inflated, exaggerated figures. It showcases his colorful paintings and sculptures.6.Dalí:•A Taschen edition dedicated to Salvador Dalí, covering his surreal and dreamlike art. Dalí’s works are known for their striking and bizarre images.7.Le Cahier Dessiné:•A collection of drawings and illustrations, possibly featuring various artists. The title suggests a focus on the sketchbook or drawing aspect of art.8.Chagall:•This book covers the works of Marc Chagall, known for his poetic, dreamlike paintings. Chagall’s art often features vibrant colors and whimsical, fantastical scenes.9.Unknown Title (Warrior Mask Cover):•This book features a cover with a warrior mask, likely focusing on Asian or African art, potentially related to masks and traditional sculptures.10.Ai Weiwei:•A book about contemporary artist Ai Weiwei, known for his provocative and politically charged installations and sculptures. It likely explores his work in activism and modern art.11.Murakami:•This book is dedicated to Takashi Murakami, a contemporary Japanese artist known for his “Superflat” art style, blending pop culture with traditional Japanese art.These books together represent a broad spectrum of 20th and 21st-century art, from classic painters like Picasso and Dalí to modern artists like Ai Weiwei and Murakami.

A vibrant, original gouache painting on rice paper depicting a traditional Japanese Kabuki theater character, with red kumadori makeup. Signature on lower left. Housed in a silver-toned frame. Includes Asian calligraphic characters. Artwork dimensions: 13"L x 19"H. Frame dimensions: 16"L x 0.25"W x 20"H. Dimensions: See DescriptionCondition: Age related wear. Minimal foxing throughout.

Ink and pigments on paper.It shows a beautiful still life, presided over by the central image of a glass vase filled with white and yellow chrysanthemums in bloom, which creates a compositional triangle with the two fruit bowls arranged on either side, containing appetizing pears and apples of vibrant yellow. The background, created with a palette of cool dark colours, purples, blues and greys, gives greater prominence to the vivid flowers and fruit, directing the viewer's gaze towards them.  The chromatic palette used, together with the loose brushstrokes and the elements without contours, have clear fauvist influences, which inevitably evoke the blue period of Pablo Picasso, among others. Likewise, the work shows a strong and undoubtedly personal character, visible in the outline of the petals, the morphology of the fruits, and the multiple lines arranged in the background, which reveal Fengmian's calligraphic discipline during his training, thus creating a unique fusion between traditional Chinese aesthetics and European pictorial currents.  Signed and stamped ‘???’ in the left margin. Size painting: 70 x 70 cm; Size with frame: 83 x 84 cmAttached is a certificate issued by Gerald Markowtz, grandson of the artist.  Provenance:- Hong Kong private collection. 1977, Lin Fengmian fled to Hong Kong where he gave the work to a friend, in whose collection it remained for generations until its final sale.- Current private Spanish collection (to the present day).    References: - Christie's. Fine Chinese Modern and Contemporary Ink Paintings. Lot 1084: Lin Fengmian ‘Dahlia’. 02 Dec. 2022. - Sotheby's. Beyond Legends: Modern Art Evening Sale. Lot 1044: Lin Fengmian ‘Still life’ April 18, 2021- The MET. Asian Art Collection. Accession Number: 1986.267.375 ‘Gladioli’.  Catalogue note:Lin Fengmian was born in Guandong province in the year 1900, and has a childhood marked by a traumatic event, the sale of his own mother into slavery. Shortly afterwards, a fortuitous chance event changed his life completely, as his lottery ticket won; with it, he travelled to Shanghai and later to France, thus receiving a complete artistic education, which marked his personal style. Over the years, and thanks to his constant work and undoubted talent for painting, he managed to make a name for himself on the international art scene, which was cut short during the Sino-Japanese war and the Cultural Revolution, for which he had to destroy a large part of his work and suffer a period of imprisonment. All the vicissitudes he suffered did not put an end to his passion for art, and that is why he left China in 1977 to settle with his family in Hong Kong, where his production did not cease, even attempting, on occasions, to recreate the first paintings he had to destroy. Lin Fengmian died in 1991 in Hong Kong at the age of 90.  Notice to interested bidders. Please complete the premium registration in our auction room for this lot. Please contact us at: info@subastasdarley.com or (0034) 960 46 16 88

Original Asian painting on Rice paper. Kacho-ga style which depicts bird and flower. Writing on the back of the work is illegible. Artwork dimensions: 4"L x 14"H. Mat dimensions: 7.5"L x 17.5"H. Artwork can be rolled for shipment. Issued: 20th centuryDimensions: See DescriptionCountry of Origin: JapanCondition: Age related wear.

