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Click here to subscribeCa. AD 1300 - 1500. A finely preserved example of a decorative beaker, free-blown and with a narrow body that flares outward to a wide mouth with a slightly thickened rim. The vessel has developed attractive rainbow iridescence across its surfaces. For similar see: Christie's, Live Auction 5708, Art of Islamic and Indian World, Lot. 105. Size: 110mm x 65mm; Weight: 35g Provenance: Prince collection, 1990s-2014; Ex. Thierry De Maigret, 17 April, 2010, Lot 12.
Ca. 9th - 10th century AD; Ca. 9th - 10th century AD; Ca. 12th - 13th century AD; Ca. 17th century AD; Ca. 17th - 18th century AD; Ca. 18th century AD. A large group of metalwork, including an Indian brass bottle with a screw top, two Fatimid bronze sprinkler bottles of footed globular form, the neck decorated with six knobs, one with an inner base missing, a Khorassan spouted jug with copper inlay, of bottle form, with a lamp-shaped spout with a lion-faced hinged lid, complete with its handle. The jug has incised decoration with two panels engraved with animals, two rounded with birds, and three panels of calligraphy, one inlaid with copper, with a bell or mihrab-shaped lozenge surrounded by a copper inlay. Also included are two bronze candlestick tops, two shallow bronze dishes, one of which is decorated with four panels of calligraphy, four silver-inlaid crescent moons, and a central arabesque knot with six floral panels on the rim. The outer edge is adorned with six panels of calligraphy and has an old collection label marked 'R.s 21'. The second dish is engraved with a central roundel showing a winged horse against floral arabesques, surrounded by four panels of calligraphy and four roundels, with the edge separated by six panels of calligraphy and six roundels, and the side with five panels of calligraphy and five roundels. A shallow bronze dish stands on three feet, with the upper rim decorated with nine circular stamps and traces of calligraphy, now illegible, and the outer rim decorated with six panels engraved with animals, some retaining traces of inlaid silver wire. Additionally, there is an Islamic brass bottle with oxidised silver inlay, decorated with horizontal bands and vertical stripes of inlaid floral decoration. A Seljuk brass dish of scalloped form, decorated with engraved Kufic inscriptions and arabesque panels around a central geometric knot with eight lobes, is also included. This type of scalloped dish is evidence of the origin of the shapes of later Chinese celadon ware. An Islamic brass stand of octagonal form stands on eight attached feet, decorated with repoussé ovals between the feet, four with calligraphy and four with floral and geometric decoration above. The size is 30 cm in width, including feet, by 6.5 cm in height, with a diameter of 16.5 cm. Finally, an early Islamic cup, made of brass with high copper content, is circular with a lead-shaped handle engraved with a bird, and the outer rim is engraved with a rope pattern, with the base curiously ‘scratched’ with a spiralling ‘movement’ of hatching. Size: 490-560mm x 375-450mm; Weight: 9.2kg Provenance: Previous property of an Islamic art professional, previously apart of the Henri René d’Allemagne Collection, 1979. Acquired by Ahuan U.K Ltd. from M. Roderick d’Allemagne, grandson of Henri René d’Allemagne (1836 - 1950.) This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 1600 - 1650. A processional standard called an 'alam'. This standard has a body reminiscent of a figure-of-eight and is decorated with floral motifs and Arabic inscriptions. There is a tubular socket at the bottom for mounting and two stylized dragon heads attached to the top of the standard. For similar see: Christie's, Art of the Islamic and Indian Worlds, Live Auction 12241, Lot. 15. Size: 670mm x 220mm; Weight: 960g 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.
Ca. AD 200 - 300. A Gandharan schist, depicting the seated figure of Maitreya, exuding an aura of profound spirituality and grace. The figure assumes a tranquil posture, with hands placed in the dhyana mudra. In his lap, he holds a delicately shaped, pear-like flask. Maitreya sits in the lotus position atop a clothed plinth with two enigmatic beasts, each positioned on opposing corners, serving as emblematic guardians. Behind his head, a halo emanates. For similar see, Christie's LIVE AUCTION 1265 INDIAN AND SOUTHEAST ASIAN ART, lot 15. Size: 470mm x 350mm; Weight: 23.45kg Provenance: From the collection of a London gentleman; formerly acquired in the early 2000s in France; previously in 1970s European collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
ART REFERENCE. – J. HACKIN and Osvald SIREN and Langdon WARNER and Paul PELLIOT. Studies in Chinese Art and Some Indian Influences. London: The India Society, 1938. 8vo (281 x 216mm.) Photographic illustrations. (Marginal spotting.) Original cloth-backed boards, dust-jacket (small tears, finger-marked). – And a further five volumes published by The India Society (including St. Kramrisch’s ‘A Survey of Painting in the Deccan’, 1937, 8vo, and Ram Chandra Kak’s ‘Ancient Monuments of Kashmir’, 1933, 8vo, and J.V.S. Wilkinson’s ‘The Shah-Namah of Firdausi’, 1931, 8vo) (6).
