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).
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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
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)
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.
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 ANWAR JALAL SHEMZA (BRITISH 1928-1985) PAINTING 1959 Oil on canvas Signed and dated in Urdu (lower left); further signed, inscribed and dated 59 (verso) 84 x 64cm (33 x 25 in.) Provenance: Denis Bowen Acquired from the above by the present owner Exhibited: New Vision Centre Gallery, A.J.Shemza, 1959 London, Commonwealth Institute, Commonwealth Vision, 1961 (illustrated in catalogue) Bristol, Royal Commonwealth Society, Centenary Exhibition, 1968 Jarrow, Bede Gallery, New Vision 56-66, 1984, no. 45 Born in Simla, India, in 1928, Anwar Shemza initially studied Philosophy and languages at Punjab University before enrolling at the Mayo School of Art in Lahore. Graduating in 1947 he opened the Shemza Commercial Art Studio there and as an artist, poet and writer he quickly became a central figure in the cultural life of Pakistan. In 1956, he left Lahore to study at the Slade School of Art in London where his work began to fuse the earlier literary and artistic influences from Lahore with imagery and techniques that he discovered in the Museums and Galleries of London, most notably those of Paul Klee and Piet Mondrian . The Art Historian, Professor Iftikhar Dadi, describes Shemza's work from this period as "Calligraphic Modernism", observing that "among the lessons he learned from Klee was the importance of surface as the plane of modernist experimentation rather than a stress on modelling and the freedom and ability to deploy abstraction, geometry and pattern - much of it derived from Islamic art - towards modernist exploration."(I.Dadi, Calligraphic Abstraction: Anwar Jalal Shemza, London, 2015, p.12) Indeed Shemza's work from the late 1950s and early 1960s uniquely explores and celebrates his past and present artistic experiences while fighting the insular attitudes of the Post War British art establishment. His past successes in Lahore found admirers in the likes of Denis Bowen at the New Vision Centre Gallery and Victor Musgrave at Gallery One, however more mainstream galleries and critics were dismissive and hostile. As the artist and curator of the Hayward Gallery 1989 exhibition, The Other Story, Raheed Araeen observed; "Although Anwar Jalal Shemza belongs to that generation of artists who arrived here in the 50s and who had already established themselves in their countries of origin, his experience in Britain led him to an entirely different direction to his contemporaries. But his experience was not unique. Almost every Afro-Asian artist must have his or her own story to tell: how their dreams and aspirations were shattered, how they had to recover their confidence in themselves, their identity as human beings and as artists; and how the memory of their own cultures played an important role in this recovery." (Rasheed Araeen, The Other Story, Exhibition Catalogue, The Hayward Gallery, London, 1989) Shemza's work has been exhibited widely including The Other Story: Afro-Asian Artists in Post-War Britain, at the Hayward Gallery, London, 1989; Anwar Shemza, at the Birmingham Museum and Art Gallery, 1997; Anwar Shemza, at the Tate Britain, 2015; and Postwar: Art Between the Pacific and the Atlantic, 1945-1965, at Haus der Kunst, Munich, 2016. Works are also held in the permanent collections of the Ashmolean Museum, Oxford, Tate Gallery, London, Metropolitan Museum of Modern Art, New York, the Lahore Museum, Pakistan National Council of the Arts, Islamabad, the Sharjah Art Foundation, and the Guggenheim in Abu Dhabi. Condition Report: Not relined. Craquelure scattered across the surface. Slight rucking to the canvas, upper left. Stretcher marks visible. There are some small patches of light flaking and losses to the red pigment which reveals the yellow ground, areas may be consistent with artist's intent. Overall the surface appears stable. Light surface dirt throughout. Small dent to the upper right quadrant. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
4 Fayencen, Altersspuren: Walzenkrug mit Zinnstandreif und -deckel (lose), manganfarbene Malerei mit Chinoiserie. Ein Chinese mit Teller inmitten einer asiatischen Landschaft, im Hintergrund eine Pagode, Blumen und verschiedene Bergformationen, H 21 cm; kleiner Walzenkrug mit einem Rastenden, der Pfeife raucht, Zinnstand und -deckel (locker), H 13 cm; hellblauer Enghalskrug mit dunkelblauem Blumendekor, Henkel und Schankrand restauriert, H 28 cm; Kanne mit blauem Ornamentdekor, Hals restauriert, diverse Glasurfehler, H 18,5 cm. / 4 faience pieces, signs of age: a cylindrical jug with pewter stand and lid (comes off), manganese-coloured painting with chinoiserie. A Chinese man with a plate in the middle of an Asian landscape, in the background a pagoda, flowers and various mountain formations, h 21 cm; small cylinder jug with a resting man smoking a pipe, pewter stand and lid (loose), h 13 cm; light blue narrow-necked jug with dark blue floral decoration, restored handle, neck and rim, h 28 cm; jug with blue ornamental decoration, restored neck, various glaze defects, h 18.5 cm.
Sandra Blow (British, 1925-2006) Borderline, 2000 Screenprint in colours on paper Signed, titled and numbered 45/85 Framed & glazed Measures approx. 72cm x 72cm (28" x 28") Sandra Betty Blow was an English abstract painter and one of the pioneers of the British abstract movement of the 1950s. Blow's works are characteristically large scale, colourful abstract collages made from discarded materials. Born in London, she suffered scarlet fever as a child, spending weekends and holidays at her grandparents' fruit farm in Kent. There she spent time painting, before enrolling at Saint Martin's School of Art between 1941-1946, and then the Royal Academy Schools, 1946-1947. She later enrolled at the Accademia di Belle Arti in Rome, where she met Alberto Burri, her partner of a few years. Blow and Burri travelled in Italy together before moving to and working in Paris, and Burri became a life long influence in her work. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A. B. Ibrahim (Malaysian, 1925-1977) - A 20th century watercolour on paper painting by Asian modern & contemporary artist A. B. Ibrahim. The watercolour depicting huts by the beach with moonlight and boats in the background. Signed bottom left. Unframed, in plastic sleeve. Measures approx. 27cm x 37cm.
A LOOSE INDIAN COURTLY ALBUM WITH ENTHRONED PORTRAITS OF MUGHAL EMPERORS AND THEIR ANCESTORS PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION Delhi School, Mughal Northern India, first half 19th centuryOpaque pigments, ink, and gold on wove paper, comprising eight vertical-format portraits of Mughal Emperors and their Timurid ancestors seated on golden thrones on a courtly terrace overlooking lush gardens and natural backgrounds, each sitter identified by characterising attributes, favoured attire, and turban models, encased within concentric decorative borders in polychromes and gold, the pictorial style typical of Late Mughal Delhi School official portraits in both three-quarters and profile views, each album page numbered in the upper left corner and accompanied by black ink nominal inscriptions identifying the portrayed ruler, the front top golden border with inscriptions in cursive English, the oval golden cartouches above each sitter and the reverse in Persian nasta’liq script, the reverse marked with a rectangular dynastic grid in-filled with names, dates and brief biographical details, each mounted, glazed and framed, each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame. These eight finely painted portraits were most likely once part of an Indian courtly album collecting the likenesses and official portraits of Mughal rulers and elite members of the court, linking their dynastic heritage directly to the Central Asian Timurids. For an analogous example, please see Sotheby’s Dubai, 13 November 2013, lot 71. The represented sitters are named as follows: Timur (d. 1405); Miran Shah, son of Timur (d. 1408); Sultan Umar Sheikh Mirza II, son of Abu Sa'id Mirza (d. 1494); Emperor Babur, son of Umar Sheikh Mirza II and founder of the Mughal dynasty (d. 1530); Emperor Jahangir, son of Akbar (d. 1627); Jahandar Shah, son of Bahadur Shah (d. 1713); Muhammad Shah, grandson of Bahadur Shah (d. 1748); and lastly, Ahmad Shah Bahadur, son of Muhammad Shah (d. 1775). Each portrait is numbered in the upper left corner, starting from number 1 with Timur and finishing with number 19 with Ahmad Shah Bahadur. Originally, the album would have most certainly contained other portraits of Mughal emperors, such as Akbar and Shah Jahan, as well as the last three members of the dynasty ruling in the first half of the 19th century, who elected Delhi as their capital and settled there until the British forces took over. Portraiture has always played a crucial role in the development of the visual arts of South Asia. From the dawn of the Indian civilisation onward, the figural image encountered in sculptures, coins, architectural settings, and frescoes acted as a powerful reminder of the dharmic hierarchy ruling the world. Nevertheless, until the early 17th century, when the Mughal Empire was fully formed and established in these lands, portraits were often derived from conventional representations with repeating, standard lakshanas (identifying qualities or cognitive attributes) rather than individual likenesses. One of the most remarkable artistic achievements accomplished by the Mughals in India was to foster and spearhead the emergence of portraits of identifiable individuals, unprecedented in both South Asia and the Islamic World (Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 1 - 3). It is known that Mughal Emperors Akbar and Jahangir were eager collectors of portraits of courtly personalities and must have been impressed by specimens of European portraiture, which circulated at their courts thanks to both diplomatic exchanges with the West and the three Jesuits' missions between the 1580s and 1590s (S. Stronge, Painting for the Mughal Emperor: the Art of the Book 1560 – 1660, 2002, p. 120). Such fascination is best recorded in the A’in-I Akbari, where Abu’l Fazl mentions that 'the Emperor (Akbar) ordered to have the likenesses (surat) of all the grandees of the realm. An immense book was thus formed: those who have passed away, have now received a new life, and those who are still alive, have immortality promised them'. Despite the keen 'turn to the individual' promoted in the visual arts under Akbar's and Jahangir's reigns, Mughal portraiture