Antique Asian Erotic scene painting. 19th century. Fitted within an antique frame. [Frame- 24x26.5cm]

AN ILLUSTRATION FROM A RAGAMALA SERIES: BAIRADI RAGINI INDIA, RAJASTHAN, MEWAR, CIRCA 1635-45 gouache heightened in gold on paper, red border with rules in black ink, depicting a night scene with a couple caressing against bolsters under a canopy in a pavilion, a white bed by their side, a female attendant offering them wine on the right, palm tree landscape in the background, vases and floral sprays in the foreground  26.1cm x 19.3cm Formerly, the collection of Nasli Heeramaneck (1902-1971).Heeramaneck was a Parsi-American art dealer who specialised in Pre-Columbian and Asian art. Born in Bombay, he moved to New York in the 1920s and remained there until his death in 1971. He and his wife had a substantial collection art, of which the majority is held in the Los Angeles County Museum of Art and The National Museum of Delhi.  This painting is in the style of Sahibdin and Manohar. Both artists used strong , vibrant colours typical of Rajasthani painting in their palettes, illustrating not only ragamala series but other Hindu texts too. Sahibdin, a Muslim, was a major artist at the court of Mewar in the seventeenth during the reign of Maharana Jagat Singh (r.1628-1661) along with the slightly later artist Manohar.  For comparison and further discussion on Sahibdin and Mewar painting see:E. Binney, Rajput Miniatures from the collection of Edwin Binney 3rd., Portland, 1968, no.5.A. Topsfield, Court Painting at Udaipur, Zurich,2001, pp. 7,9-10,16,32-33,35,55-78,86-87,89-96,100-101,109-10,143-44,158.277.C. Glynn, R. Skelton and A.L. Dallapiccola,  Ragamala Paintings from the Claudio Moscatelli Collection, London, 2011.

Sadequain (1930-1987)Untitled signed 'Sadequain 15/12/61' upper rightpen and wash on paper37.5 x 55.5cm (14 3/4 x 21 7/8in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired in the 1960s-1970s;Thence by descent.'Sadequain's great contribution to modern art in Pakistan was that he amplified it with the living cultural resources of his broad and deep tradition in his own style and according to his conscience as no other artist could do.' Akbar Naqvi, Image and Identity: Fifty years of painting and sculpture in Pakistan, Pakistan, 1998, p. 403.After winning the Pakistan National prize for painting in 1960, Sadequain was invited by the French Committee of the International Association of Plastic Arts to visit Paris. Already a celebrated artist in Pakistan, the next few years in Paris catapulted Sadequain onto the international stage. In 1961 he was awarded the 'Laureate Bienniale de Paris' at the Paris Biennale and the scholarship prize enabled him to remain in Paris.The two lots offered in this auction were painted during his time in Paris, and illustrate the distinguished calligraphic cubist style that Sadequain invented. Influenced by the sculptures of Picasso and the Spanish arabesque of González, these heavily stylized, statuesque and monumental figures are depicted in broad sweeping lines, bearing the influence of the École de Paris. Responsible for the resurrection of Islamic calligraphy, he transformed the art of calligraphy into these eye-catching expressionist paintings. He married this with the scratched surface, which gives these works volume and amplifies their flatness. Resembling a cobweb, there is an intricacy and detail to these works which defies their appearance of simplicity.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 11.For further information on this lot please visit Bonhams.com

Ahmed Parvez (1926-1979)Untitled (The Game) signed ad dated 'Ahmed Parvez 1954' lower right; title versooil on hardboard, framed58.8 x 58.5cm (23 1/8 x 23 1/16in).Footnotes:ProvenanceProperty from a private collection, France. Acquired in Karachi;Thence by descent.Note: There is another painting on the reverse.'Ahmed Parvez remains, even after death, one of Pakistan's most noted painters.' (Marcella Nesom Sirhandi, Contemporary Painting in Pakistan, Ferozsons, 1992, p.74)Pierre Augé (1895-1967) was French Ambassador to Pakistan from 1950 to 1955. A Doctor of law, seriously wounded at Verdun in April 1916, he entered a diplomatic career after the First World War. He was posted to Canada and Shanghai, then dismissed by the Vichy regime in December 1940. During the Liberation, in August 1944, he was appointed Prefect of Aude in 1944. He then resumed his diplomatic career by opening the French Embassy in Australia and then in Karachi as French Ambassador to Pakistan. He discovered Ahmed Parvez during his 1955 exhibition in Karachi during which he acquired two figurative oils on panel.A pioneering Pakistani modernist artist, Parvez was known for his emphasis on experimentation, abstraction, and modernist expressionism in his work, making him one of the most exhibited Pakistani painters abroad. Born in Rawalpindi, he started to dedicate himself to his passion for art at 26 in 1952, moving to Lahore to join his uncle studio, and started training in the European academic style at Punjab University.In Lahore, he became part of the 'Lahore Group,' a collective of emerging artists who aimed to challenge traditions and reshaping the art landscape in Pakistan. This group embraced artistic freedom, as noted by art critic Jaya Appasamy, 'The younger artists who attained individual styles in the 1960s inherited great freedom. Their art could be simply a matter of personal preference and evolution.' (Ebrahim Alkazi, Manifestations XI - 75 Artists 20th Century Indian Artp.20). Over time, many members of the Lahore Group dispersed, traveling abroad to expand their horizons; Parvez, too, left for Europe, eventually settling in London in 1955. His journey symbolized the spirit of a generation of Pakistani artists who pushed boundaries and sought inspiration beyond their homeland. These two lots were created a year prior to his move to London. Though primarily celebrated as a colourist known for his later vibrant, explosive approaches, these two works The Game and The man of sorrows reveal an intriguing side of the artist. Here, Parvez departs slightly from his usual emphasis on colour for colour's sake, allowing figuration to take a central role. The seemingly random brushstrokes, which might ordinarily erupt into a cacophony of images and colours, instead come together here in contemplative, modernist portraitures. In The Man of sorrows, the subject, a seated figure with stylized, elongated features and a prominent forehead, embodies a vivid yet restrained expressiveness. Dressed in red, the figure is set against a muted background of greens, blues, and earthy tones, lending the piece an atmospheric depth. All this enhanced the introspective feel of the composition, emphasizing the artist's focus on emotion over realism. In The Game, two men crouch, adorned in vibrant hues of yellow and green against a muted, moody dark grey background. They appear to be engaged in a traditional Indian tabletop game, Carrom. Although there are two players, the composition evokes a sense of loneliness, depicting a solitary game. In these two works, Parvez channels his signature intensity into more focused and melancholic depictions of expressive figures.To see a similar work sold at Sotheby's, see Indian and Southeast Asian Art, 22nd September 2000, New York, lot 238.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