A group of 1970s and 1980s women's fashion to include a Maggie carol tapestry jacket, an Art Deco inspired velour jacket, a Maggie white cardigan, a lightly quilted HMC jacket, a snakeskin print, gold and black batwing jacket, a 1970s Wallis carpet jacket a Susan Backhouse suit with Indian style tambour embroidery, Jean Muir culottes and other items (14) all pieces show some wear commensurate with age and use
TWO BOXES AND LOOSE ASSORTED METALWARES to include a copper pedestal bowl, a group of Spanish plated goblets, a quantity of boxed Royal Limoges and Guy Degrenne cutlery, an art deco plated bowl with Bakelite handles, assorted Indian brass for international markets to include a pair of vases, a pair of ornamental scales, a large floral tinted tray, a lidded saucepan, and a standing clock (2 boxes and loose) (s.d)
This elegantly designed cabinet features a rectangular shape and rests on four short, bulbous feet. The front and top are beautifully inlaid with eight-pointed stars made from two intersecting squares, framed by intricate strapwork and nearly square panels. The sides showcase larger eight-pointed stars, while the borders display radiating motifs. The hinged front opens to reveal six drawers adorned with similar inlaid patterns and micro-mosaic panels. Dimensions: 41.2 x 31.8 x 26 cm. Provenance: Christies, Art & Textile of the Islamic and Indian Worlds, 10th - October - 2014, lot 229
This rare and exquisite 18th-19th century enamelled copper huqqa base is adorned with vibrant white and yellow floral motifs set against a rich turquoise background. Likely made in China for the Indian Mughal market. The body of the huqqa base is beautifully decorated with cloisonné enamel, a technique highly valued in both Chinese and Indian decorative arts. Provenance: Christie’s London, auctioned on 27 April 2017 under the sale “Art of the Islamic & Indian Worlds, including Oriental Rugs and Carpets, ” Lot 68, estimated at £6,000–£8,000. Dimensions: 16 cm height
Avinash Chandra (1931-1991) Untitled (Paths) Pen and ink, 1959, signed and dated in black ink, on tissue-thin wove paper, sheet 498 x 373mm (19 5/8 x 14 3/4in)Provenance: Collection of the Late William G. and Mildred Archer; thence by descent. Lot Essay Avinash Chandra was born in Simla, India. He studied at the Delhi Polytechnic Art School between 1947-1951, and achieved early recognition for his work. Aged just twenty-one, he held his first solo exhibition at the Delhi Silip Chakra from which one of his paintings was acquired by Museum of Modern Art, Delhi. In 1955, Chandra married Prem Lata, and when she was awarded a scholarship to study at the Central School of Art in London, Chandra moved with her. The works in this sale date between 1959-60, these were critical years in the artist's development when Chandra spent a significant period living in Belfast and began to implement brighter colours and greater abstraction. It was particularly Chandra's application of vibrant inks and wash (see lots 66 and 67), and the presence of compelling mystical figures, that struck a note with collectors. While exhibiting at the Molton Gallery, London, one of his works was acquired by the famous tenor, Sir Peter Pears. Wide critical acclaim followed, in 1962 the BBC broadcast a dedicated documentary (Art of Avinash Chandra) and in 1965, Chandra's 'Hills of Gold' (1964) became the first work by an Indian-British artist to be acquired by the Tate. His career continued to flourish and throughout his life Chandra exhibited widely, including at major museums including Hayward Gallery and Manchester City Gallery. Indian scenery and heritage remained an important reference point for the artist, as is evidenced in these pen and ink drawings, which bear resemblance to his mid-1950s paintings of Pahalgam, a hill station in Jammu and Kashmir. This work comes to us from the collection of William G. and Mildred Archer. Archer was an expert on Indian poetry, culture and art. Born in 1907, he worked for the Indian Civil Service from 1931 until 1947. Between 1949 and 1959, he worked as the Keeper of the Indian Section at the Victoria & Albert Museum, London.
3rd-2nd millennium B.C. Comprising discoid base, horizontal bands of lines and hatching. See Satyawadi, S., Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 246 grams, 12 cm wide (4 3/4 in.). [No Reserve]Acquired 1990s-2000s. From the late David Gold (d.2015) collection of pottery.David Gold amassed a sizable collection of Indus Valley pottery, both vessels and figurative during his retirement, a plaque to David and his brother was recently unveiled by Westminster Council above 43 Carnaby Street, commemorating their business that made Carnaby Street synonymous with fashion in the 1960s.
3rd-2nd millennium B.C. Comprising a squat jar with flared base and rim, polychrome frieze to the shoulder composed of fish and lozenges. See Satyawadi, S., Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 222 grams, 97 mm wide (3 3/4 in.). [No Reserve]Acquired 1970s-1980. From a London, UK, collection.
3rd-2nd millennium B.C. A squat bowl with polychrome interlocking panels to the shoulder. See Satyawadi, S., Proto-Historic Pottery of Indus Valley Civilisation: Study of Painted Motifs, Perspectives in Indian Art and Archaeology, vol.2, New Delhi, 1994. 214 grams, 12 cm (4 3/4 in.). [No Reserve]From a UK collection of pottery formed in the 1970s.
OTAKAR CILA (Czech / Bohemian 1894 - 1977) - Indian beggars | 1920 | technique: oil on canvas | 70 x 50 cm | signature: bottom right | framed | Lot description | Otakar Cila was one of the most important Czech painters, known primarily for his oriental motifs that depict everyday life in exotic regions. The work "Indian Beggars" from 1920 is an example of his masterful art in the combination of realism and a romanticized view of the Orient. Inspired by his travels in India, Chila has depicted two figures - an older man and a younger boy - in strong daylight in front of a monumental gate, which enhances the authenticity of the scene and the emphasis on textures. This work not only presents the meticulously elaborated details of the figures and architecture, but also speaks to the artist's interest in social issues and human stories, a key element in his work. | condition report*In case of missing photos, please feel free to contact us.