and the formalisation of a 'stately image' reached their most accomplished form in the mid to late 17th century, under the rule and patronage of Shah Jahan (The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 12). By this stage, it had been established that official portraits of Mughal emperors must show the sitter in profile, and not in the Persian-style three-quarters view, as it was considered less formal and thus, reserved to lesser noble members of the court (Ibidem, p. 102). Testifying this rule, our eight portraits are divided into two groups: the four sitters of direct Central Asian lineage are all shown in three-quarters, following Persian portraiture's conventions; whilst the remaining four rulers of the Mughal dynasty are shown in profile. The use of both views in the same album set has been explained by scholars as the Mughal artists' conscious attempt to create historical distance between the current rulers and their ancestors (Laura Parodi in Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 9 - 10). Nevertheless, their Central Asian heritage is exemplified in the Mughals' passion for record-keeping and their keen interest in historical and observational documentation, which are mirrored in the visual arts commissioned at the time. Timurid rulers had already shown an attraction towards physiognomy and figural studies in the 15th century (Ibidem, pp. 64 - 65). As a consequence, their artistic legacy influenced the canons set and followed by their descendants, and the Mughals were no different. Initially through the collection of Timurid studies, and then later on, with the commission of new official royal portraits, the Mughals aimed at not only vaunting their prestigious dynastic descent but also immortalising themselves and their courts through the means of portraiture. The sacks of Delhi in 1739 and 1756 and internal dynastic frictions placed a temporary halt in the courtly production, but the first half of the 19th century witnessed a late flowering, a so-called last hurrah, for Mughal portraiture. Before the final dissolution of the Empire in 1858, artists working at the Delhi courtly atelier, such as Khayrallah and Ghulam Murtaza Khan, produced extremely fine portraits of Mughal rulers and their descent, blending features of the 16th and 17th-century production with a new naturalism derived from Western portrait models (J. P. Losty in The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 44). The Delhi artists' attempt to revive the dynasty's past glories and distinguished lineage despite the Empire's decline led to the creation of a few high-calibre portrait courtly albums and the group in the present lot must have been among them. each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame Qty: 8
Lots 222 - 225 Four exceptional works by Francis Newton Souza (1924-2002) belonging to Dr. Premlata Goel, widow of the distingished art critic, K.B. Goel (1930-2018), close friend of the artist. All four works were gifted to K.B. Goel by Souza. Francis Newton Souza, Indian (1924-2002) Untitled, Landscape, Signed and dated "Souza 1989" (upper right) Acrylic on canvas,74 x 100cm (29.2 x 39.5in)Painted in 1989Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).Gifted by Souza to K.B Goel in the late1980s. To see other works from the same collection, see Bonhams, Modern & Contemporary South Asian Art Online, 20th-28th February 2023, lots 1-5.This landscape unlike many other landscapes or cityscapes that Souza painted in the 1980s is comprised of structures that appear to acquire form from the juxtaposition of green, blue and red lines. As if Souza while painting this wanted to exclude the use of the colour black which imparts an overall definition to the structure of the painting. However he manages to create a framework with extremely sketchy and rapidly executed strokes in a multitude of colours that remain fresh, none the same and in doing so, reveals Souza the colourist. A vibrancy of greens brings to life the dominant foliage in the foreground, the construction of which divides as well as merges with structure in the background space thereby allowing the eye to rove in and out of the picture. Footnotes: Much has been written about the different aspects of Souza’s life, right from his childhood, to multiple marriages and his journey as an artist. I consider my family very fortunate to have known Souza at such close quarters, away from the controversy and the criticism, the Souza who yearned to lead a regular family life. He was particularly close to my younger son, as if the age gap didn’t exist. He would take him to all sorts of movies, eat at fast food places and even pay a visit to a very cheap salon to get his beard and hair trimmed. Souza mentioned this in one of the letters he used to frequently write to my younger son.He would take a place near our house in old Delhi which was far from the comforts of a five star hotel. He would come every evening and go back late since he lived only a walking distance away. He enjoyed the simple home cooked meals I would serve him and found the food very flavourful. Souza’s every visit used to be cherished by all of us. It was so rich with the anecdotes, one used to feel that here was not just a great artist but a vastly read person who possessed this astonishing range of knowledge. We also sat through some stormy sessions of conversation between Goel and Souza not in agreement on some very deep philosophical issue.This also meant that, much to the chagrin of his many admirers and the gallery owners, he would frequently give up fancy parties and meetings to be with us. Souza’s multi-dimensional personality was evident, from the great artist and writer to enjoying childlike moments with my son and being a master of world affairs and philosophy. He always mesmerized us with his clarity of thought and vision, always deeply worried about wars, the human condition or his take on the ugly side of religion’.As dictated by Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel (1930-2018). Condition Report: Some losses to surface paint, some weathering, reverse of canvas with some staining
A collection of 45 reference books and auction houses catalogues, mostly concerned with Islamic and Indian artsComprising:Contadini, Anna, and Victoria. Fatimid Art at the V&a Museum. London, Victoria & Albert Museum, 1998.Crill, Rosemary, et al. Arts of India 1550-1900. Edited by Rosemary Crill and Deborah Crill, London, Victoria & Albert Museum, 1990.Grube, Ernst J, et al. Architecture of the Islamic World. London, Thames And Hudson, 1984.Islam. Edited by Markus Hattstein and Peter Delius, Koln, Konemann Verlaggesellschaft mbH, 2000.Jaffer, Amin. Furniture from British India and Ceylon. London, V&A Publications, 2001.---. Luxury Goods from India. London, Victoria & Albert Museum, 1 Nov. 2002.Komaroff, Linda, et al. The Legacy of Genghis Khan : Courtly Art and Culture in Western Asia, 1256-1353 : [Exhibition Held at the Metropolitan Museum of Art, New York, Nov. 5, 2002-Feb. 16, 2003 and at the Los Angeles County Museum of Art, Apr. 13-July 27, 2003]. New York (N.Y.), Metropolitan Museum Of Art ; New Haven (Conn.) ; London, 2002.Mez, Adam. Renesans Islamu. Warszawa, Państwowy Instytut Wydawniczy, 1980.Niloo Imami Paydar, et al. The Fabric of Moroccan Life. University of Washington Press, 2002.Nurhan Atasoy, et al. İpek, the Crescent & the Rose. London, Azimuth Editions, 2001.---. Iznik : The Pottery of Ottoman Turkey. London, Alexandria Press In Association With Laurence King, 1994.Splendeurs Du Maroc. Edited by Ivo Grammet and Min de Meersman, Tervuren, Musee Royal de l’Afrique Centrale, 1998.Taylor, Roderick. Embroidery of the Greek Islands and Epirus. Yeovil, Martson House, 1998.The Arts of Islam. Edited by George Michell, London, The Arts Council of Great Britain, 1976. Hayward Gallery, 8 April - 4 Juy 1976.Zdzisław Żygulski. Dzieje Polskiego Rzemiosła Artystycznego. Warszawa, Wydawnictwo Interpress , 1987. AUCTIONS CATALOGUE :CHRISTIE'S :London, Battilosi Tapetti d'Antiquariato, 11 February 1998London, The Bernheimer Family Collection of Carpets, 14 February 1996London, Oriental Rugs and Carpets, 30 April 1998London, Indian, Himalayan and South-East Asian Miniatures and Works of Art, 10 October 1989London, Islamic Art, Indian Miniatures, Rugs and Carpets, 8 and 10 October 1991South Kensington, Indian and Islamic Art and Textiles, Friday 14 October 2005South Kensington, Indian and Islamic Works of Art, Friday 20 April 2007 SOTHEBY'S :New York, Indian, Himalayan, South-East Asian Art and Indian Miniatures, 20 and 21 September, 1985London, Islamic Works of Art, Carpets and Textiles, 12 April 1989New York, Indian, Himalayan, South-East Asian Art, 21 and 22 March 1990London, Islamic and Indian Art, Oriental Manuscripts and Miniatures, 29 and 30 April 1992London, Islamic and Indian Art, 29 April 1993London, European and Oriental Rugs and Carpets, including Turkmen Rugs from the Collection of Dr. Werner Loges, 19 October 1994London, Islamic and Indian Art, 20 October 1994New York, Indian and Southeast Asian Art, 29 march 1996London, Islamic, Himalayan and South-East Asian Art, 24 April 1997London, the Bortz Collection, 29 May 1998New York, Indian and Southeast Asian Art, including Modern and Contemporary Indian Paintings, 16 and 17 September 1998London, Arts of the Islamic World, including 20th Century Middle Eastern Painting, 3 May 2001London, Arts of the Islamic World, 25 April 2002London, Arts of the Islamic World, 30 April 2003 BONHAMS :Knightsbridge, Islamic Works of Art, 12 April 2000Knightsbridge, Textiles from the Collection of Alistair Mc Alpine, 12 February 2008Bond Street, Islamic and Indian Art, including Carpets, 8 April 2014Bond Street, Islamic & Indian Art, including Modern and Contemporary South Asian and Middle Eastern Art, 9 June 2014London, Modern and Contemporary Middle Eastern Art, 7 October 2014 OTHERS :John McInnis Auctioneers, the Marc J. Matz Collection, 19 August 2005Chiswick Auctions, Asian Art, 6 September 2016 GALLERY CATALOGUES:V. O. C Antiguidades, Paris Catalogue, Pedro Dias, undatedMillner Manolatos, Catalogue no. 2, Arthur Millner, October 2003