Sayed Haider Raza (1922-2016)La Terre signed and dated 'Raza 85' lower centre; further signed, titled, dated and inscribed 'Raza/1985/200 x 200/'La Terre' verso acrylic on canvas, framed200 x 200cm (78 3/4 x 78 3/4in).Footnotes:ProvenanceProperty from a Corporate Collection, UK.The Collection of Vincent Grimaud, Paris;Christie's, Modern and Contemporary Indian Art Including Art from Pakistan And Sri Lanka, Sale 7501, 21st May 2007, London, Lot 7, Private CollectionChristie's, South Asian Modern & Contemporary Art, Sale 2336, 15th September 2010, New York, Lot 323. ExhibitedBombay, Gallery Chemould, Raza Anthology 1980-1990, 24th January – 10th February 1990.New York, Saffronart in association with Berkeley Square Gallery, Raza – A Retrospective, 21st September – 31st October 2007.PublishedSH RAZA: Catalogue Raisonné 1972 - 1989 (Volume II), New Delhi, 2022, p.402-403Pierre Sou-chand, L'age d'or de la peinture en Inde, Artension no. 11, September, Paris, 1989, p.18 (dated '1985') (illustrated) Geeti Sen, Raza, Lalit Kala Akademi, New Delhi, 1990, fig. 12 (illustrated).Exhibition catalogue, Raza Anthology 1980-1990, Gallery Chemould, Bombay, 1990, unpaginated (illustrated).Geeti Sen, Bindu: Space and Time in Raza's Vision, Media Transasia, New Delhi, 1997, p.135 (illustrated).Exhibition catalogue, Raza – A Retrospective, Saffronart in association with Berkeley Square Gallery, New York, 2007, Cat. no. 33, p. p 90-91, (illustrated).Alain Bonfand, Raza, Editions de la Difference, Paris, 2008, p.p. 124 – 125 (illustrated)Ranjit Hoskote, Ashok Vajpeyi, Yashodhara Dalmia and AVNI Doshi, S.H Raza: Vistaar, Art Musings, Mumbai, 2012, p.55 (illustrated).In La Terre, or 'The Earth', Sayed Haider Raza explores artistic inquiries centred on a pure visual order around line, tone, colour, texture and space, and the theme of nature. Painted in 1985, La Terre is a chef-d'oeuvre that marks a pivotal moment in Raza's career. After spending years immersed in the styles of the various currents of Western Modernism, his artistic journey reached a turning point as he began embracing key aspects of his Indian heritage into his body of work. Raza was born in rural Central India and studied art in Nagpur and Bombay before moving to Paris in 1950 to study at L'École des Beaux-Arts on a scholarship. The artistic scene that emerged in the latter half of the 20th century, influenced by the aftermath of World War II, sparked significant transformations for many artists in the French capital, as they sought new forms of expression. Among them, Raza, whose studies at Les Beaux-Arts led him to explore further on his journey towards abstraction. During his decades-long stay in France, his forms melted, and the artist progressively abandoned a desire to depict a tangible, constructed reality through his landscapes' interpretations. After delving into a variety of influences from Expressionism, Raza's abstract style evolved toward a more distinct geometric abstraction. By the late 70s, Raza had fully committed to the use of pure geometric forms in his work.Raza co-founded the Bombay Progressive Artists' Group (PAG) in 1947 alongside Krishna Hawlaji Ara and Francis Newton Souza, with the aim of diverging from the Western realist traditions taught in Indian art schools. The group sought to develop a modern artistic language that echoed India's essence. This marked the beginning of a broader shift, as artists sought to blend indigenous traditions with contemporary influences. By the 1970s and 1980s, Raza felt an increasingly strong emotional and spiritual connection to his native land. During this period, he began a series of paintings titled La Terre, including the work consigned here. Reflecting on this artistic journey, Raza stated: 'I was inspired to conceive a painting which could be a letter to my mother country, India, revealing my experiences, discoveries, and acquisitions. I hoped the painting could be evidence that I was never cut off from my sources. The memories, conscious and unconscious, were ever present' (Artist Statement, 1981, S. H. Raza, exhibition catalogue, London and New York, 2005).'I have never left India. I love my country, and I am proud of it, and it's not sentimental my friend. Don't think that it's only emotional. I have been linked with the profound spiritual, religious message that India has to give to Indians and to the world of which we are forgetful at times, even in India.' (Raza cited in 'A Conversation with Raza', Raza: A Retrospective exhibition catalogue, New York, 2007, unpaginated). Indeed, while much of the work produced by emerging abstract artists in the second half of the 20th century was shaped by Western influences, a distinct artistic language emerged. This new form of abstraction, described by Ashish Anand as 'a native language, qualified by Indian roots and steeped in an abstract lexicon that dates to the past, whether historical or mythological' (Indian Abstracts: An Absence of Form, Notes from the Director, New Delhi, 2014, p. 7), blended India's rich cultural heritage with modern abstract forms, embodying the evolution of artists like Raza.In La Terre, Raza's abstract work, is profoundly shaped by his early experiences in the forests of his native village, Barbaria, Madhya Pradesh. This 1985 work synthesizes an imagery of his homeland landscape through elements of nature, spatial expression, and spiritual geometry into a cohesive composition. In La Terre, Raza embraces abstraction as a creative catalyst to evoke the grandeur and lyrical subtleties of the Indian landscape. This work is emblematic of Raza's oeuvre, characterised by its recurring leitmotifs: a square canvas meticulously divided through the application of a distinct earthy colour palette and the use of intersecting horizontal, vertical and diagonal lines that create intricate triangular segments. This structure is deeply informed by the principles of Hindu philosophy, reflecting Raza's commitment to intertwining his artistic practice with his cultural heritage. Ultimately, this synthesis of form and meaning not only showcases Raza's distinctive style but also highlights the spiritual and philosophical underpinnings that define his artistic vision.'My work is my own inner experience and involvement with the mysteries of nature and form, expressed through colour, line, space, and light' (Artist Statement, 1981, S. H. Raza, exhibition catalogue, London and New York, 2005).P indicates that this is a Premium Lot. If you wish to bid on this lot, please refer to (page 2 /Auction Information) for bidding information.For further information on this lot please visit Bonhams.com