Indo-China.- Straits School (19th century) Four botanical studies, including one of a large butterfly others with various insects, opaque pigments, on Whatman wove paper, one with partial watermark date '1805', various sizes between approx. 365 x 280 mm (14 1/4 x 11 in) and 405 x 330 mm (15 3/4 x 13 in), each corner tipped onto brown paper support, the large butterfly with surface stain in the upper left quadrant, minor handling creases and surface dirt, all unframed, [circa 1805] (4)*** Finely executed botanical studies, probably by a Chinese artist showing the influence of Indian art produced by the "Company School" group of artists working for British patrons; a hybrid of Indo-Chinese influences. Comparative examples of Straits School botanical watercolours were sold from the Carlton Rochell Collection of Company School Paintings (see Sotheby's, An Indian Garden..., 27 October 2021, lots 27, 28, and 29), and in these rooms (lot 178, January 2024).
India.- Fifty-One Photographic Illustrations taken by order of the Government of India of some Selected Objects...of Native Fine and Industrial Art, first edition, introduction by H.H. Cole, 51 woodburytype prints (images approximately 250 x 190mm.), mounted one to a page, printed captions beneath, some marginal soiling to first mount but plates generally clean and rich in tone, some foxing to endpapers and text leaves, hinges weak, original buckram, soiled and with splash stains, 4to, 1883.*** Fine examples of Indian art and manufactures.
Michael Holding signed limited edition print with signing photo To the umpires Michael Holding was malevolent stealth personified so they christened him Whispering Death. His over to Geoff Boycott in the cauldron of Kensington Oval, Barbados in 1981 has gone down in cricketing history as the finest, fastest, most ferocious gambit of all time.Michael took 249 Test wickets at 23.69 in his career and in one match took 14 wickets for 149, the finest match figures ever by a West Indian.This stunning print shows Michael in full flight seconds away from terrorising another batsman. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Desmond Haynes signed limited edition print with signing photo The West Indies team of the 1980's were undefeated in every test series they played. Regarded as one of the best opening pairs of all time, with Gordon Greenidge, Desmond's test average was 42.29 from 116 test matches and 41.38 from 238 one-day international matches.This stunning print shows Desmond despatching Ian Botham of England to the boundary in typical West Indian fashion during the fifth Test Match at Headingley, Leeds in July 1980. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
EDUARDO BATARDA - NASC. 1943, "Segundas núpcias (D' Après X)" - from «Comics» series, Indian ink and watercolour on paper, signed and dated 1972. Notes: it was part of the exhibition "Eduardo Batarda - Pinturas 1965-1998", held at José Azeredo Perdigão Modern Art Centre - Calouste Gulbenkian Foundation, Lisbon, March 1998, and is represented in the respective catalogue, p. 49, no. 34., Dim. - 39,5 x 29 cm
Ca. AD 300.A schist carving depicting a standing couple, most probably Hariti and Panchika, respectively the Goddess of Fertility and the God of Wealth. Cf. Christie's, Live Auction 2271, Indian and South East Asian Art: Including Highlights from The Star Collection, 20 Mar 2009, Lot 1232.Size: L:335mm / W:200mm ; 6.41kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 1100 - 1200. A bronze ewer with a piriform body resting atop a flared foot with a ribbed edge. The spout is modelled in the shape of a bull's head with a pierced nose, accentuated ears and curved horns. The long handle connects the lower body with the spout and a decorative band runs around the bottom of the vessel. For similar, please see Christie's Live Auction 4914, Islamic & Indian Works of Art & Textiles, 27 April 2012, Lot 734. Size: 200mm x 90mm; Weight: 545g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Indian School (2nd half 19th century): Miniature Portrait of a Rajah, sitting on a chair beside a tripod table holding a talwar on a carpet 15.5cm by 10.5cm, in an ivory-mounted frameFor a related portriat of Gambhir, the Maharajah of Rhapipla, dated to circa 1860 see Smithsonian National Museum of Asian Art, accession number S1994.10.1With Non-Transferable Standard Ivory Exemption Declaration Number V9NC77PV
ONE BOX: Various art interest, to include: ROBERT A M STERN: THE ARCHITECT'S EYE - AMERICAN ARCHITECTURAL DRAWINGS FROM 1799-1978, New York, Pantheon,1979; GENE BARO: CLAES OLDENBURG - DRAWINGS AND PRINTS, London, Chelsea House, 1969; KYNASTON McSHINE (Ed): ANDY WARHOL - A RETROSPECTIVE, New York, The Museum of Modern Art, 1989; ELLEN G LANDAU: JACKSON POLLOCK, New York, Harry N Abrahms, 1989; ROBERT SMITHSON: SCULPTURE, Ithaca, Cornell University Press, 1981 NANCY HOLT (Ed): THE WRITINGS OF ROBERT SMITHSON, New York, New York University Press, 1979; CAROLINE TISDALL: JOSEPH BEUYS, London, Thames and Hudson, 1979; PETER T FURST AND JILL L FURST: NORTH AMERICAN INDIAN ART, New York, Rizzoli / Art Press, 1982
ASIAN AND INDIAN ART INTEREST: 5 Titles: MULK RAJ ANAND, LOTIKA VARADARAJAN ET AL: HOMAGE TO KALAMKARI (WITH REFERENCE TO THE PAINTED CLOTHS OF INDIA, Bombay, Marg publications, 1979 reprint, with decorative cloth boards; CHEWON KIM AND G ST G M GOMPERTZ: THE CERAMIC ART OF KOREA, london, faber and Faber, 1961; W ZALF (Ed): BUDDHISM - ART AND FAITH, London, British Museum Publications, 1985; THE ART OF THE CH'ING DYNASTY FURNITURE, Taipei, national Museum of History, ND. Held within original slipcase; T C LAI: CHINESE PAINTING - ITS MYSTIC ESSENCE, Kowloon, Swindon Book Company, 1974. inscribed to half title by author (5)
INDIAN ART INTEREST: 3 Titles: PRATAPADITYA PAL: THE PEACEFUL LIBERATORS - JAIN ART FROM INDIA, Los Angeles County Museum of Art, Thames and Hudson, 1994; MUKANDI LAL: GARHWAL PAINTING, New Delhi, Publications Division - Ministry of Information and Broadcasting, 1968; JYOTINDRA JAIN: KALIGHAT PAINTING - IMAGES FROM A CHANGING WORLD, AHMEDABAD, MAPLIN PUBLISHING, 1999 (3)