Francis Newton Souza, Indian (1924-2002)Untitled, HeadSigned and dated "Souza 85" (upper left) Oil on canvas,61.5 x 46cm (24.3 x 18.2in)Painted in 1985Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).Gifted by Souza to K.B Goel in the late1980s. To see other works from the same collection, see Bonhams, Modern & Contemporary South Asian Art Online, 20th-28th February 2023, lots 1-5.Footnotes:‘I was 17 years of age and had gotten into the habit of waiting rather impatiently, month after month for my Uncle Souza to make another unforgettable appearance in my life. He was my guru but more importantly had been my best friend for some years now. I had not asked the great man whether he considered me his friend, his gestures and actions were enough to tell me that he did. I was one of the first people Souza would call upon arriving in Delhi. On this particular visit, it was no different. I reached his hotel on a hot summer afternoon in the heart of the city on the third day of his arrival. We greeted and hugged each other. Although it had been merely two days, the entire room, the room wasn’t all that big, had canvases propped up all along the gleaming white walls. On the floor were pots, glasses, plates and trays all of which had, not long before, been used to transport food and beverages. Now they were serving a very different role, important instruments in the makeshift studio of Francis Newton Souza. He was perfectly at home with all this improvised paraphernalia. I was probably about to witness another master class in painting, just imagine, seated a couple of feet away on a bulky uncomfortable sofa. Souza ordered sandwiches and tea for me. The waiter entered the room, glanced at the unrecognisable pots, mugs and scores of plates but knew that a fast exit would earn him a handsome tip. That day Souza looked bright and full of energy and told me how charged he felt. Pure energy filled the room and in it were these already completed pieces of astonishing quality and finish. This ochre head dated 1985 was one of a number of works painted during this visit. I can’t be absolutely sure but I do have a strong feeling that it was painted in my presence. Also spread all over the floor were newspapers and on these were some half and some fully squeezed tubes of paint. With a coffee mug in his left hand and the brush in his right, he painted a couple of mesmerising heads as I looked on in rapt attention. One could feel how his mind was racing ahead as he dipped the paint brush again and again into the coffee mug, many times over, sometimes pausing to load the brush with another colour from the waiting dinner plate. And there emerged, right before my eyes, another fabulous painting’.Brij Raj Goel, younger son of K.B. Goel, who was a particular favourite of Souza. Condition Report:Surface weathering, minor losses to paint, scuffing to corners of canvas, rusting to staples on canvas to reverse
AMENDMENT: Please note the publications “Rome, past and present, Studio London, Spring 1966” and Bach, H., Indian Love Paintings, New Delhi, 1985 are no longer part of this lot.Please do also note all publications previously listed under “Books on Tibetan and Nepalese Art” in this lot entry will now be sold in our upcoming Chinese, Japanese & South East Asian Art on 6th November 2024.A quantity of books on Indian, Tibetan, Islamic and Ottoman art, as well as catalogues Books on Indian ArtKhandalavala, K., et al. Miniature Painting, Lalit Kala, New Delhi, 1960Shellim, M., Patchwork to the Great Pagoda: India and British Painters, Kolkata, 1973Mehta, N. C., Gujarati Painting in the 15th Century, London, 1931 x 2Khandalavala, K., The development of style in Indian Painting, Madras, 1974Rizvi, S. A. A., Fatehpur Sikri, New Delhi, 1972Tagore, S., Rammohun Roy: His Role in Indian Renaissance, Kolkata, 1975Grindea M., Passages from India, Adam International Review, New York, 1971Colnaghi, Persian and Mughal Art, London, 1976Sharma, M. and Kaimal, P., Indian Painting, Mumbai, 2013Britschgi, J., Die 40 Groessten Meister der Inischen Malerei (1100-1900), Museum Reitberg, Zurich, 2011Pal, P., and Seid, B., Holy Cow and Other Animals: Selection of Indian Paintings from the Art Institute of Chicago, Chicago, 2002Overton, K., Iran and the Deccan, Bloomington, 2020Beach, M. C., Reflection of India; Paintings from the 16-19th Century, Toronto, 1979 x 2Aryan, B.N., Hanuman: The Divine Simian, New DelhiAhuja, N. P., The Body in Indian Art and Thought, New Delhi, 2013Bach, H., Indian Love Paintings, New Delhi, 1985Europe and the Indies, BBC publications, 1970Exhibition of Dhundhar Painting, 1977 x2Isacco, E., Les pigments des miniatures indiennes, Paris, 2008Images of Krishna, Santa Barbara, 1987 Schwartz, P. R. Printing on Cotton at Ahmedabad, Indian in 1678, Ahmedabad, 1969The British in India, Brighton Museum, 1973Simmonds, S and Digby S., Royal Asiatic Society; Its History and its treasures, 1979Chandra, M., Indian Miniatures in the Allahabad Museum, 1961Bulletin of the Royal Ontario Museum of Archaeology, April 1949Book Reviews, Ars Orientalis IV, 1961Wilkinson, JVS., An Indian Manuscript of the Golestan of the Shah Jahan Period, Ars Orientalis II, 1957Chester Beatty Monographs nos. 1-3 &7, 1951-1958 Books on Ottoman and Islamic ArtHitzel, F., Turkophilia: Ottoman Art in Private collections, Paris, 2011Zietkiewicz-Kotz, J., Treasures of the Orient in the collections of the Wawel Royal Castle, Krakow, 2020Barakat, H. N., Introduction to Islamic Arts: Calligraphy: The collection of the Islamic Arts Museum Malaysia, 2016De Guise, L., Al-Tibb: Healing Traditions in Islamic Medical Manuscripts: The collection of the Islamic Arts Museum Malaysia, 2018Freeman Fahid, D., Chess from the Islamic World: The Benaki Museum Collection, Athens, 2023Curatola, G., Al-Fann: Art from the Islamic Civilization: From the al-Sabah Collection, Milan, 2012Anand, M. R. Persian Painting, 1930Luzac and Co., Encyclopedia of Islam, supplements 1 & 2, 1934-36Set of Facsimile articles by Ivan Stchoukine, (plus duplicates) 1950-1972 Dealer CataloguesJorge Welsh, Art of the Expansion and Beyond, London, 2009Joost van den Bergh, Magic Marking: Tantra, Jain and Ritual Art in India, London, 2016 Joost van den Bergh, Tantric Drawings by Acharya Vyakul and Badrinath Pandit, 2014Francesca Galloway, Sringar: An Exhibition Celebrating Divine and Erotic Love, London, 2007Shapero Gallery, Divine Pursuits: Indian Painting Traditions from 15-19th century, 2003 x 2J Soustiel, Miniatures Orientales de L’inde, 1973J Soustiel, Miniatures Orientales de L’inde 3, 1983J Soustiel, Miniatures Orientales de L’inde 4, 1986Micheal Goedhuis, Birds in an Indian Garden, 1984Indar Pasricha, The Rajput courts, 1986 Indar Pasricha, Elephants of Fame, 1987Waddington Tooth Galleries, 1974, 1975 x 2, 1977, 1978 x 3, 1980, 1986, 1990 Auction CataloguesSothebys Parke Bernet, 26 September 1972, Bibliography, Art ReferenceSothebys London, 9 July 1987, An Apostle Mosaic from Medieval TorcelloSothebys London, 30 July 1973, Egyptian, Western Asiatic, Greek, Etruscan and Roman, Primitive, Indian, Indonesian, Tibetan and Nepalese ArtDrouot, 22 November 1960, Collection SevadjianDrouot, 20 March 1961, Collection Sevadjian pt2 x2Cornette de Saint Cyr, 23 June 1982, Collection Maldonado, TapisChristies London, 8-10 October 1991 Islamic, Indian Art, Rugs and Carpets Contemporary and OtherDoshi, S., csmvs Research Journal, Mumbai, 2019Gallery One and the Indian Avant Garde 1953-1963, Grosvenor Gallery, 2023Moorhouse, P., Howard Hodgkin: Absent Friends, London, 2017Rome Past and Present “The Studio London” Special Spring number, 1926 Books on Tibetan and Nepalese Art Rhie, M and Thurman, R. The Sacred Art of Tibet: Expanded Edition, London, 1996Zanabazar, G., The Eminent Mongolian Sculptor, Ulan Bator, 1982Vitali, R., Early Temples of Central Tibet, London, 1990Pal, P., Himalayas: An Aesthetic Adventure, Chicago, 2003Uhlig, H., On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Reitberg, Zurich, 1995Weldon, D and Singer J C., The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999Pal, P., Art of Nepal, LACMA, 1985Pal, P., Art of the Himalayas, New York, 1991Lo Bue, E., Wonders of Lo: The Artistic Heritage of Mustang, Marg, Mumbai, 2010Pal, P., Lamaist Art: The Aesthetic of Harmony, BostonKramrisch, S., Art of Nepal, ViennaKlimburg-Salter, D., Discovering Tibet: The Tucci Expeditions and Tibetan Paintings, Milan, 2016Hackin, J., La Sculpture Indienne et Tibetaine au Musee Guimet, Paris, 1931Pal, P., Vaisnava Iconology in Nepal, Kolkata, 1985Arts of Asia, March-April 2016 Asian ArtNoriko, T., The Beauty of Imperfection, Japanese Ceramics from the collection of Hans and Anita Roth, Japan, 2016
A group of framed prints and paintings and a 19th century gilt gesso frame, to include: Katryna Tyczenko - Landcape oil on board; Richard Cooke - four aerial photographs of coastlines (2002) all signed and dated below; An oleograph of a harbour scene; After Salomon van Ruysdael - 'River Estuary with Watchtower, vintage reproduction print with craquelure finish, in gilt frame, frame dimensions: 54 x 44 cm; with a South East Asian painting, dated 2015 and indistinctly signed below; a black and white 19th century family photo; and a pair of framed decorative prints of palm trees (12)
Paar Tassen mit Blaumalerei. Tournay. Schwertermarke mit Kreuzen und "W", 1756 - Ende 18. Jh. H 6,5 cm. Zylindertassen mit Ohrenhenkel und unterglasurblauer Blumenmalerei im asiatischen Stil. Literatur : Zur Marke vergleiche Graesse (1974), S. 407/Nr. 11. Aufrufzeit 14. | Juni 2024 | voraussichtlich 10:00 Uhr (CET)Pair of cups with blue painting. Tournay. Sword mark with crosses and "W", 1756 - late 18th century H 6.5 cm. Cylinder cups with ear handles and underglaze blue flower painting in Asian style. Literature : For the mark see Graesse (1974), p. 407/No. 11. Call time 14 | June 2024 | probably 10:00 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