A Ramachandaran (1935-2024)Visions of Ramdev, Song of the Shimbul Tree (Diptych) signed and dated 'Ramachandran 2001' lower rightoil on canvas, framed202.01 x 142.9cm (79 9/16 x 56 1/4in).Footnotes:ProvenanceProperty from a Corporate Collection, UK.Born in 1935, Ramachandran was a prolific Indian artist whose career, spanning from the mid-20th century to the early 21st century, masterfully blended modern dramatic representations with imagery and aesthetics deeply rooted in Indian classical art, engaging lyrically with life and nature. In 1957, Ramachandran studied under the guidance of renowned masters like Ramkinkar Baij and Benodebehari Mukherjee at Viswa Bharati University in Santiniketan. The vibrant cultural and intellectual atmosphere of Santiniketan deepened his connection to the art traditions of India and other Eastern civilizations, sparking a lifelong fascination with and exploration of the mural paintings of Kerala temples. His studies extended to Rajasthani miniature traditions, which significantly reshaped his visual language. As a result, Ramachandran seamlessly integrated various elements of Indian classical art into his oeuvre, embracing composite motifs, decorative features, and the exuberance of forms and colours. His artistic journey includes a diverse range of influences, such as muralist traditions, watercolours, tempera, silkscreen painting, Tibetan tangkas, and the frescoes of Ajanta and Jaipur.In the diptych, Visions of Ramdev, Song of the Shimbul Tree, Ramachandran drew extensively on his research and background in the Kerala muralist tradition, as well as influences from Japanese screen paintings, inspiring him to segment his canvases into panels. Ramachandran has occasionally been viewed as a contentious figure within the Indian modern art scene, mistakenly labelled by some as a 'neo-revivalist' or 'anti-modernity' artist. These claims arise from his powerful figuration and innovative use of Indian mythology, alongside his enduring fascination with Asian artistic traditions.In the present lot, the colours and forms of the murals in Kerala temples depicting Hindu mythology significantly influenced Ramachandran visual expression. The themes of Hindu myths became a rich resource for his creativity and artistic style. The title of the work references Ramdev Pir, a revered character in Indian mythology who was celebrated for helping the oppressed and advocating for the equality of all people. This present lot also reflects Ramachandran's focus on tribal community life, particularly among the tribes from Rajasthan, whose way of life and cultural background profoundly fuelled his creativity. This diptych depicts a peaceful, rural setting and features a group of four seated figures beneath a large, vibrant tree. The tree, prominently positioned across both panels, is adorned with foliage and bears fruits. The figures, dressed in traditional Indian attire, are arranged in calm, seated postures, giving the scene a serene and reflective atmosphere. Each wear richly patterned clothing in earthy tones of orange, purple, green, and yellow. The warm, muted colours unify the scene, and the repetitive patterns, both in the figures' clothing and the tree's branches, create a sense of harmony and rhythm. The painting explores themes of nature, tradition, and spirituality, with its calm composition and traditional elements inviting contemplation. As such, decorative elements, dramatic atmospheres and myths have become an integral part of his work along with his strong lines, dynamic compositions and a refined understanding of colour theories. However, while Ramachandran draws profound inspiration from Indian traditional art and temple murals, his work cannot simply be categorized as decorative. 'My decorativeness is a very sophisticated part of a visual language. It is not the ordinary sense of decorativeness,' says Ramachandran, in Open Magazine, A Ramachandran: 'I am an artist who paints by the acre', to Rosalyn D'Mello in 2019. Instead, it transcends conventional ornamentation to create visual drama that captivates the viewer. His vibrant canvases are imbued with a sense of blossoming life that celebrates nature and existence in its countless manifestations. In this work Ramachandran evokes a sense of movement and vitality, inviting the audience to engage with the complexity of life itself and the interconnectedness of all living things. This perspective elevates his art beyond mere decoration to a powerful expression of the human experience.'You see, just by sitting and observing alone doesn't help you. As an artist, the process of painting for me is to look at nature, and then, when I draw, starting from clear lines, I am trying to get an inner rhythm of each image. They are not just leaves. There is a flow of life that passes through each image. Now that gives a painting its own life.' ( A. Ramachandran)Finally, inspired by the natural surroundings and people of rural areas outside Udaipur in Rajasthan, Ramachandran weaves lyrical narratives adorned with motifs of flora and fauna to celebrate the beauty of these landscapes and their inhabitants. His art seeks to provide a reprieve, offering a soothing escape from the burdens of everyday existence. Rather than exacerbate their struggles, Ramachandran intends to bring solace to viewers. 'Instead of shouting slogans and fighting, why not console people? Why not, you know, sing them a lullaby and put them to sleep, like a mother to a child, or sing a song which is soothing, which lets people forget their miseries?' (A. Ramachandran)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