A MOTTLED PINK SANDSTONE FRAGMENT DEPICTING THE MATRIKA SHASHTHI, MATHURA, INDIA, 2ND/3RD CENTURY her head with earrings and a flower emblem in her hair, framed by an arched canopy fringed with five female figures, mounted, 28 x 36 x 11cmProvenance: Private collection, USA 1985-2000Published: Siudmak 2017, no.5Sashthi, 'the sixth', is a goddess thought to have originated in Bengal. She is particularly associated with children and is worshipped by women wanting to conceive. She is often depicted with six heads. Joshi (1986, p.11) noted that eleven figures of this iconography were recorded as being found in Mathura, including two kept in the Indian Art Museum (now the Asian Art Museum), Berlin. The most impressive example to survive, albeit fragmentary, is the sculpture in the Mathura Museum that Vogel (1930 pl. 40) incorrectly identified as Queen of the Nagas.
An Edwardian silver scent bottle case, relief decorated with roundels of art nouveau style female portraits, having hinged top and opening to reveal a small glass scent bottle, by Crisford & Norris Ltd, Birmingham 1905, and an Indian silver scent bottle of globular form, embossed with stylised foliage, 5.5cm high. (2)
A SMALL JAPANESE GOLD AND BLACK LACQUER NANBAN KAMABOKO-BAKO (COFFER) MOMOYAMA PERIOD, LATE 16TH CENTURY Of rectangular shape with a domed hinged cover, decorated with vertical bands of botanical motifs including tsubaki (camellia), tachibana (Japanese orange), trailing kuzu (kudzu vines) and momizi (acer); detailed with raden (mother of pearl) inlay and gold hiramaki-e on a black roiro ground, the copper escutcheon and clasp chased with stylised flowers and the cover with a swing carrying handle, 15.4cm x 23cm x 13cm.Cf. J Welsh, After the Barbarians: Namban Works of Art for the Japanese, Portuguese and Dutch Markets, pp.296-299, no.38, and the British Museum, London, accession no.1956,0215.1 for comparable examples. This shape only appeared in Japan following the arrival of the Portuguese in the country in 1543. Different from furniture made for the domestic market, it was referred to by the Japanese as kamaboko-bako or kanabokogata, meaning 'box of fish-sausage shape'. A possible origin for this shape may have been the Indo-Portuguese mother of pearl coffers produced in Gujarat in the mid-16th century. The dense floral decoration also illustrates an awareness amidst Japanese craftsmen of contemporary Indian designs, and the arrangement of alternating floral bands is a popular theme on coffers of this type.
Six books about Native American Art. Curtis, E.S., The North American Indian. The complete portfolios (Köln 1997)Disselhof, H.D., and S. Linné, The Art of Ancient American Civilizations of Central and South America (New York 1960)Feder, N., American Indian Art, 2e druk, (New York 1995)Krech, S., A Victorian Earl in the Arctic. The Travels and Collections of the fifth Earl of Lonsdale 1888-9 (London 1989)Miles, Ch., Indian and Eskimo Artefacts of North America, 2e Edition, (New York 1986)Stewart, H., Artefacts of the Northwest Coast Indians, 2e Edition, (North Vancouver 1981) [6]
An Indian Deccan ceremonial koftgari axe, possibly 17th century, the crescent-shaped blade decorated with oval cartouches of flowers to each side, surmounted with the head of an ibex with possibly ruby inset eyes, the haft with further banded scrolling decoration, terminating in a peacock-shaped handle to a fish pommel, 71.5cm long Thought to have been exhibited: Samina Inc, Asia Art Week, New York, 9-18 March 2017. Ceremonial axes in Mughal India were a significant part of the court culture, symbolising power, authority and prestige. These axes were not just practical weapons, but also objects of art, meticulously crafted and adorned to reflect the status of their owners. Made from finely crafted steel, gold, silver and precious stones, often they also featured intricate engraving, inlay work and ornate designs. Shipping Disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country. Condition Report16cm wide 4cm deep
A small collection of Indian metalwares items comprising a cased set of 6 teaspoons and a cased set of 6 coffee spoons, each stamped SILVER and a cased set of two dishes stamped STERLING SILVER, 572g (18.5ozt) gross, together with a cased set of butter knives with Art Deco style resin handles.(4)
Michael Holding signed limited edition print with signing photo To the umpires Michael Holding was malevolent stealth personified so they christened him Whispering Death. His over to Geoff Boycott in the cauldron of Kensington Oval, Barbados in 1981 has gone down in cricketing history as the finest, fastest, most ferocious gambit of all time.Michael took 249 Test wickets at 23.69 in his career and in one match took 14 wickets for 149, the finest match figures ever by a West Indian.This stunning print shows Michael in full flight seconds away from terrorising another batsman. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Juan Correa (Mexico City, 1646 - 1716).‘The Indian Juan Diego presenting the Virgin of Guadalupe to the bishop of Mexico Juan de Zumárraga’.Oil on canvas. Signed and located in Mexico.28 x 64 cm. Juan Correa is considered the principal painter of late 17th-century Mexico. Son of a famous Spanish surgeon and a freed black woman, Correa was one of the few mestizo painters who achieved fame in his time (the art of painting was generally considered the domain of white or Spanish masters). His two large-scale canvases for the sacristy of Mexico City's Cathedral (1691-98), for example, are considered masterpieces of Mexican Baroque.'"The National Institute of Anthropology and History of Mexico defines him as "one of the main exponents of the Baroque in Mexico, whose works are characterised by their sumptuousness, detail, and golden tones."His origins were reflected in his creations, "as his father was a man of African and Spanish descent, and Juan Correa was the first to paint