Lee Ufan 1936 Haman-gun (heute Südkorea) - lebt und arbeitet in Japan und Paris Correspondance (Grün). 2006. Aquarell. Rechts unten signiert und datiert. Auf festem Velin von Arches (mit dem Trockenstempel 'AQUARELLE ARCHES' und dem Wasserzeichen). 77 x 57,5 cm (30,3 x 22,6 in), Blattgröße. [EH]. • In seiner minimalistischen Ästhetik verbindet Lee Ufan asiatische und europäische Bezüge. • Zu den wichtigsten Elementen seines Kunstschaffens gehört es, während des Malens nicht zu atmen, das Werk im Raum und in der Zeit wirken zu lassen und nicht die gesamte Oberfläche zu 'kolonisieren'. • Lee Ufan zählt zu den wichtigsten Vertretern der Mono-ha-Schule in Japan, einer der bedeutendsten Strömungen innerhalb der japanischen Nachkriegskunst. • Ab den 1970er Jahren steht sein Schaffen in enger Beziehung zur Dansaekhwa-Bewegung in Korea, in der sich die Künstler:innen insbesondere in monochromer Malerei mit Abstraktion und Materialität auseinandersetzen. • 1977 stellt Lee Ufan auf der documenta 6 in Kassel aus, 2011 und 2015 auf der Biennale von Venedig. • Bis zum 28. April 2024 zeigt der Hamburger Bahnhof, Nationalgalerie der Gegenwart, Berlin, die erste Retrospektive des Malers und Bildhauers in Deutschland. PROVENIENZ: Galerie nächst St. Stephan, Wien. Privatsammlung Österreich (2007 vom Vorgenannten erworben). AUSSTELLUNG: Lee Ufan, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Wien, 21.2.-21.4.2007. Aufrufzeit: 07.06.2024 - ca. 15.48 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONLee Ufan 1936 Haman-gun (heute Südkorea) - lebt und arbeitet in Japan und Paris Correspondance (Grün). 2006. Watercolor. Signed and dated in lower right. On firm Arches wove paper (with the blindstamp 'AQUARELLE ARCHES' and the watermark). 77 x 57.5 cm (30.3 x 22.6 in), size of sheet. [EH]. • Lee's minimalist aesthetic combines Asian and European influences. • One of the most important elements of his artistic work is not to breathe while painting, to allow the work to take effect in space and time and not to 'colonize' the entire surface. • Lee is one of the most important representatives of the Mono-ha school in Japan, a key movement in Japanese post-war art. • From the 1970s onward, his work was closely related to the Dansaekhwa movement in Korea, in which artists explored abstraction and materiality, particularly in monochrome painting. • Lee Ufan exhibited at documenta 6 in Kassel in 1977 and at the Venice Biennale in 2011 and 2015. • Until April 28, 2024, the Hamburger Bahnhof, Nationalgalerie der Gegenwart, shows the artists first retrospective in Germany. PROVENANCE: Galerie Nächst St. Stephan Private collection Austria (acquired from the above in 2007). EXHIBITION: Lee Ufan, Galerie Nächst St. Stephan Rosemarie Schwarzwälder, Vienna, February 21 - April 21, 2007. Called up: June 7, 2024 - ca. 15.48 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Shahid Jalal (1948-2020)Untitled (Village Scene) signed and dated 'Shahid Jalal 94' lower rightoil on canvas, framed59.2 x 89.5cm (23 5/16 x 35 1/4in).Footnotes:ProvenanceProperty from a private collection, Sweden.'He was simply passionate about painting; his mentor was our teacher Khalid Iqbal. Even though his profession was that of a chartered accountant, he thought it would be good idea to spend a year here. But even after that he went back to his profession. Still he continued to paint avidly and was dedicated to it...So many of his paintings were just given away... Once he painted the entire outside portion of an old house that belonged to Tahira Mazhar Ali, from every angle. He gave away the entire proceeds of that exhibition to the Citizen Foundation schools.' (Xari Jalil, https://www.dawn.com/news/1575157, 19th August 2020)Jalal was largely a self taught painter, who painted for leisure. An accountant by trade, he was inspired by Khalid Iqbal, a Pakistani painter and art teacher, known for his landscape paintings. Untitled (Bedian landscape), may have been painted en plein air, something Jalal was known to have done. Bedian is a village in the Kasur District of Punjab, Pakistan close to the India-Pakistan border and was founded by Baba Sahib Singh Bedi during the reign of Maharajah Ranjit Singh. Other works that he painted include Charar Marsh Jinnah Gardens and Gurudwara Dera Chal, from 1985, 1989 and 1995 respectively.To see a similar work sold at Sotheby's see Contemporary Indian and South Asian Paintings, 17th June, 1998, lot 24.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Imran Qureshi (B.1972)Untitled gouache on paper, framed77 x 56cm (30 5/16 x 22 1/16in).Footnotes:ProvenanceProperty from a private collection, England. Gifted by the artist to the vendor in 2014. Qureshi's works are inspired by the tumultuous socio-political landscape of Pakistan. The present lot comes from the series that was initiated in 2010, after he witnessed the aftermath of a terrorist attack in a busy market place in Lahore. Central to his oeuvre is the signature motif of the 'blooms of blood,' a delicate floral pattern, rendered in a vibrant red hue that evokes beauty and violence. Trained in the meticulous techniques of the centuries-old art form of miniature painting, Qureshi infuses his works with a sense of history and cultural heritage while his innovative techniques and compositions push the boundaries of miniature painting into new and unexpected territories.For a similar work sold on these premises see Modern and Contemporary South Asian Art & Art of Pakistan, Lot 125, 24th October 2018.For further information on this lot please visit Bonhams.com
Ismail Gulgee (1926-2007)Untitled (Abstract) signed and dated 'Gulgee 98' upper rightoil on ceramic tile, framed30.2 x 30.1cm (11 7/8 x 11 7/8in).Footnotes:ProvenanceProperty from a private collection, Pakistan. Renowned for his versatility and innovation, Gulgee's foray into ceramic art represents a captivating departure from his more traditional works in painting and calligraphy. He has masterfully used oils in rich hues of blues, reds, whites, yellows, oranges and blacks to create an aesthetically unique work. The subtle variations in texture add further dimension to the piece, inviting viewers to explore the tile's tactile qualities. Beyond its aesthetic beauty, Gulgee's ceramic tile also carries deeper symbolic significance, serving as a testament to the artist's reverence for tradition and his commitment to preserving and celebrating the cultural heritage of his homeland.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, London, 24th May 2002, lot 40.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
This Male Nude (Ronin) composition is a limited edition giclee on archival watercolor paper. It is made after the original sumi ink painting by American artist Julie Keaten-Reed who combines a traditional Asian painting technique with a typical canon of Western art: the nude figure. Housed in a black frame with white and black mats. Red seal and signature on lower right: J.K.R. On lower left in graphite: 10/300. Sight size: 4.50"L x 6.50"H. Frame size: 16.25"L x 18.25"H x 1.25"W. Certificate of Authenticity included. Artwork can be unframed and rolled for shipment. Artist: Julie Keaten-Reed (American 20th-21st Century)Issued: c. 1990Dimensions: See DescriptionEdition Number: 10 of 300 Country of Origin: United StatesCondition: Age related wear.
Art Reference Books on Asian Art - Indian Dallapiccola, Anna Libera Die "Paithan"-Malerei. Studie zu ihrer stilistischen Entwicklung und Ikonographie. Mit 105 Figuren und 310 Abbildungen. (= Schriftenreihe des Südasien-Instituts der Universität Heidelberg Band 28). [The "Paithan" painting (Paithan painting). Study of their stylistic development and iconography. With 105 figures and 310 illustrations. (= Series of the South Asia Institute of the University of Heidelberg, Volume 28).] Franz Steiner Verlag, Wiesbaden, 1980 Waldschmidt, Ernst & Rose Miniatures of musical inspiration in the collection of the Berlin Museum of Indian Art. Part II: Ragamala Pictures from Northern India and the Deccan Museum fur Indische Kunst, Berlin, 1975 Goetz, Hermann The art and architecture of Bikaner State (10 tipped in plates & 95 photographs) Bruno Cassirer, Oxford, 1950 Crill, Rosemary, et al Arts of India: 1550-1900 Victoria & Albert Museum, London, 1990 Pedersen, Hugo V. Durch den Indischen Archipel, Eine Künstlerfahrt [Through the Indian Archipelago, An Artist's Journey] Deutsche Verlags-Anstalt, Stutgart & Leipzig, 1902 Jaffer, Amin Luxury Goods from India: The Art of the Indian Cabinet-Maker Victoria & Albert Museum, London, 2002 (6)
A GROUP OF MODERN CONTEMPORARY ART BOOKS Comprising: Painting Today, by Tony Godfrey, Phaidon, signed 100 Contemporary Artists A-Z, Taschen, 2 volumes Contemporary Art: World Currents, by Terry Smith, Art Today, Phaidon Alexander McQueen, V&A, Claire Wilcox Visionaire Chic no. 22, Mario Testino Bottega Veneta, Winter 23 Loewe Issue 1 Contemporary Asian Art, Melissa Chiu and Benjamin Genocchio Art of The 20th Century, Taschen Look: 100 Years of Contemporary Art, Ludion, Thierry de Duve The Art Lover's Almanac, Hume Art Now, Taschen Living With Art, McGraw Hill The Artist's Handbook: A Complete Professionals Guide to Materials and Techniques (15 in total) Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A SANCAI GLAZED PEACH SHAPED WATER DROPPER Ming Dynasty, 16th-17th Century, modelled as a peach with a parrot perched on top, an opening to the back and the stalk forming the spout, covered in green, yellow and aubergine glaze Provenance: The collection of Adrian Zecha, acquired prior to 1977, listed as No.36 in Sothebys inventory of April 1977 Exhibited: South-East Asian and Chinese Trade Pottery, Oriental Ceramics Society, Hong Kong, 1979, No.157, illustrated p,145 of the catalogue, exhibition label to base Notes: A very similar example in collection of Museum Pusat, Jakarta, The World's Great Collections Oriental Ceramics Vol. 3, 1982, illustrated in colour No.86; also another peach shaped example but surmounted with a monkey, Oriental Trade Ceramics in South-East Asia, 1990, No.93, p.103 in which the present lot is referenced 9cm high Condition: Condition Report The spout has been restored and re-painted, this re-painting is flaking. The parrot also appears to have been repaired at the base of its feet and the tail feathers. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A VERY LARGE THAI WAR ELEPHANT WITH RIDERS AND SOLDIERS Sukhothai, 15th Century, the heavily potted tall elephant standing four square, two riders sit atop its back the body decorated in white glazed straps over a brown glazed body, accompanying the elephant are six soldiers with sword and shield or riding horses, on rectangular plinth base (Restoration and damages) Provenance: The collection of Adrian Zecha, acquired 1960-80s Notes: A similar elaborately potted example in the collection of the Museum of Asian Art, University of Malaysia 62cm high, 48cm length, 23cm width Condition: Condition Report Many areas of restoration and re-painting, to the group, including the ears, the two riders (one head now detached but present), the heads of three soldiers, the arms of two of the soldiers, tips of tusks, leg of one horse and other areas. Some of the re-painting and spraying is now flaking off. The main body of the elephant itself appears generally intact. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
NAKAJIMA RAISHŌ (1796-1871)COCKEREL, HEN, AND CHICKSEDO PERIOD, 19TH CENTURYA Japanese two-fold byōbu (paper screen), painted in ink and colour on silk, the left panel depicting the cockerel with his plumage and long tail feathers meticulously portrayed, standing proud with his chick in the foreground, the right panel with the hen also carefully rendered with her two offsprings at her feet, signed and sealed Raisho, 155.5cm x 143cm.Nakajima Raishō was born in Kyoto, and studied under two pupils of the master Maruyama Ōkyo (1733-95), Watanabe Nangaku (1767-1813) and Ōkyo's son Maruyama Ōzui (1766-1829). Raishō was celebrated for his realist Shijō style of painting, and excelled at Kachō-ga (bird-and-flower) scenes. His artworks can be found in collections around the word, including at the British Museum, London; the Museum of Fine Arts, Boston, and the Smithsonian's National Museum of Asian Art, Washington.