Sadequain (1930-1987)Untitled (Figures in a forest) signed and dated 'Sadequain 19/3/62' lower rightpen on paper32.5 x 56.1cm (12 13/16 x 22 1/16in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired in the 1960s-1970s;Thence by descent.'Sadequain's great contribution to modern art in Pakistan was that he amplified it with the living cultural resources of his broad and deep tradition in his own style and according to his conscience as no other artist could do.' Akbar Naqvi, Image and Identity: Fifty years of painting and sculpture in Pakistan, Pakistan, 1998, p. 403.After winning the Pakistan National prize for painting in 1960, Sadequain was invited by the French Committee of the International Association of Plastic Arts to visit Paris. Already a celebrated artist in Pakistan, the next few years in Paris catapulted Sadequain onto the international stage. In 1961 he was awarded the 'Laureate Bienniale de Paris' at the Paris Biennale and the scholarship prize enabled him to remain in Paris.The two lots offered in this auction were painted during his time in Paris, and illustrate the distinguished calligraphic cubist style that Sadequain invented. Influenced by the sculptures of Picasso and the Spanish arabesque of González, these heavily stylized, statuesque and monumental figures are depicted in broad sweeping lines, bearing the influence of the École de Paris. Responsible for the resurrection of Islamic calligraphy, he transformed the art of calligraphy into these eye-catching expressionist paintings. He married this with the scratched surface, which gives these works volume and amplifies their flatness. Resembling a cobweb, there is an intricacy and detail to these works which defies their appearance of simplicity.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 11.For further information on this lot please visit Bonhams.com

Ahmed Parvez (1926-1979)Untitled (The man of sorrows) signed and dated 'Ahmed Parvez 54' lower centre left; title, artist name and size versooil on hardboard, framed62.8 x 45.4cm (24 3/4 x 17 7/8in).Footnotes:ProvenanceProperty from a private collection, France. Acquired in Karachi;Thence by descent.'Ahmed Parvez remains, even after death, one of Pakistan's most noted painters.' (Marcella Nesom Sirhandi, Contemporary Painting in Pakistan, Ferozsons, 1992, p.74)Pierre Augé (1895-1967) was French Ambassador to Pakistan from 1950 to 1955. A Doctor of law, seriously wounded at Verdun in April 1916, he entered a diplomatic career after the First World War. He was posted to Canada and Shanghai, then dismissed by the Vichy regime in December 1940. During the Liberation, in August 1944, he was appointed Prefect of Aude in 1944. He then resumed his diplomatic career by opening the French Embassy in Australia and then in Karachi as French Ambassador to Pakistan. He discovered Ahmed Parvez during his 1955 exhibition in Karachi during which he acquired two figurative oils on panel.A pioneering Pakistani modernist artist, Parvez was known for his emphasis on experimentation, abstraction, and modernist expressionism in his work, making him one of the most exhibited Pakistani painters abroad. Born in Rawalpindi, he started to dedicate himself to his passion for art at 26, moving to Lahore to join his uncle's studio, and started training in the European academic style at Punjab University.In Lahore, he became part of the 'Lahore Group,' a collective of emerging artists who aimed to challenge traditions and reshaping the art landscape in Pakistan. This group embraced artistic freedom, as noted by art critic Jaya Appasamy, 'The younger artists who attained individual styles in the 1960s inherited great freedom. Their art could be simply a matter of personal preference and evolution.' (Ebrahim Alkazi, Manifestations XI - 75 Artists 20th Century Indian Artp.20). Over time, many members of the Lahore Group dispersed, traveling abroad to expand their horizons; Parvez, too, left for Europe, eventually settling in London in 1955. His journey symbolized the spirit of a generation of Pakistani artists who pushed boundaries and sought inspiration beyond their homeland. These two present lots were created a year prior to his move to London. Though primarily celebrated as a colourist known for his later vibrant, explosive approaches, these two works The Game and The man of sorrows reveal an intriguing side of the artist. Here, Parvez departs slightly from his usual emphasis on colour for colour's sake, allowing figuration to take a central role. The seemingly random brushstrokes, which might ordinarily erupt into a cacophony of images and colours, instead come together here in contemplative, modernist portraitures. In The Man of sorrows, the subject, a seated figure with stylized, elongated features and a prominent forehead, embodies a vivid yet restrained expressiveness. Dressed in red, the figure is set against a muted background of greens, blues, and earthy tones, lending the piece an atmospheric depth. All this enhanced the introspective feel of the composition, emphasizing the artist's focus on emotion over realism. In The Game, two men crouch, adorned in vibrant hues of yellow and green against a muted, moody dark grey background. They appear to be engaged in a traditional Indian table top game, Carrom. Although there are two players, the composition evokes a sense of loneliness, depicting a solitary game. In these two works, Parvez channels his signature intensity into more focused and melancholic depictions of expressive figures.To see a similar work sold at Sotheby's, see Indian and Southeast Asian Art, 22nd September 2000, New York, lot 238.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Ismail Gulgee (1926-2007)Untitled (Calligraphic) signed and dated 'Gulgee 98' lower rightoil on ceramic tile, framed30.5 x 30.5cm (12 x 12in).Footnotes:ProvenanceProperty from a private collection, Pakistan.Acquired from the artist.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, 5th June 2024, lot 53.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