angels with black or brown skin tones and the Virgin Mary with a dark complexion," a fact that "would become an unmistakable hallmark in his creations."Highlights among his extensive work include "The Coronation of the Virgin" at the National Museum of the Interventions, one of his masterpieces, and the "Expulsion from Paradise" at the National Museum of the ViceroyaltyOur Lady of Guadalupe, venerated in Mexico with great devotion, is the patroness of the country and the most important incarnation of the Virgin Mary in Latin America. Although the Our Lady of Guadalupe from Extremadura (Southern Spain) accompanied the conquistadors in their great adventure to the New World, the Mexican Virgin has her own origins. Both oral tradition and historical documentation, particularly the Nican Mopohua, narrate the different miracles and apparitions of this virgin to the indigenous man baptised with the name Juan Diego (1474-1548) on the hill of Tepeyac in 1531.According to the legend, there were four appearances of Our Lady of Guadalupe: In the first one, the virgin entrusted Juan Diego to see the bishop Fray Juan de Zumárraga and let him know her will to have a temple built in her honour in the place where she had appeared. Juan Diego obeyed, but the bishop did not believe him. In the second appearance, Juan Diego tells him what happened and asks the Virgin Mary to use another messenger because he was just a poor Indian. The Virgin Mary tells him that it was necessary for him to return to the bishop and repeat the message. Bishop Zumárraga asked him to bring a sign to be sure that it was "the lady from heaven" he was talking about. In the third appearance, the Virgin Mary asked the Indian to go up the hill and cut the flowers he would find there. Juan Diego knew that no flowers grew on that hill, especially not in December, but he found the summit turned into a flowered garden. He cut the flowers and took them to the Virgin Mary in his "ayate" (tunic). Our Lady of Guadalupe instructed him to go back to the Bishop, tell him where he had picked the flowers, and indicate that it was the sign that the Virgin Mary wanted him to build a temple. In the fourth appearance, on December 12, Juan Diego told the bishop everything that had happened, and when he spread out his "ayate", all the roses fell to the ground, and the image of the Virgin Mother of God miraculously appeared on it. After this event, the church was built, and this astonishing image is, according to tradition, zealously guarded by the Basilica of Our Lady of Guadalupe.As a result of this event, the worship of Our Lady Guadalupe became enormously prominent, especially within the indigenous sector of the population, becoming one of the most deeply rooted in Mexico and part of its identity. It is not surprising that soon the Mexican devotees wanted to have a copy of this miraculous image, so reproductions and the artists dedicated to creating them proliferated. The fame of this incarnation of the Virgin Mary soon became universal, gaining great veneration throughout Europe, especially in Spain.This representation of the Virgin of Guadalupe is a faithful rendering of the original, with the subtle variations that each artist can provide. The beautiful Virgin Mary is depicted as standing, crowned and surrounded by a mandorla of sun rays amid a cluster of clouds. She is seated on a crescent moon with the points facing upwards, supported by an angel with colourful eagle wings. She is portrayed as a young woman with a serene face and a lowered gaze reflecting love, tenderness, and respect. With her knee slightly bent, she clasps her hands in prayer in the Western manner. She wears a pink tunic adorned with floral elements and a blue mantle decorated with stars that also covers her head. She wears a ribbon around her belly as Aztec women did during their pregnancies, thus announcing that she is a pregnant woman. The iconographic type clearly derives from that of the Immaculate Conception.In this case, Our Lady of Guadalupe is depicted without the Apparitions or other ornamental elements that frequently accompany her and can therefore be considered a strictly faithful copy of the original. Most of these faithful copies, which are more iconographically straightforward, correspond to the earliest ones, generally dating from the 17th century. The more elaborate ones, with cartouches representing the apparitions and miracles, elaborate floral frames, views of the city of Mexico, or the inclusion of angels and archangels, are more typical of the 18th century. All these copies carry an implicit message, as most of them were "touched to the original," so the miraculous character was transmitted, making them bearers of her divinity."Enconchado" technique, so beloved and used in Mexico, actually has Oriental origins. It is a pictorial technique carried out on wood in which sheets of mother-of-pearl from shells and molluscs are inlaid, combined, and fused with oil paint to complete the image. This allows for the play of iridescence, gleam, sparkle, and subtle light effects that are highly valued. Provenance:- Former Pedro Vindel collection.Pedro Vindel was an antiquarian bookseller from Cuenca, as reported by the Royal Academy of History, ‘who became the first Spanish antiquarian bookseller of his time’, with one of the most important collections of books of hours. As the RAH continues, ‘Pedro Vindel, in the style of the great European booksellers, published his catalogues from 1895, and organised several book auctions, in premises rented by him, such as that of 1913, the catalogue of which he had printed. He also initiated what he called ‘graphic bibliography’ in Spain, by including [...] photolithographic reproductions of the covers or other elements of the books in his catalogues’.For further information, we recommend reading ‘Pedro Vindel: Historia de una librería (1865-1921)’, by Pavl Cid Noé. Bibliographical references:- Toussaint, M. Pintura colonial en México. Instituto de Investigaciones Estéticas. Universidad Nacional Autónoma de México. Mexico, 1965.- Vargas Lugo, E. "El indio que tenia "el don"..." in Anales del Instituto de Investigaciones Estéticas, no. 86, 2005.- Sánchez Mariana, Manuel. (n.d.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez- Mediateca Instituto Nacional de Antropología e Historia. (19 de octubre de 2020). "Juan Correa". https://mediateca.inah.gob.mx/repositorio/node/5231- Mediateca Instituto Nacional de Antropología e Historia. (22 de enero de 2022). "Juan Correa, pintor novohispano afrodescendiente". https://mediateca.inah.gob.mx/islandora_74/node/5383