A black schist stele depicting Bhairava East India, Pala Period, 11th/ 12th Centurystanding in pratyalidhasana, with four arms, two holding a dagger and a severed head, the other two raised aloft holding an elephant skin, with third eye, wearing a skull garland and a dhoti, mounted excluding stand 24.5 cm. highFootnotes:ProvenanceSotheby's, Indian, Himalayan and South-East Asian Art, 24 November 1986, lot 165.Private Belgian collection acquired at J. Tucker & A. Tozer Asian Art, London, on the 7th of July 2003, and thence by descent.The deity depicted is probably Bhairava, a form of Shiva, who is often depicted holding the severed head of the God Brahma. For a 10th century bronze of Bhairava holding a severed head, see Imma Ramos, Tantra: Enlightenment to Revolution, London, 2020, pp. 28-9, fig. 12. The inclusion of the elephant skin in the present lot may also be an allusion to Shiva's defeat of the elephant demon Gajasurasamhara. A Buddhist statue of Chakrasamvara in the British Museum, London, incorporates many of Bhairava's characteristics, thus aligning him with the deity (Inv. No. 1976,0927.1). This statue also features an elephant skin being stretched out behind him. For a 19th century painting of the Goddess Bhairavi, depicted with impaled elephants, see the catalogue for the exhibition, Tantra, Hayward Gallery, London, 1971, p. 42, fig. 168. For steles of Bhairava sold at auction, see Sotheby's, Indian, Himalayan & Southeast Asian Works of Art, 20 September 2021, lot 365; and Christie's, Indian ad Southeast Asian Art Including Property from the Collections of Ariane Dandois and Robert H. Ellsworth, 21 September 2007, lot 88.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A painting from a Baramasa series, depicting Radha and Krishna celebrating the Tej festival during the month of Sravan, with female devotees carrying statues of Parvati Bundi, circa 1780gouache and gold on paper, red border 287 x 210 mm.Footnotes:ProvenanceSotheby's, Fine Oriental Manuscripts and Miniatures, 15th October 1984, lot 77 (illustrated).For a Bundi painting of the same subject, with a very similar composition, see Sotheby's, Arts of the Islamic World and India, 30th March 2022, lot 59 (which had previously appeared at Sotheby's, Fine Oriental Manuscripts and Miniatures, 15th-16th April 1985, lot 463). There Radha and Krishna are seen twice, embracing amongst the trees in the background, and then in the upper floor of the pavilion, as in our painting. At the base of the pavilion a group of women are carrying a statue of Parvati as part of the celebrations for the festival of Tej, which is dedicated to the goddess and her union with Shiva, and it also ushers in the monsoon season, in the month of Sravan (late July-late August).Such paintings derive from the text of the Baramasa (songs of the seasons, or twelve months) written by the 16th Century poet, Keshavdas. A slightly earlier Bundi painting of 1680-1700 depicting the month of Sravan, is in the British Museum (see R. Ahluwalia, Rajput Painting, London 2008, p. 69, no. 35). For a painting depicting Asadh (the month prior to Sravan), attributed to Bundi or Kotah, mid-18th Century, and formerly in the collection of Dr Claus Virch, see Sotheby's New York, Indian, Himalayan and Southeast Asian Works of Art, 16th March 2016, lot 812.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A butcher at work, attributed to the artist Bishan Singh (circa 1836-1900) Punjab, probably Amritsar, circa 1860-70gouache and gold on paper, blue margin rules 262 x 202 mm.Footnotes:ProvenancePrivate collection, USA: acquired at an antiques market in Paris.Bishan Singh came from a family of artists operating in Lahore and Amritsar in the second half of the 19th century, who were also known to have worked in the neighbouring princely states of Kapurthala, Patiala and Nabha. The family were responsible for painting and maintaining the murals and motifs on the walls of the Sikh holiest shrine, the Golden Temple, and it is there that Bishan (and his brother Kishan Singh) learnt their trade. A self portrait of the artist was sold in these rooms, Bonhams, Islamic and Indian Art, 25th October 2007, lot 483. At the exhibition of arts and crafts held at Lahore in 1864, Bishan Singh showed ten pictures including durbars of Ranjit Singh and Sher Singh, as well as group of paintings on the production of Kashmir shawls. Baden-Powell and Percy Brown commented that Bishan Singh's works were the 'most clever and truthful paintings' in the exhibition, the artist being awarded top merits amongst the paintings submitted to jury; 'the colour is tasteful and rich and likenesses are good and the expression is varied and truthful' (B. H. Baden-Powell, Handbook of the Manufactures and Arts of the Punjab, Lahore 1872, pp. 354-55; quoted in W. G. Archer, Paintings of the Sikhs, London 1966, p. 61). The durbar scene of Maharaja Ranjit Singh in the Toor Collection was among the ten works - see D. Toor, In Pursuit of Empire, London 2018, pp. 92-95.Most recently, a very similar work of similar size and composition, attributed to Bishan Singh, depicting Kashmiri weavers, sold at Christie's New York, Indian, Himalayan and Southeast Asian Art, 20th March 2024, lot 561. A painting depicting the court of Maharaja Ranjit Singh, ascribed to Bishan Singh, Lahore or Amritsar, and dated VS 1927/AD 1870-71, sold at Sotheby's, Arts of the Islamic World and India, 31 March 2021, lot 44.Christie's, Art of the Islamic and Indian Worlds, 31st March 2022, lot 98, depicting the Amritsar Municipal Committee, by Bishan Singh, dated VS 1940/AD 1883-84.Sotheby's, Arts of the Islamic World and India, 24th April 2024, lot 139, depicting weavers arranging shawls in bales, by a Sikh artist, style of Bishan Singh, North India, Amritsar or Lahore, circa 1860-70.Other examples include:Christie's, Indian, Himalayan and Southeast Asian Miniatures and Works of Art, 10th October 1989, lot 73 (Musicians and dancers before Maharajah Sher Singh, signed and dated VS 1931/AD 1874), and lot 74 (Procession of Maharajah Sher Singh and the young princes, signed, circa 1875).S. Canby, Princes, Poets and Paladins, London 1998, pp. 185-186, nos. 144 and 145. For unattributed works of tradespeople in a similar style, see: Sotheby's, Oriental Manuscripts and Miniatures, 26th April 1995, lots 159 and 160, both depicting Kashmir shawl weavers, Lahore, circa 1866.Simon Ray, Indian and Islamic Works of Art, April 2007, no. 59, depicting Kashmir shawl weavers, Lahore, circa 1866; and another shawl-weaving workshop, Lahore, circa 1866, November 2019, no. 52.A comparable painting of a shawl weaving workshop by Bishan Singh, dated to 1874, is in the collection of the Musée Guimet, Paris (MA 12702).Five works, there attributed to Bishan Singh, including four or tradespeople in the same vertical format as our painting, are in the Parvinder Khanuja collection: see Splendors of Punjab Heritage, Paradise Valley 2022, pp./ 390-391, nos. 49-53.A work depicting women in a cart is in the Toor Collection, London (Toor, op.cit., p.282).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A large painting depicting Old Court House Street, Calcutta, after the print by Thomas Daniell Chinese School, probably Canton, 19th Centurygouache on paper, Chinese patterned silk border, framed 137.5 x 210 cm.; with frame 150 x 225 cm.Footnotes:ProvenanceA private San Francisco collection, assembled in the 1960s and 70s.Bonhams, San Francisco, Fine Asian Works of Art, 29th June 2009, lot 8281.In the collection of Ed Hardy, San Francisco.Abell Auction Company, Los Angeles, USA, March 2023.Our painting was probably executed between 1820 and 1860, on the basis of comparison with the development of Chinese oil paintings depicting Canton. From the late 18th Century views of the waterfront there were produced by local artists for western merchants and ship owners visiting the port. At first they were painted in bodycolour on paper, fine linens or silk, but canvas and oil paints appear to have been introduced to the Cantonese artists' studios in the last quarter of the 18th century.William Sargent notes: 'Exactly how Chinese artists learned western techniques and what their attitudes were towards their customers is not known [...] There are no records of East Asian artists studying under western teachers, other than in schools established in Asia by the Church specifically for the production of religious art. However, European artists did visit Asia, and their presence in coastal trading ports eventually influenced local imitators. It is more likely, however, that Asian artists learned western techniques from copying prints, book illustrations or other secondary sources'. A watercolour from a series of one hundred, in the Victoria and Albert Museum, depicting trades, produced in Canton, circa 1790, shows a Chinese artist painting on to glass with a European engraving propped up in front of him (see William R. Sargent, 'Asia in Europe: Chinese Paintings for the West', in A. Jackson, A. Jaffer (edd.), Encounters: the Meeting of Asia and Europe, 1500-1800, London 2004, pp. 274-275, and plate 21.2). For another example, circa 1800, see P. Conner, Paintings of the China Trade: the Sze Yuan Tang Collection of Historic Paintings, Hong Kong 2013, p. 118, no. 103.A Chinese porcelain dish of circa 1795 bears a design derived from an English engraving of 1794 of Fort William (the Company settlement which became Calcutta); the service of which the dish was part was probably produced for export to India for the use of Company employees (see P. Conner, The China Trade, 1600-1860, Brighton 1986, pp. 100-101, nos. 135 and 136). A second example is a painting on linen or silk by a Chinese artist