Maqbool Fida Husain (1915-2011)Ganesh Darbar signed and dated 'Husain '92' lower rightacrylic on canvas, framed90.7 x 151cm (35 11/16 x 59 7/16in).Footnotes:ProvenanceProperty from a private collection, London. Acquired from the artist.'...another favourite animal figure of Husain is the elephant with its myriad associations for the pre-globalised ordinary Indian. In the Indian mythology Airavat, the four-tusked white elephant that emerged from the churning of the ocean, is the mount of the Rain God Indra. The elephant is also a symbol of prosperity because of its association with goddess Laxmi. There are other mythological associations of the elephant, such as with Ashwatthama of Mahabharata and with Ganesha. In the Indian classical literature the elephant also stands for sensuous grace. That is why in the Sanskrit literature, a beautiful woman is described as gajagamini, the one who walks with the sensuous gait of an elephant. Finally, right from the ancient times up to the end of the twentieth century, the elephant was a ceremonial mount for the Royals of India...'The elephant's association with Ganesha is a part of the religious belief of the Hindus.' (K. Bikram Singh, Maqbool Fida Husain, Rahul & Art, 2008, pg. 192)Untitled (Ganesh Darbar) is a vivid and striking painting that seamlessly weaves together the artist's distinctive modernist aesthetic with deeply rooted Indian cultural and religious symbolism. In this piece, Husain places Lord Ganesha, the beloved elephant-headed god, at the centre of the composition, surrounded by two additional representations of Ganesha and three elephants. This arrangement reflects the multi-dimensional nature of the deity, who is revered not only as the remover of obstacles but also as a symbol of wisdom, prosperity, and new beginnings. The painting is a vibrant celebration of Indian spirituality and tradition, seen through the lens of Husain's dynamic, abstract style.At the heart of Untitled (Ganesh Darbar) is Ganesha, whose iconic figure dominates the composition. Husain portrays the deity with a fluid, almost gestural quality, using broad, sweeping brushstrokes to evoke Ganesha's elephantine features. The central Ganesha appears powerful yet approachable, an embodiment of divine energy and wisdom. His posture and placement exude a sense of calm authority, while the vibrant colours—deep reds and oranges surround him, radiating a sense of life and celebration. The two other Ganesha figures, slightly smaller in scale, mirror the central figure but add to the painting's sense of repetition and rhythm. Their presence suggests the multiplicity of Ganesha's aspects and roles in Hindu mythology, where he is often depicted in various forms and manifestations.The inclusion of three elephants around the central figures further amplifies the symbolism of strength, wisdom, and power. In Hindu tradition, elephants are revered for their association with majesty and calm strength, qualities that Ganesha, as the elephant-headed god, embodies. Husain's depiction of the elephants is characteristically bold and abstract, with their forms reduced to essential shapes and lines, yet still recognisable. These elephants, placed towards the bottom on either side of Ganesha, reinforce the sense of balance and stability within the composition, grounding the painting in an almost sacred symmetry. They also echo the central deity's own elephantine form, creating a visual dialogue between the divine and the earthly, the mythological and the real.Husain's use of colour and form in Untitled (Ganesh Darbar) is key to the painting's emotional and spiritual impact. The halo that surrounds Ganesha—in gold, conveys a sense of reverence. The oranges and reds that feature heavily on the canvas, are often associated with Hindu rituals and festivals, and create a festive atmosphere, suggesting that this is not just a static portrayal of Ganesha but a dynamic darbar, or court, where divine presence is celebrated and honoured. The rich, textured layers of paint reflect Husain's modernist approach, where the interplay between abstraction and figurative elements becomes a vital part of the visual narrative. The painting is not constrained by realism but instead allows for a more expressive, emotional portrayal of its subject.Untitled (Ganesh Darbar) also reflects Husain's broader approach to religious and mythological subjects throughout his career. Known for his deep engagement with Indian culture, Husain often turned to themes from Hindu mythology, despite his own Muslim background, demonstrating his belief in the universal nature of spiritual and cultural symbols. In this painting, Husain does not simply depict Ganesha as a religious icon; rather, he reinterprets the deity through his modernist vision, blending traditional iconography with his unique artistic style. The result is a work that feels both ancient and contemporary, deeply rooted in Indian tradition yet open to global, modernist interpretations.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 14th November 2023, lot 6.For further information on this lot please visit Bonhams.com

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)