Miguel Cabrera (Antequera de Oaxaca, Mexico, 1695 - Mexico, 1768)‘Virgin of Guadalupe with apparitions’.Oil on copper. Signed "Michl Cabrera pinxit"42,5 x 42 cm. Important representation of the Virgin of Guadalupe, which includes the apparitions and the Indian Juan Diego.It has handwritten legend in Latin: "Non fecit taliter omni nationi" (He did nothing the same with any other nation) in reference to the words pronounced by Benedict XIV when he was presented with the image of the Virgin of Guadalupe and admiring its beauty, he approved the works of the Guadalupe patronage in Mexico.Cabrera is considered the greatest exponent of 18th century Viceroyalty painting, with a production that the Dallas Museum of Art defines as "legendary: more than 309 works from his great studio have been documented".Miguel Mateo Maldonado y Cabrera was born on February 27, 1695 in Antequera, present-day Oaxaca, Mexico, a fact known from the painter's will in 1768.He was the son of unknown parents and godson of a mulatto couple. He moved to Mexico City in 1719, where he began his artistic training, passing through the workshop of Juan Correa in the capital of the Viceroyalty.Cabrera painted altarpieces in the Jesuit church of Tepotzotlán, State of Mexico, in the church of Santa Prisca in Taxco, Guerrero and in the cathedrals of Mexico City and Puebla.Cabrera was not only a painter, but he also participated in the attempt to found an academy of Arts in 1753 and in 1756 he was consecrated as an intellectual, not only as an artist, since he published a narration about the image of the Virgin of Guadalupe in 1756 entitled "Maravilla americana y conjunto de raras maravillas observadas con la dirección de las reglas del arte de la pintura", a narration about the image of the Virgin Guadalupe in the printing press of the Jesuit college of San Ildefonso.In addition to easel painting, his production includes the design of altarpieces, large format works, as well as small copper works and nun's shields. Cabrera's religious painting produces figures of remarkable beauty, a beauty understood under the ideological assumptions of the devotion of the time. It is a refined art that possesses a well-arranged chromatic richness, is sustained by a great work of composition and, no less important, a subtle and expressive drawing.Of all the painters of that time, Cabrera was the one with the greatest personality; the conventional treatment in his figures was undoubtedly the basis of his way of painting, because he placed in his paintings models that were not ideal, but corresponded to people that the artist knew and treated, as when he incorporated in some paintings, portraits of donors or the so-called "prelates" because he had the need to observe directly and copy from nature. He was appointed chamber painter of Archbishop Manuel Rubio y Salinas, who commissioned him to study and paint the image of Our Lady of Guadalupe, reproducing the ayate. The image was sent to Pope Benedict XIV, from whom he obtained the highest recognition as a painter of Guadalupe. Among the portraits he painted, the one of Sor Juana Inés de la Cruz, kept in the National Museum of History, and the one of Juan de Palafox y Mendoza, located in the Museum of Colonial Art in Morelia, Michoacán,Mexico.He was also a painter for the Society of Jesus, for whose churches he produced numerous works.In 1753 he was named president for life of the Academy of San Carlos.His work is preserved in many churches and convents in Mexico.It is also present in numerous public and private collections.Two of his images of the Virgin of Guadalupe are in the Vatican Museum.Another, made in 1756, for the temple of San Francisco Javier, is preserved in the National Museum of the Viceroyalty.The Museum of Art of Dallas, conserves a Santa Gertrudis La Magna by Miguel Cabrera and another representation of the Saint, also by Cabrera and dated in 1768, is part of the collection of the Museum José Luis Bello y Zetina of Puebla, Mexico.Likewise, we highlight an important series of the Caste paintings of 1763 that is conserved in the collection of the Museum of America in Madrid. They depict families, father, mother and child of the various castes and social strata, in everyday life situations. Finally, mention should also be made of the Pinacoteca de La Profesa or the Andrés Blaisten Collection in Mexico, as depositories of Cabrera's work.The Museum of America in Madrid is currently exhibiting a very important retrospective of the painter. Procedencia:- Antigua colección Pedro Vindel.Pedro Vindel fue un librero anticuario conquense, como informa la Real Academia de la Historia, “el que llegó a ser el primer librero anticuario español de su época”, con una de las colecciones más importantes de libros de horas. Tal como sigue la RAH, “Pedro Vindel, al estilo de los grandes libreros europeos, publicó sus catálogos desde 1895, y organizó varias subastas de libros, en locales por él alquilados, como la de 1913, cuyo catálogo hizo imprimir. También fue quien inició en España lo que él denominó la “bibliografía gráfica”, al incluir en sus catálogos […] reproducciones fotolitográficas de las portadas u otros elementos de los libros”.Para más información, recomendamos la lectura de “Pedro Vindel: Historia de una librería (1865-1921)”, de Pavl Cid Noé. Reference Bibliography:- Andres Blaisten Museum. (n.d.). https://museoblaisten.com/Artista/79/Miguel-Cabrera- Sánchez Mariana, Manuel. (s.f.). "Pedro Vindel Álvarez". https://dbe.rah.es/biografias/67005/pedro-vindel-alvarez