of the late 18th Century, after a print depicting Stockholm harbour by the Swedish artist Olaf Jacobsson Arre (1731-1809). Conner notes that 'while following the original engraving in most respects, the Cantonese export artist has lent a decidedly Chinese quality to some of the ships in the harbour' (see P. Conner, op. cit. (2013), p. 85, no. 74).The copying of a Daniell print here represents an interesting complication of the direction of influence, for the Daniells were amongst the first British artists to visit China (in their case, on their homeward journey from India in 1793-94 as part of a convoy including Lord Macartney, himself returning from an embassy). Thomas Daniell produced views of the waterfront at Canton (from which prints were derived): see P. Conner, The Hongs of Canton: Western Merchants in South China, 1700-1900, as seen in Chinese Export Paintings, London 2009, pp. 61-63, and figs. 2.33 and 2.34. However, as Sargent and Conner note, prints and illustrations seem to have been the main source for the Asian artists.The Cantonese artists, in their frequent depictions of the Hongs (waterfront offices and warehouses) at Canton and the European 'factories' there, were used to portraying streets and buildings, as well as the population filling them: see, most strikingly in relation to our painting, an 1807 work showing a street scene with officials arriving outside the hongs before the trial of European seamen in Canton (see P. Conner, 2013, p. 142, no. 127). Here then, in our painting, they combine their source in a European print with the sort of scenes they were already painting of their home background - while doubtless being aware of the commercial possibilities of producing a view of Calcutta for British consumption. While our painting is still in gouache on paper, its scale is clearly related to a new familiarity with Western oil paintings of the late 18th Century.The view in our painting is a close copy of the print (coloured etching with aquatint) depicting Old Court House Street from the north, no. 9 from Thomas Daniell's Views of Calcutta, 1788 (illustrated in, for example, M. Archer, Early Views of India: the Picturesque Journeys of Thomas and William Daniell 1786-1794, London 1980, fig. 12; or J. P. Losty, Calcutta: City of Palaces, London 1990, p. 57, fig. 27).Archer writes in his caption:Old Court House Street ran north-south from the Old Court House in Tank Square along the eastern side of Government House to the Maidan. Its comfortable mansions of many different designs are set in compounds on either side of the road. The street is busy with varying forms of Indian and British transport - an elephant, a canopied bullock carriage, sedan chairs, palanquins and carriages. People of many types, including an ascetic, mingle in the road.For further information on this lot please visit Bonhams.com
A Mughal prince standing in a landscape, holding a musket, sword and shield, formerly from an album made for William Fraser Mughal, Delhi, circa 1800pencil and gouache on paper, blue and orange gold-decorated inner borders, fine floral outer border painting 187 x 105 mm.; album page 312 x 208 mm.Footnotes:ProvenanceMalcolm R. Fraser, descendant of William and James Fraser.Sotheby's, Fine Oriental Manuscripts, Miniatures and Qajar Lacquer, 13th-14th October 1980, lot 211 (not illustrated).Formerly in the collection of Saeed Motamed (1925-2013).Christie's South Kensington, The Saeed Motamed Collection: Part II, 7th October 2013, lot 271.Private UK collection, 2013-present.Five pages from the same album, all but one with the same distinctive floral borders as the present lot, were sold at Sotheby's, Arts of the Islamic World, 3rd October 2012, lots 85-89, amongst a section (lots 81-102) of works formerly in his possession. The borders of lots 82 and 84-87 are particularly close to that of our painting, and imitate 'high' Mughal 17th Century album pages.All were formerly possessed by William Fraser (1784-1835), and remained in the Fraser family until the album was dispersed (as lots 183-211) in the 1980 Sotheby's sale mentioned above.For another example of such a painting, a portrait of Sayyid Abu'l Muzaffar Khan, an early 19th Century copy of a 17th Century original by Lalchand (in the Metropolitan Museum of Art, New York), and with the same fine floral borders, see Sotheby's New York, Indian, Himalayan and Southeast Asian Art, 6th October 1990, lot 74.For further information on this lot please visit Bonhams.com
Maharajah Jam Ranmalji (reg. 1820-52), seated on a terrace with two courtiers, Bhavsar Mona and Khavas Demar Nawanagar, Kathiawar, Gujarat, circa 1840-50gouache and gold on paper, red border 356 x 460 mm.Footnotes:For a very similar composition of this Gujarat ruler and two of his courtiers, with identifying inscriptions, see Sotheby's, Art of Imperial India, 2014, lot 286; the same painting also at Christie's, Indian Art Online: Painting the Maharaja, 18th-25th May 2017, lot 14.The Jams were a Jadeja Rajput clan who had controlled the Kathiawar peninsula since the late medieval period, but there seems not to have been any court-related school of painting there until the 19th Century.For a portrait, continuing a similar style, of Jam Ranmalji's son Jam Vibhaji (reg. 1852-95), in durbar with nautch girls, dated samvat 1921/AD 1864, see Francesca Galloway, Indian Miniatures from the James Ivory Collection, London 2010, text by J. P. Losty, pp. 58-61, no. 15 (where a discussion of the Nawanagar rulers and painting relating to them can be found).A painting of Jam Vibhaji, together with three letters between him and a British civil servant, was offered in these rooms, Bonhams, Travel and Exploration, 10th February 2021, lot 91; and for a painting of him on horseback, see Bonhams New York, Indian, Himalayan and Southeast Asian Art, 18th September 2013, lot 164. He was the adoptive father of Ranjitsinghi, the famous cricketer who played for Cambridge, Sussex and England in the 1890s.For further information on this lot please visit Bonhams.com
LI FENGGONG (1884-1967) INK PAINTING OF GUANYIN, DATED 1938AD 李鳳公（1884-1967） 觀音圖 絹本設色 立軸題識: 俊齋居士供養戊寅十月李鳳公熏沐敬寫鈐印: 易畫室主、鳳公五十以後作、龍瞑家法ink and colour on silk, dated to the 10th month of the Wu Yin year, corresponded to 1938AD, signed and sealed 102cm x 40.4cm Private Scottish collection, Kirkcudbright; Acquired by a family member in Asia when working for Jardine Matheson in Hong Kong. A collection of Asian art was shipped back to Scotland over the years adorning a country house; Thence by descent.
A Nepalese/Tibetan copper-alloy figure of Jalamanusha16th/17th centuryThe chimera typically depicted with human head and torso, wearing a five-pointed diadem, their neck, chest and arms bedecked in beaded jewellery, both hands holding an implement before their torso, all above a bird lower body with feathered wings curling into clouds, a long tail, and the talons of a bird of prey, standing on a stepped circular base, with traces of gilt overall, 10.7cm high.尼泊爾/西藏十六/十七世紀 銅嘉拉滿努沙像Cf. Jalamanusha (aquatic being), later known in India as Kinnara and in Tibet as Miamchi, is an originally Nepalese aquatic deity, or 'rain child', connected to the ancient concept of 'weather gestation' that is ubiquitous in South Asian art. In his article 'Does Art Imitate Life or Life Imitate Art? Nepal has a unique answer', in Orientations, March/April 2017, pp. 118-127, Gautama V. Vajracharya explains how the fundamental importance of monsoons to the economy of the region means that all the local deities, before they became associated with Buddhist or Hinduism, were originally related to atmospheric events.Vajracharya also points out that the cloud-motif carved around the false entrances of ancient monolithic stupas in Nepal is known to Newari craftsmen as lahpvah, a classical Newari word for amniotic fluid; he links this to the pre-Hindu and pre-Buddhist concept of atmospheric gestation, where not only the terrestrial waters (rivers), but also the celestial ones (rain clouds) were seen as mother goddesses; ideally the cloud-mothers would conceive in autumn to then give birth to their rain-children at the very beginning of the monsoon. Such atmospheric gestation is the subject of the ceiling painting at Cave no. 1 in Ajanta, India, where, among other representations, there are images of human babies whose limbs gradually turn into clouds. This is the most likely origin of the Newari name for the cloud-foliage motif in Vajracharya's view, as well as one of the first representations of Jalamanusha.Prior to taking the current form of half-human, half-bird creature, the author explains how originally Jalamanusha was depicted as a fetus visualised in the cloudscape, originally with the lower body turning into amniotic fluid or foliage, like in the Ajanta paintings. It is via Gupta depictions, where the cloud scrolls are interpreted as feathers, that Jalamanusha is then identified with the pre-existing depiction of a half-human, half-bird chimera. The iconography of the present lot, with its feathers curling into a cloud-foliage shape, perfectly resonates with this view of the aquatic deity and indicates a strong Whilst relatively common in Southeast Asian iconography, Tibetan or Nepalese depictions of Miamchi, or Jalamanusha, are much rarer. See Bonhams, New York, 19 March 2018 for a Nepalese covered box in the form of Jalamanusha; and two more in the Dallas Museum of Art (acc. #PG.2012.6) and another in the Nalin collection published in Vajracharya, Nepalese Seasons, Rain and Ritual, New York, 2016, p.45, no.5.Condition Report: Generally in good condition. Indentation, tarnish to metal, and scattered verdigris commensurate with age. Some expected casting flaws.