Parviz Tanavoli (Iran, born 1937)Standing Heech fibreglasssigned 'Parviz' and dated '07' on the base, numbered 16/25, number 16 from an edition of 25, executed in 200759 x 28cm (23 1/4 x 11in).Footnotes:Provenance:Property from the Varzi Family Collection, SpainNote:This work is accompanied by a certificate of authenticity signed by the ArtistReflections of Persia: The Varzi Collection of Modern and Contemporary Iranian ArtThe Varzi Collection of Modern and Contemporary Iranian Art offers a thoughtfully curated selection of works that showcase the diversity and richness of Iran's artistic heritage. Built by Hamid Varzi, this collection reflects both the cultural depth of Iranian art and his personal journey of staying connected to his homeland while living abroad. With a range of works spanning from early modern pioneers to contemporary artists, the collection provides a comprehensive look at the evolution of Iranian art across time and borders.Hamid Varzi, born in Tehran, moved to the United Kingdom as an infant and pursued his education at Trinity Hall, Cambridge University. After completing his studies, he returned to Iran in 1972, where he served in the military and played for Iran's National Hockey Team at the 1974 Asian Games. Eventually, Varzi relocated to Germany, where he established several successful commercial ventures over the next two decades. His return to Iran in 2000 marked a new chapter as he took on leadership roles in banking and industry before settling in Spain in 2017. Today, Varzi is an accomplished writer, with published works in novels, poetry, and screenwriting.The Varzi Collection, built over many years in Tehran and now housed in a grand villa in Marbella, Spain, mirrors the experiences of so many Iranian artists who, like Varzi himself, have navigated life abroad but remain deeply connected to their cultural roots. This dynamic collection is not only a personal expression of Varzi's dedication to preserving Iranian heritage but also an embodiment of the broader reality faced by millions of Iranians in the diaspora—rebuilding their sense of Iranian-ness in foreign lands while always carrying the essence of their homeland with them.What sets the Varzi Collection apart is its extraordinary chronological breadth, encompassing works that span both the early pioneers of Iranian modernism and the emerging talents of contemporary Iranian art. The collection is a seamless blend of traditional motifs and avant-garde experimentation, offering viewers a comprehensive journey through the evolution of Iranian artistic expression.The Varzi Collection brings together an impressive range of media and subject matter, spanning both early pioneers and contemporary voices in Iranian art. From the works of renowned figures like Marcos Grigorian, Parviz Tanavoli, and Monir Farmanfarmaian—who were instrumental in shaping the trajectory of Iranian modern art—to the younger generation represented by Rokni Haerizadeh, whose iconic painting from the Divan restaurant in Tehran is a highlight, the collection is both diverse and cohesive. Among the standouts are two rare early works by Farideh Lashai, including an abstract work on paper from the 1970s and a dynamic, expressive tree composition from the 1980s. Additionally, Bahman Mohasses' ghoulish head of a minotaur, one of his most recognizable themes, offers a haunting presence in the collection. The Varzi Collection reflects a wide spectrum of Iranian art, representing both male and female artists, emerging and established figures, and those working within Iran and abroad. It truly captures the richness and breadth of Iranian artistic expression across different eras and styles.In Varzi's collection, one can read the collective narrative of Iranian artists —the ability to adapt, rebuild, and thrive despite the many challenges of displacement. Each piece serves as a visual homage to the nation's enduring spirit, while the collection as a whole celebrates the richness of Iranian art across generations and across borders. As it moves to auction, the Varzi Collection is not only a unique opportunity for collectors but also a profound statement of cultural continuity and pride. Parviz Tanavoli: Heech The Father of Iran modern sculpture, Parviz Tanavoli was born in 1937 in Tehran, Iran. In 1955, Tanavoli was one of the very first students to enrol in the newly established Tehran School of Fine Arts. A few years later, he left Iran to further his education in sculpting at the Brera Academy of Milan. Tanavoli returned to Iran and established Atelier Kaboud, which became the birthplace of the most significant and avant-garde Iranian modern art movement, the Saqqakhaneh movement.In 1965, Tanavoli created his first Heech sculpture. His signature Heech series is composed of three Farsi letters in the Persian calligraphy style of nastaliq. Tanavoli protested against the empty overuse of traditional forms by giving new depth to the two dimensional calligraphy on paper and transforming it into a three dimensional object. A pioneer of his practice, Tanavoli has produced numerous Heech sculptures in various mediums such as bronze, ceramic, fiberglass and neon and in many different shapes, sizes and colours to expose people with the concept of 'nothingness'.This present sculpture of the Heech is a fine example of Tanavoli's use of fiberglass, a medium he embraced during his later work and through which he found great versatility in form and freedom of expression. To Tanavoli, the concept of nothingness has multiple layers of meanings and is not necessarily an expression of despair and hopelessness. One interpretation relates to Persian Sufism, in which nothing is an aspect of God, who creates everything from nothing. The other is that the physical shape of the word has an appealing volume and a life like form. This repetition of design in his oeuvre is also reflective of the traditional Islamic practice of repeating a craft in the quest for perfection.Tanavoli's practice focuses on the intersection of both traditional Persian folk art and contemporary practices in a career spanning over six decades.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

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.