King, William The Art of Cookery, In Imitation of Horace's Art of Poetry. With Some Letters to Dr. Lister, and Others Printed for Bernard Lintott, London The Oeconomy of Human Life: Translated from an Indian Manuscript, Written by an Ancient Bramin Carter and Wilkinson, Providence, Rhode Island, 1795 (2) Condition Report:Available upon request
Matte finished piece has a 3D quality to it. Detailed art creating an aged Indian Chief adorned with his leatherware, feathers, tomahawk and beaded necklace. Colored in natural tones of brown, black, white, green and red. Reverse has hole for wall mounting. Royal Crown sticker. Issued: 20th centuryDimensions: 6.5"L x 4"W x 6.25"HManufacturer: Royal Crown DerbyCountry of Origin: EnglandCondition: Age related wear.
Michael Holding signed limited edition print with signing photo To the umpires Michael Holding was malevolent stealth personified so they christened him Whispering Death. His over to Geoff Boycott in the cauldron of Kensington Oval, Barbados in 1981 has gone down in cricketing history as the finest, fastest, most ferocious gambit of all time.Michael took 249 Test wickets at 23.69 in his career and in one match took 14 wickets for 149, the finest match figures ever by a West Indian.This stunning print shows Michael in full flight seconds away from terrorising another batsman. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
* JAMES FULLARTON (SCOTTISH b. 1946), IN THE BLUEBELL WOOD oil on canvas, signedframed and under glassimage size 61cm x 66cm, overall size 75cm x 80cm Note: Born in Glasgow, James Fullarton studied at the Glasgow School of Art under Donaldson, Goudie and Shanks. Since gaining his Diploma in Drawing and Painting in 1969, he has worked full-time as a professional painter based in Ayrshire. He is a regular exhibitor with the Royal Glasgow Institute of Fine Arts and has exhibited with the Royal Scottish Academy and lectured for the Scottish Arts Council. He has also won several prizes and awards throughout his career including the David Cargill Award and the Britoil Award. James has enjoyed a long and successful career with many solo shows. His work is sold in a number of galleries across Scotland and England and has been acquired for many public and corporate collections including; Adam and Company, Arnold Clark Organisation, The Bank of Scotland, Greenock Art Gallery, Guinness Plc, Heriot-Watt University, Lillie Art Gallery (Milngavie), Lord Macfarlane of Bearsden, Macfarlane Group Plc, Maclaurin Gallery (Ayr), Northern Corporate Bank, Proctor and Gamble, Robert Fleming Holdings Ltd, Royal College of Physicians and Surgeons, Scottish Power Plc, Scottish Television, Stirling Smith Art Gallery and Museum, TSB Collection, The Earl of Wemyss and March, The Indian Empress (Yacht), United Distillers and many private collections worldwide.
Michael Holding signed limited edition print with signing photo To the umpires Michael Holding was malevolent stealth personified so they christened him Whispering Death. His over to Geoff Boycott in the cauldron of Kensington Oval, Barbados in 1981 has gone down in cricketing history as the finest, fastest, most ferocious gambit of all time.Michael took 249 Test wickets at 23.69 in his career and in one match took 14 wickets for 149, the finest match figures ever by a West Indian.This stunning print shows Michael in full flight seconds away from terrorising another batsman. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Desmond Haynes signed limited edition print with signing photo The West Indies team of the 1980's were undefeated in every test series they played. Regarded as one of the best opening pairs of all time, with Gordon Greenidge, Desmond's test average was 42.29 from 116 test matches and 41.38 from 238 one-day international matches.This stunning print shows Desmond despatching Ian Botham of England to the boundary in typical West Indian fashion during the fifth Test Match at Headingley, Leeds in July 1980. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
ARR Katherine Blundell-Nixon (1895-1988)Chivalrydepicting a knight above a transcription from Cowpersigned and dated 1916watercolour29cm x 15.5cm An early work by Katherine Blundell-Nixon (1895-1988) Trained at Camden and Birmingham Schools of Art. After her marriage she lived in India for 25yrs, where she made illustrations for the Time of India Press and designed some thirty posters for Indian State Railways and the India Natural History Museum. On her return to England she worked with Enid Blyton
SEVEN BOXES AND LOOSE CERAMICS AND GLASSWARE, to include a selection of Contempri champagne flutes, art deco green stem wine glasses, vintage etched selection of drinking glasses, etc. a selection of cut glass large serving bowls for desserts, cut glass dessert bowls some matching the larger bowls, posy bowls, a vintage Pyrex glass rolling pin etc, a resin garden ornament of a girl and boy playing leap frog, a selection of vintage Johnson Bros 'Indian Tree' dinnerware approximately thirty pieces, a selection of British oven to tableware 'Harvest 1418', a Prinknash vase, selection of vintage teacups and saucers etc. (sd), (7 boxes + loose)
Michael Holding signed limited edition print with signing photo To the umpires Michael Holding was malevolent stealth personified so they christened him Whispering Death. His over to Geoff Boycott in the cauldron of Kensington Oval, Barbados in 1981 has gone down in cricketing history as the finest, fastest, most ferocious gambit of all time.Michael took 249 Test wickets at 23.69 in his career and in one match took 14 wickets for 149, the finest match figures ever by a West Indian.This stunning print shows Michael in full flight seconds away from terrorising another batsman. He has personally signed each print and you will receive a photo of the signing (as shown in inset image).Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99.
