A PAIR OF MONUMENTAL BRONZE NIO GUARDIANS, DATED 1783 BY INSCRIPTIONJapan, dated 1783Each standing atop a naturalistically cast rockwork base raised on a finely carved lacquered wood stand supported on four stout cabriole legs. The open-mouthed Misshaku Kongo holds a vajra in his raised left hand, his other hand lowered with the fingers stretched out, while the close-mouthed Naraen Kongo thrusts his right hand forward with the palm facing forward, in a protective gesture akin to the abhaya mudra, while his left hand is clenched into a fist. Both guardians wearing short skirts and billowing scarves, their muscular bodies with prominent ribs, their faces with wrathful expressions, their hair and brows neatly incised, their topknots with foliate headdresses. Each statue is inscribed to the reverse, 'Tenmei san, mizunoto-u toshi, kichijitsu, kore wo osaku' ('This is donated on an auspicious day, in Tenmei 3 (corresponding to 1783), in the year of mizunoto-u').HEIGHT each 117 cm (excl. base) and 157.5 cm (incl. base) WEIGHT 92 & 96 kgCondition: Very good condition with old, attractive wear; casting flaws, minor nicks, light scratches, small dents. The wood stands with some wear, minor nicks and scratches, expected age cracks.Provenance: US private collection. The inscription on the present nio statues records that they were donated in Tenmei 3 (1783), a fateful year during which the devastating Tenmei eruption on Mount Asama in central Honshu occurred, exacerbating the Great Tenmei famine. It is plausible that an ardent patron commissioned and donated the pair to protect an important temple from further calamity during a particularly difficult time.Nio or Kongorikishi are two wrathful and muscular guardians of the Buddha standing today at the entrance of many Buddhist temples in East Asian Buddhism in the form of frightening wrestler-like statues. They are dharmapala manifestations of the bodhisattva Vajrapani, the oldest and most powerful deity of the Mahayana Buddhist pantheon. According to Japanese tradition, they traveled with Gautama Buddha to protect him. Within the generally pacifist tradition of Buddhism, stories of dharmapalas justified the use of physical force to protect cherished values and beliefs against evil. Nio are also seen as a manifestation of Mahasthamaprapta, the bodhisattva of power that flanks Amitabha in Pure Land Buddhism and as Vajrasattva in Tibetan Buddhism. They are usually a pair of figures that stand under a separate temple entrance gate, usually called Niomon in Japan.Guhyapada (Japanese: Misshaku Kongo) is a symbol of overt violence: he wields a vajra mallet and bares his teeth. His mouth is depicted as being in the shape necessary to form the 'ha' or 'ah' sound, wherefore he is also known as Agyo in Japan. Narayana (Naraen Kongo) is depicted either bare-handed or wielding a sword. He symbolizes latent strength, holding his mouth tightly shut. His mouth is rendered to form the sound 'huṃ', 'heng', or 'un'. He is also referred to as Ungyo in Japanese due to his closed mouth.Literature comparison: The two nio figures closely resemble a pair of wood guardian figures, dated to the late Kamakura period, early 14th century, each 86.4 cm high including the base, in the collection of the Metropolitan Museum of Art, accession numbers 64.292.1 and 64.292.2.13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
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KAZUTOSHI: A LARGE AND IMPRESSIVE INLAID BRONZE CHARGER DEPICTING DARUMA AS DAIDARABOTCHIBy Yanagi Kazutoshi, signed Kazutoshi/Ichiju with seal Ichiryu Japan, late 19th century, Meiji period (1868-1912)Finely decorated in gold, silver, shakudo, and copper takazogan to depict a parody of Daruma (Bodhidharma) posing as Daidarobotchi, detailed with bushy brows, reverse-painted glass eyes, and large thick earlobes, crouching over a snow-capped mountain above two cranes flying over clouds. The rim of silver. Signed to the right in gold takazogan KAZUTOSHI/ICHIJU and with a seal Ichiryu.DIAMETER 46 cmWEIGHT c. 7,900 gCondition: Very good condition with minor wear, the base with few minuscule nicks and light scratches.Yanagi Kazutoshi used the art name Ichiryuken and was also known as Ichiryu Kazutoshi. He was active during the late Edo period and is listed on page 16 in the Toso Kinko Jiten by Wakayama Takeshi, Yuzankaku Publishers.Daidarabotchi is a gigantic yokai in Japanese mythology, sometimes said to pose as a mountain range when sleeping. The size of a daidarabotchi was so great that his footprints were said to have created innumerable lakes and ponds. In one legend, a daidarabotchi weighed Mount Fuji and Mount Tsukuba to see which was heavier, but he accidentally split Tsukuba's peak after he was finished with it.Auction comparison: Compare a pair of inlaid iron panels depicting monkeys by the same artist at Sworder's, Asian Art, 13 May 2022, London, lot 209 (sold for 20,000 GBP).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
URAGAMI SHUNKIN: A 14-METER HANDSCROLL WITH BIRDS AND FLOWERS, DATED 1836 BY INSCRIPTIONBy Uragami Shunkin (1779-1846), signed Uragami ShunkinJapan, dated 3 August 1836Finely painted with ink on paper, depicting various birds and flowers, including sparrows below willow trees, paradise flycatchers, cherry blossoms, magnolias, magpies, starlings, a cuckoo on a pine branch, water chestnut trees and kingfisher, as well as wagtails and asters. Inscribed with a title, Kacho ga, dated 3 August 1836, sealed Kisennoin and Shunkin Koji, and signed URAGAMI SHUNKIN.LENGTH 14.1 m, WIDTH 27.4 cmCondition: Very good condition with minor wear, soiling, and creasing.Provenance: The collection of Teddy Hahn (1933-2012), thence by descent. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.”With a wood storage box inscribed Kacho Shunkin hitsu, Uragami Shunkin Kacho zu maki, Tenpo Heiko hitsu.Uragami Shunkin (1779-1846) was a Japanese nanga (literati) painter who lived during the late Edo period. He was born in Bizen Province (present-day Okayama Prefecture) as the first son of Uragami Gyokudo, who was a samurai for the Ikeda daimyo at the time. He learned painting and calligraphy from his father when he was a child. Around 1792, the art dealer Nyoi Dojin began buying Gyokudo's as well as Shunkin's works. Uragami Shunkin later settled in Kyoto, establishing himself as a Literati painter conversant in the related arts of poetry, calligraphy, and playing the koto, the musical instrument that had been one of his father's fortes. Shunkin, who was active in the intellectual and literary circle of Rai Sanyo (1780–1832) and others in Kyoto, also achieved a reputation as a connoisseur of antique paintings, calligraphies, inkstones, and metalwork, all of which he collected himself.Auction comparison: Compare a smaller handscroll attributed to Uragami Shunkin depicting scholar's rocks, 24.6 x 492.5 cm, at Bonhams, 25 June 2019, San Francisco, lot 311 (sold for 5,075 USD).