A fine Chinese copper-red 'dragon' cylindrical snuff bottleQing dynasty, Imperial workshops, 1810-1860With wide mouth with gently convex lip and slightly concave base surrounded by a wide, flat foot, the cylindrical body finely painted in a bright underglaze red with a pair of sinuous dragons emerging from tumultuous waves to chase a flaming pearl, the shoulder and neck with further clouds, the copper fired to a lively red with a few spots of greyish-green under the slightly bluish, transparent glaze, associated stopper, 7.9cm high without stopper.一八一零 - 一八六零 御製釉裡紅龍紋鼻煙壺Cf. the painting on the present bottle is extremely precise and fired to an ideal colour; see a slightly earlier bottle of slightly different shape but comparable decoration in the Meriem collection, part II,19 March 2008, lot 201.Snuff bottles from a Private Collection (Lots 95-238), mostly formed by Frederick George Ruddle (1886-1960), from Carshalton, Surrey, and Lily Beatrice Ruddle (neé Etherington) 1887-1972, from Sutton, Surrey.The Ruddle family were owners of a large bakery in Sutton, and property developers in Sutton and Carshalton, SurreyFrederick was by trade, a sign writer; Frederick and Lily left England initially for South Africa and subsequently for Australia, where they settled shortly before the first world war. They had eight children.Frederick then took up an executive role for an Australia, Southeast Asia and South Sea Island trading company, Burns Philp, which took him to travel extensively in East Asia; it is presumably during the course of these travels that he had the opportunity to discover Chinese and East Asian Art, and start amassing his collection of snuff bottles, amongst other things. He was a passionate collector of many things beside snuff bottles, including Oceanic Art and Orientalia.In 1978, the current vendor, a grandchild of Frederick, came to England to attend Cambridge university. At the time he was given power of attorney from the executors of the estate to assist in and arrange the sale of Frederick and Lily’s remaining real estate and properties in Sutton and Carshalton.As thanks for his assistance, the executors, Molly and Hilda Ruddle, gave him the collection of snuff bottles, in 1980, which he lovingly preserved, researched, and added to over the yearsCondition Report: Some overpainting to base and edge of foot, approx. 30mm long.Expected mild firing imperfections and surface wear.
Seven 20th century studio paintings to include: Three still life studies signed J. Ball, each with another painting verso, oil on masonite, one dated 1964, 41 x 31 cm; John Edwards - 'The Street Terling, Essex' (1977), oil on masonite, signed verso; Fox stalking two rabbits, oil on canvas board; A labrador resting, oil on board, unsigned; together with an Asian style oil painting of a tiger (7)
A varied collection of 55 Chinese art reference books mainly on lacquer work, jade and paintingsVarious dimensions Provenance: The collection of Galerie Beaute Chinoise, Paris, France Chinese lacquer (The Arts of the East) - Hardcover , Garner, Harry Mason - ISBN 0571112862Chinese Jade - From the Neolithic to the Qing - Softcover , Rawson, Jessica;Michaelson, Carol - ISBN 9780714124094Jade - Hardcover , Keverne, Roger - ISBN 9780442308476Chinese Jades Throughout the Ages - Connoisseurship of Chinese Jades (Chinese Jades Throughout the Ages - Connoisseurship of Chinese Jades)- Hardcover , Li Jiu-Fang - ISBN 1883662133La Maladie de Porcelaine ... East Asian Porcelain From The Collection of Augustus the Strong (English and German Edition) - Hardcover , Eva Strober - ISBN 9783361005303Pictures for Use and Pleasure – Vernacular Painting in High Qing China - Couverture rigide , Cahill, James - ISBN 9780520258570La ceramique Tang et Liao , William Watson - ISBN 2719102229East Asian Lacquer: The Florence and Herbert Irving Collection - Hardcover , Watt, James C. Y.;Ford, Barbara Brennan - ISBN 0810964066Taoism and the Arts of China - Softcover , Little, Stephen;Schipper, Kristofer;Hung, Wu;Steinhardt, Nancy - ISBN 9780520227859Chinese Ceramics: Porcelain of the Qing Dynasty, 1644-1911 (V and A Far Eastern) - Softcover , Rose Kerr - ISBN 9781851772643Chinese Jades (Victoria and Albert Museum Far Eastern Series) - Hardcover , Wilson, Ming - ISBN 9781851774418Three Decades of Acquisition at the Art Museum, The Chinese University at Hong Kong - Hardcover , Peter Y.K. (ed.) Lam - ISBN 9789627101581Masterworks of Chinese Art: The Nelson-Atkins Museum of Art - Hardcover , Mackenzie, Colin - ISBN 9780615488820LA CITE INTERDITE A MONACO (ANGLAIS / FRANCAIS): VIE DE COUR DES EMPEREURS ET DES IMPERATRICES DE CHINE - Hardcover , DEROCHES JEAN-PAUL/ELISSEEFF DANIELLE/YUEGONG WANG/LIU LIYONG/GRIMALDI FORUM - ISBN 9782370740564Chinese Art and Design - Victoria and Albert Museum - Softcover , Wilson, Verity; Clunas, Craig - ISBN 9781851770175Jade Artifact Collection in the Palace Museum (Chinese and English) , Shousha Zhang Guangwen - ISBN 9787800472169Beauty Revealed: Images of Women in Qing Dynasty Chinese Painting - Hardcover , - ISBN 9780971939714Later Chinese Jades: Ming Dynasty to Early Twentieth Century - Hardcover , Bartholomew, Terese Tse;Knight, Michael;Li, He - ISBN 9780939117413CHINE. Tresors et splendeurs , AA. VV. - ISBN 2700030585xThe Art Book of Chinese Paintings - Couverture souple , Deng, Ming - ISBN 1592650511The Odyssey of China's Imperial Art Treasures , Jeannette Shambaugh Elliot,David Shambaugh - ISBN 9780295986883L'ECOLE DE LIGNAN(1870-1950): L'EVEIL DE LA CHINE MODERNE - Softcover , Sous La Direction De Bellec Mael, Mael - ISBN 9782759602827Chinese Jades from the Collection of Alan and Simone Hartman , Kleiner, Robert - ISBN 9627287296Jade : From Emperors to Art Deco , Rey Marie-Catherine - ISBN 9782757211779Masterworks of Chinese Lacquer from the Mike Healy Collection - ISBN 9780937426661Far Eastern Lacquer - Softcover , Kuwayama - ISBN 0875871089Asian Art , Michael Kerrigan - ISBN 9781844512638LA SAGESSE DU BOUDDHA - Softcover , Boisselier, Jean - ISBN 9782070532629Jade selections from Yuan, Ming and Qing Dynasties in the Tibet Museum (English and Chinese) - ISBN 9787501017782Chinese Ceramics: The Koger Collection - Softcover , Ayers, John - ISBN 9781570030109La vie des Chinois au temps des Ming (L'Histoire au quotidien) - Hardcover , Collectif - ISBN 9782035053763TRES RICHES HEURES COUR CHINE: CHEFS D'OEUVRE DE LA PEINTURE IMPERIALE DES QING 1662-1796 (RMN ARTS ASIATIQUES EXPOSITIONS) - Softcover , Collectif - ISBN 9782711850648Symbols and Rebuses in Chinese Art: Figures, Bugs, Beasts, and Flowers , Hang Jing Pei - ISBN 9781580085519Earth Transformed: Chinese Ceramics In The Museum Of Fine Arts, Boston - Hardcover , Tung, Wu - ISBN 9780878464777Chinese Carving , Craig Lunas - ISBN 9789813066120Chinese Collection: Selected Works from the Norton Museum of Art. - Hardcover , FINLAY, John R., Colin Mackenzie And Jenny F. So. - ISBN 9780943411415Chinese Jades Throughout the Ages: Connoisseurship of Chinese Jades - Hardcover , Po-ta-yang - ISBN 1883662141L'ombre des pins.chefs-d'oeuvre d'art chinois du musee de shanghai (A) (COEDITION ET MUSEE SOMOGY) - Softcover , Mus-ee-rath-geneva-switzerland - ISBN 9782850567810Asian Art: Inlcuding the Arts of Islam - Hardcover , Mason, Lark E. - ISBN 9781851494156The Emperor's Private Paradise: Treasures from the Forbidden City - Hardcover , Berliner, Nancy - ISBN 9780300163896Symbols on Chinese Porcelain: 10,000 x Happiness - Hardcover , Strober, Eva - ISBN 9783897903500Virtuous Treasures Chinese Jades for the Scholar's Table , University Museum and Art Gallery the Univeristy of Hong Kong - ISBN 9789628038831Tresors de la Chine imperiale - Softcover , Maxwell Hearn - ISBN 9782733502686The Asian Collections (THE ART GALLERY) - Softcover , Jackie Menzies - ISBN 9780734763518LES CARNETS SECRETS DE LI YU - Softcover , DARS, Jacques - ISBN 9782877306645JADE - PROMESSES D'eTERNITe , COLLECTIF - ISBN 9782359061307The British Museum Book of Chinese Art /anglais - Softcover - ISBN 9780000026705 Collections Baur Geneve From Innovation to Conformity - Chinese Lacquer from the 13th to 16th Centuries - Bluett and Sons Sublimes Matieres - A travers 5000 ans de Creation en Chine Clay and Brush: The Ceramic Art of China - The Collection of the Lowe Art Museum University of Miami The Magnificent Ivories of China - Art Gallery of Greater Victoria Collection Alexis Rouart (Deuxieme Vent) - Objets d'Art de la Chine et du Japon The Baur Collection Geneva - Chinese Jqdes and Other Hardstones by Pierre - F. Schneeberger (Keeper of the Baur Collection) Art Chinois - Neolithique Dynastie Song - Collection Umbert Draghi
Beautiful oil on canvas painting by New York City artist Anna S. Fisher. A bunch of white and blue chrysanthemums is set in a white porcelain vase on which two Asian females are strolling leisurely. Fisher's still-life is displayed in an interior where a blue-green background highlights the subtle quietness of her composition. Housed in the original carved wooden frame. Includes a plaque on the frame: Anna S. Fisher N.A. Artwork dimensions: 13.50"L x 18"H. Frame size: 21"L x 25"H x 2"W. Artist: Anna S. Fisher (American, 1873-1942)Issued: c. 1920Country of Origin: United StatesCondition: Age related wear.