Ca. AD 1600 - 1700.A Safavid processional standard called an ‘alam'. This standard has a body roughly circular body with two curved spikes extending from the top, all decorated with floral motifs and Arabic inscriptions. There is a tubular socket at the bottom for mounting and two stylized dragon heads attached to the middle of the standard. For similar see: Christie's Art of the Islamic and Indian Worlds (Live Auction 12241), Lot. 15.Size: 560mm x 285mm; Weight: 1.11kgProvenance: 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.This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
SONJA SEKULA (1918-1963)Skeletons of Feelings signed 'Sekula' (lower right); inscribed 'Skeletons of Feelings' (on the stretcher)oil on canvas48.2 x 60.6cm (19 x 23 7/8in).Painted circa 1952-1958Footnotes:ProvenancePrivate collection, New York.Ginseng Antiques Galleries, St Leonards-on-Sea, UK. Private collection, UK.Acquired from the above by the present owner.In the late 1930s, Sonja Sekula moved with her parents from Lucerne to New York, where she studied at the Art Students League, one of the few Modern art schools. It was around 1942 that she encountered the circle of surrealist poets and painters, including André Breton, who had also emigrated from Europe. Her paintings and drawings, influenced by European Abstraction, were well received within this circle, and her idiosyncratic personality stood out. In 1943, she was invited to the exhibition titled 31 Women, conceived by Marcel Duchamp at Peggy Guggenheim's recently opened Art of This Century Gallery, and in 1945 to the exhibition The Women, alongside artists such as Louise Bourgeois, Leonora Carrington and Lee Krasner. In 1946, Sekula had her first solo show with paintings from the years 1942 – 1945 at Art of this Century.Sekula's painting had undergone an intensive development during these years. Her first paintings are compositions in which black figures are placed on the surface next to geometric elements and organic forms, spontaneously connected according to the principle of Surrealist 'écriture automatique'; in a letter Sekula described her approach as, 'toujours essayant d'être dompteuse de mes désirs – et de les transformer en tableaux' ('always trying to be the tamer of my desires – and to transform them into paintings'), (the artist in: an unpublished letter to Alice Rahon, 10 August 1945). With the Surrealists as well as with the American artists of her generation, Sekula shared an interest in the indigenous cultures of the Northwest and the South of the United States. In the summer of 1945, she travelled to Mexico for the first time, and returned there the following year. The paintings from these two years, and as seen in this present work, Skeletons of Feelings, are characterised by her encounter with the indigenous art of Mexico, evidenced in their small-scale structure, the interlocking pictorial signs and the intense chroma; the enigmatic title of the painting shown here still reflects Surrealist-type visions. At this time, Sekula was considered among the group of so-called Indian Space Painters, who pursued a flat decorative patterning, covering the entire picture surface. In 1946, Sekula switched to darker colours in what were referred to as her Night Paintings. In an interview about her exhibition, she declared enthusiastically: 'The Twentieth Century—what a wonderful time to live in, to paint in! [...] It is the women's era too, they are at last coming forward, painting pictures of sensitivity, emotion, worth.' (the artist in: C. Aikman, 'An Artist Speaks: Sonia Sekula', The League, Winter 1945–46, p. 2). Written by Mr Dieter Schwarz.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
Desmond Haynes signed limited edition print with signing photo The West Indies team of the 1980's were undefeated in every test series they played. Regarded as one of the best opening pairs of all time, with Gordon Greenidge, Desmond's test average was 42.29 from 116 test matches and 41.38 from 238 one-day international matches. This stunning print shows Desmond despatching Ian Botham of England to the boundary in typical West Indian fashion during the fifth Test Match at Headingley, Leeds in July 1980. He has personally signed each print and you will receive a photo of the signing (as shown in inset image). Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition Est. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Michael Holding signed limited edition print with signing photo To the umpires Michael Holding was malevolent stealth personified so they christened him Whispering Death. His over to Geoff Boycott in the cauldron of Kensington Oval, Barbados in 1981 has gone down in cricketing history as the finest, fastest, most ferocious gambit of all time. Michael took 249 Test wickets at 23.69 in his career and in one match took 14 wickets for 149, the finest match figures ever by a West Indian. This stunning print shows Michael in full flight seconds away from terrorising another batsman. He has personally signed each print and you will receive a photo of the signing (as shown in inset image). Actual Size 560mm x 410mm - limited edition of 500 and part of the Sporting Masters editions - Photo printed on 250gsm, high quality art board - The accompanying photo of the personality signing this item will include a copyright over the image. Edition number may vary. Good condition Est. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
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