Two sages seated on a terrace with vinas, perhaps a ragamala scene Pahari, Punjab Hills, circa 1840gouache and gold on paper, panel at bottom with three lines of text written in nagari script in black ink, floral inner border, lacking outer border 297 x 236 mm.Footnotes:The subject depicted may be Kanara raga, son of Megha. For another Pahari example (Bilaspur, circa 1700-20), which depicts two men with vinas seated facing each other, see Simon Ray, Indian and Islamic Works of Art, April 2006, pp. 132-133, no. 61. However, there both men are playing, which is not the case in our painting. Ray notes a Pahari drawing in K. Ebeling, Ragamala Painting, 1973, p. 293, no. 375, depicting Kanada Putra of Megha, in which one man plays the vina while the other, without an instrument, appears to clap his hands to the beat. The outstretched hand of the man on the right in our painting may imply a similar marking of the rhythm. On the other hand, his priestly appearance, and the religious marks on the faces of both, may suggest another interpretation.For another work perhaps from the same ragamala series, see Sotheby's, Modern and Contemporary South Asian Art including Indian Miniature Paintings, 8th June 2012, lot 14 (Bangali Ragini of Bhairava Raga); and the sale in these rooms, India in Art, 7th June 2022, lot 76 (depicting kanphat yogis).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

A scene from a Ramayana series (the 'Second' Guler Ramayana), depicting the battle between the monkeys, directed by Rama, and the demon army outside the walls of Lanka Guler, circa 1790-1800gouache and gold on paper, gold-decorated blue floral inner border, flecked pink outer border 257 x 359 mm.Footnotes:ProvenancePrivate collection, Germany.For another Ramayana battle scene from the same series, depicting Rama about to kill Ravana at the height of the battle, see the sale in these rooms, Bonhams, Islamic and Indian Art, 25th October 2022, lot 138.See also Bonhams New York, Indian, Himalayan and Southeast Asian Art, 11th September 2012, lot 89, in which Rama and Lakshmana confer with the monkey army while the battle rages in the background beneath the golden walls of Lanka.For two battle scenes from the series in which the large boulders used by the monkeys appear, and which in our painting has meant a violent end for at least two demons, see Sotheby's New York, Important Indian Paintings from the Gloria Katz and Willard Kuyck Collection, 22nd March 2022, lots 59 and 60.For discussion of the series with other examples, see the footnote to the previous lot.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 scene from a Ramayana series (the 'Second' Guler Ramayana), depicting Vibhishana, younger brother of the demon king Ravana, together with a retinue of demons bearing gifts, in audience with Rama, the monkey army standing round about Guler, circa 1790-1800gouache and gold on paper, gold-decorated blue floral inner border, flecked pink outer border 255 x 358 mm.Footnotes:ProvenancePrivate collection, Germany.This painting is an illustration from the series known as the 'second' Guler Ramayana, attributed to the first generation of artists after Manaku and Nainsukh. The first section of the series is referred to by W. G. Archer as the Kangra Ramayana series, and is dated circa 1775-1780 (and also as the 'Bharany' Ramayana). This comprises illustrations from the first three books of the Ramayana. Our painting belongs to the second section of the series, comprising illustrations from Books Five and Six, and specifically to Book Six, the Yuddhakanda or the Book of War. Goswamy and Fischer date this second section to circa 1790 and list known paintings belonging to it (M.C. Beach, E. Fischer, B.N. Goswamy (ed.), Masters of Indian Painting 1650-1900, Zurich, 2011, p. 690).For other depictions of the figure of Vibhishana see, for example: Sotheby's New York, Indian and Southeast Asian Works of Art, 21st March 2012, lot 210, depicting Vibhishana bowing before Rama, surrounded by the monkey and bear army, with the fortress of Lanka in the background).In a quieter scene, depicting Sagara (personification of the ocean) appearing before Rama and others, see Sotheby's New York, Important Indian Miniatures from the Paul F. Walter Collection, 14th November 2002, lot 84.Other examples from this series have appeared at auction: particular comparison can be made with the following:Christie's, Arts of India, 12th June 2018, lot 26 (depicting Rama, Lakhshmana and Sita at the hermitage of Bharadvaja).Bonhams, New York, Indian, Himalayan and Southeast Asian Art, 11th September 2012, lot 89 (Rama and Lakhshmana conferring with the monkey army while other monkeys are in combat with the demon army).Sotheby's New York, Important Indian Paintings from the Gloria Katz and Willard Huyck Collection, 22nd March 2002, lots 59 and 60 (Guler or Kangra, circa 1790; the trees and branches carried by the monkeys are prominent - hints of Birnam Wood come to Dunsinane - and the decoration on the demon chariots is very similar).Sotheby's New York, Indian and Southeast Asian Works of Art, 20th March 2013, lot 319 (Rama and Lakhshmana wounded by the arrow of Indrajit).Sotheby's New York, Indian and Southeast Asian Art, 19th September 1996, lot 185 (the monkey army beginning their assault on Lanka under the direction of Rama).Sotheby's, Oriental Manuscripts and Miniatures, 23rd April 1997, lot 149 (Hanuman conducting a reconnaissance of the fortress of Lanka).Sotheby Parke Bernet, New York, Fine Oriental Miniatures, Manuscripts, Islamic Works of Art, and 19th Century Paintings, 14th December 1979, lot 225 (there attributed to Garwhal, circa 1800).Another painting from the series is in the LA County Museum of Art, illustrated in R. C. Craven, Ramayana: Pahari Paintings, Bombay 1990, pp. 98-99, fig. 8. Other pages are also found in the Mittal Collection, Shimla Museum, and the Metropolitan Museum of Art, New York.For other pages from the this series see: B. N. Goswamy and E. Fischer, Pahari Masters, Delhi 1997, nos. 143-145, pp. 340-343; D. J. Ehnbom, Indian Miniatures: the Ehrenfeld Collection, New York 1985, nos. 116-118; S. Kossak, Indian Court Painting, 16th-19th Century, New York 1997, no. 62.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 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