Keith Proctor (British, b. 1961) Don't Get Me Started, 2011 Oil on Canvas Signed by artist on lower right Framed Measures approx. 49cm x 49cm (19" x 19") Keith Proctor (British, b1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Sandra Blow (British, 1925-2006) Cambridge, 1999 Silkscreen print in colours Signed and numbered 45/8547/100 Framed and glazed Measures approx. 72cm x 72cm (28.5" x 28.5") Sandra Betty Blow (14 September 1925 – 22 August 2006) 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 sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Keith Proctor (British, b. 1961) Small Change! Oil on Canvas Signed by artist on lower right Framed Measures approx. 49cm x 60cm (19" x 24") Some damage (moulding) to paint & canvas. Keith Proctor (British, b. 1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Keith Proctor (British, b. 1961) Down By The River, 2012 Oil on Canvas Signed by artist on lower right Framed Measures approx. 60cm x 44cm (24" x 17") Keith Proctor (British, b1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Keith Proctor (British, b. 1961) Just Us Two Oil on Canvas Signed by artist on lower right Framed Measures approx. 90cm x 68cm (35.5" x 27") Keith Proctor (British, b1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Beryl Cook (British, 1926-2008) Street Market Screenprint on paper Signed in pencil lower right Published by Alexander Gallery Publications Blind stamped FDA Framed and glazed Measures approx. 40cm x 27cm (16" x 10.5") Beryl Cook, OBE (10 September 1926 – 28 May 2008) was a British artist best known for her original and instantly recognisable paintings. Often comical, her works pictured people whom she encountered in everyday life, including people enjoying themselves in pubs, girls shopping or out on a hen night, drag queen shows or a family picnicking by the seaside or abroad. She had no formal training and did not take up painting until her thirties.She was a shy and private person, and in her art often depicted the flamboyant and extrovert characters so different to herself. Cook admired the work of the English artist Stanley Spencer, his influence evident in her compositions and bold bulky figures. Another influence was Edward Burra, who painted sleazy cafés, nightclubs, gay bars, sailors and prostitutes, although, unlike Burra, she did not paint the sinister aspects of scenes. She had an almost photographic memory. Although widely popular and recognised as one of the most well-known contemporary British artists, Cook never enjoyed acceptance by the art establishment. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Beryl Cook (British, 1926-2008) Two On A Stool Screenprint on paper Signed in pencil lower right Published by Alexander Gallery Publications Blind stamped ECA Framed and glazed Measures approx. 40cm x 27cm (16" x 10.5") Beryl Cook, OBE (10 September 1926 – 28 May 2008) was a British artist best known for her original and instantly recognisable paintings. Often comical, her works pictured people whom she encountered in everyday life, including people enjoying themselves in pubs, girls shopping or out on a hen night, drag queen shows or a family picnicking by the seaside or abroad. She had no formal training and did not take up painting until her thirties.She was a shy and private person, and in her art often depicted the flamboyant and extrovert characters so different to herself. Cook admired the work of the English artist Stanley Spencer, his influence evident in her compositions and bold bulky figures. Another influence was Edward Burra, who painted sleazy cafés, nightclubs, gay bars, sailors and prostitutes, although, unlike Burra, she did not paint the sinister aspects of scenes. She had an almost photographic memory. Although widely popular and recognised as one of the most well-known contemporary British artists, Cook never enjoyed acceptance by the art establishment. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lin Fengmian 林风眠 (1900 - 1991) Pair of Herons 双鹭 Oil on canvas Signed and mounted Measures approx. 60cm x 80cm Lin Fengmian was a pioneer of modernism known for his brilliant hybridization of Chinese and European styles, subjects and methods. In his role as a prominent educator, Lin laid the foundation for Chinese modern art. Throughout his long and productive life, Lin absorbed a wide array of stylistic approaches into his paintings, and was one of the earliest Chinese artists to make a serious study of European modern art along with traditional ink paintings. By 1920 Lin was working as a signboard painter in Marseilles, sketching and studying French in his spare time. Lin’s work as a sign painter would help develop the steadiness and clarity of his later brushwork. Following six months of study at the School of Fine Arts in Dijon, Lin left for Paris where he studied at the École des Beaux Arts and the studio of Fernand Cormon (1845-1924). He had a highly eventful year in Germany, where he saw the works of German Expressionists and held a one-man exhibition, married his first wife, and exhibited 42 paintings in an Exhibition of Traditional and Modern Chinese Art. Soon after, with the untimely and sudden death of his wife and first-born child, the stunned Lin’s art and outlook were transformed. He remarried in 1925 and then returned to Beijing in 1926, committed to revitalizing Chinese art through education. After serving as the first principal of the National Beijing Fine Art School he founded the Hangzhou National College of Art where he taught Western style painting to students including Zao Wou-Ki, Chu Teh-Chun, and Wu Guanzhong. Lin Fengmian’s life was marked by numerous upheavals and tragedies including the destruction of may of his works during the Sino-Japanese War and Cultural Revolution. After leaving China in 1977 to reunite with family members Lin Fengmian ultimately settled in Hong Kong where he died in 1991 at the age of 90 years old. His work can be found in many museum collections including the Metropolitan Museum of New York, the Cernuschi Gallery of Asian Arts of Paris, and the Art Gallery of New South Wales. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Mary Shaw (British, 20th century) Red Poppies Acrylic and mix media on board Framed and Unglazed Measures approx. 58cm x 58cm (23" x 23") Mary Shaw was born in Bristol, where she still resides today. An entirely self- taught artist, she demonstrated an aptitude for painting from childhood, and completed her first commission at the age of just thirteen. As an adult, she spent four years living in Zimbabwe and Cape Town, where she began to establish herself as a professional artist. On returning to the UK, Mary rediscovered her affection for the English countryside, having been struck by the vastly differing landscapes of her two homes. She was particularly interested in the rare and endangered species found amongst England's hedgerows, and began to depict them in her paintings. Created using a variety of media, Mary's beautiful pieces have a delicate touch which seem to enchant all fortunate enough to encounter them. Loosely- painted organic foregrounds contrast with areas of exquisite detail; often a butterfly, kingfisher or field mouse is found nestled within the flowers. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Raymond Leech RSMA (British, b.1949) Another One Of Those Crazy Feelings Oil on Board Signed by artist on lower left Comes with Certificate from Jamie Leigh Fine Art Together with limited edition signed print of same painting. Framed Measures approx. 60cm x 58cm (24" x 23") Raymond Leech (British, b 1949) studied fine art and graphics at Great Yarmouth College of Art from 1965 to 1970. Leech works across various mediums and incorporates a sense of motion, romance, and rhythm through his figurative works and coastal scenes. Leech is part of the Royal Society of Marine Artists, the Guild of Norwich Painters, and the East Anglian Group of Marine Artists and he has won various awards for his works, such as the Not The Turner Prize. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Vladimir Griegorovich Tretchikoff (South African, 1913-2006)Zulu Girl signed and dated 'TRETCHIKOFF/ 51' (lower right)oil on canvas 66.5 x 49.5cm (26 3/16 x 19 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist by Mark & Aleen Dawson;Bequeathed to Aleen Dawson's niece, Donna Regan Lefeve;By direct descent to the current owners.Never exhibited in the lifetime of the artist, this work was painted during Tretchikoff's golden decade. It was in the 1950s that he produced such mass-market masterpieces as the Chinese Girl (a high-profile sale was handled by Bonhams in 2013), Miss Wong and Balinese Girl. The Broadway actor Mark Dawson purchased Zulu Girl in 1953, when Tretchikoff brought his show to Chicago. The second painting that Dawson acquired from the artist was the iconic Lost Orchid (seen also in this catalogue).It is probably an early version of the Zulu Girl, a work that first became available in reproduction in 1952, during Tretchikoff's tour of South Africa. The following year, he brought both versions to the USA for his tour of North America. After the phenomenal success of the tour, he took one of the Zulu Girls to London, where Frost & Reed, an old Bond Street art dealership, had lithographs made of the painting. Tretchikoff may be credited with introducing the African theme in popular prints of the post-war Britain. If we examine the issues of the Art Bulletin, a journal of the Fine Art Trade Guild, the leading association of British makers, distributors and framers of art reproductions, we will notice an absence of African portraits until Tretchikoff's Zulu Girl appeared on the market in 1955. The Zulu Girl is Tretchikoff's typical 'exotic' portrait. In his oeuvre, it is this kind of portraits that is most sought after. Unlike his pictures of Asian women, it is purely South African in its subject matter. With such studies, Tretchikoff created images of serenity for the industrialised world. In his exhibition catalogues, Zulu Girl was described as follows, 'A portrait in repose, suggesting the essential spirit of Africa, still so little known and so greatly misunderstood by the European.'The early version, like the often-reproduced picture, is dated 1951. The most obvious difference is the presence of a dappled red-and-blue background in the work in the Dawson collection. However, a more significant difference is the unembellished look of the model in this version. Tretchikoff tended to produce pastiches, where visual elements of different cultures were put together for effect. In the better-known Zulu Girl, as well as in many other 'ethnic' portraits by Tretchikoff, the model wears European jewellery that contrasts with her traditional African dress. Her large gold earrings, bracelet and necklace were unaffordable to a Zulu woman in apartheid South Africa.Depicting the same model without the inappropriate accessories, the Zulu Girl from the Dawson collection is a more authentic representation of African reality.We are grateful to Boris Gorelik for his completion of this footnote.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
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