A LARGE FRAMED 'CRANES' SILK EMBROIDERYJapan, Meiji period (1868-1912)Finely embroidered in various shades of brown and cream, with black, red, and white accents, depicting five red-crested cranes wading through reeds near a river in a grove of leafy bamboo. With a brown brocade border, backed, and framed.SIZE 190 x 134 cm (total) and 181.5 x 126 cm (image only)Condition: Good condition, some wear, loose threads, and small tears.Provenance: British collection.Auction comparison:Compare a closely related large, embroidered silk wall hanging with cranes, Meiji to Taisho period (1868-1926), of related size (195-124 cm), at Bonhams, Asian Works of Art, 16 March 2010, San Francisco, lot 8442 (sold for 3,660 USD).13% VAT will be added to the hammer price additional to the buyer's premium – only for buyers within the EU.
ASSORTED ASIAN PLAYING CARDS, including Chinese playing cards, Chinese domino cards, Indian ganjifa cards in coloured box, Japanese cards, small selection of hand painted English novelty playing cards (incomplete), together with The 'Ashantee' horseshoe puzzleProvenance: 'The St John Perrott Stimson Collection of Treen & British Folk Art’. Please see Rogers Jones & Co. website: "This Autumn: Treen & British Folk Art"
Auf der Wandung und im Spiegel spiralförmiger Streifendekor in der Art der ostasiatischen Brokatware. Unterglasurblaue Malerei mit eisenroter Überdekoration. Malerzeichen S. Schwertermarke. H. 4 cm. Vgl. Kat. Museum Bad Pyrmont, S. 111.A porcelain tea bowl with brocade decor in East-Asian style. Blue painter's sign. Crosssed swords mark.Meissen. 18. Jh.
With a beautiful form rising from a tall ring-shaped foot, it is completely covered with a beautiful brownish crackle glaze with the exception of the brown biscuit base. Provenance: Private collection, Italy Catalogue notes: For a similar piece see the incense burner sold by Sotheby's, The Hundred Antiques Fine and Decorative Asian Art; 24 March 2021, New York, lot. 548.
Attributed to Doris Duke (1912-1993),, Mosque with Two Minarets. oil on canvas, signed lower right “Doris Duke”, early 20th century frame. 20¼ x 16¼in. (51.4 x 41.3cm.). * Doris Duke was a famous American billionaire tobacco heiress, philanthropist, art collector, and socialite. Forever in the press she was often called "the richest girl in the world". Her extensive art collection was principally of Islamic and Southeast Asian art and is on public display at her former home in Honolulu, Hawaii, now the Museum of Islamic Art, Culture, & Design.. Unlined
CHINESE MING DYNASTY BLANC DE CHINE CENSER,with twin moulded Fo Dog mask handles, 9.2cm diameterProvenance: Brian Page Antiques, Bristol, and formerly ex-Brooke Robinson Collection of Asian Art, no. BR-aa-1944 (this notated on the base), previously displayed at Dudley MuseumSome very small nibbles, flea bites and fritting to rim; small glaze chip/scratch/gap to body; some further minor manufacturing flaws and imperfections as well as glaze inclusions; fritting to foot; some slight irregularities to the pitting as to be expected; one of the moulded 'handles' with a chip; additional images available
Chryssa (Vardea) (Greek, 1933-2013)Neon Oiseau construction néon, plexiglas60 x 71 x 36cm (23 5/8 x 27 15/16 x 14 3/16in).Réalisé vers 1970.neon construction, plexiglassFootnotes:ProvenanaceClarke Auction Gallery, New York, Fine Art, Jewellery, Mid century, Asian & Antique Estate Auction, 27 October 2019.Acquired from the above sale by the present owner, New York. This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Iqbal Hussain (Pakistani, B. 1950)Untitled (Amaltaas in bloom) signed 'Iqbal Hussain lower rightoil on canvas75 x 60cm (29 1/2 x 23 5/8in).Footnotes:ProvenanceAcquired by the vendor from a Pakistani Art Gallery.Known for his portraits of the prostitutes and the dancing girls of Lahore, Husain is equally adept at painting landscapes. His works have been exhibited at the 1983 Asian Biennial Dacca, Bangladesh the 1986 International Exhibition Seoul, London, Paris and Pakistan. A retrospective was held for his works in 2018, at Tanzara Gallery, Islamabad, where the collection of the former World Bank Pakistani country director, John Wall was displayed; Wall is a patron of the artist. For other works sold from the Collection of Orooj Ahmed Ali, see Bonhams, Modern and Contemporary South Asian Art London, 24th May 2022.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
Francis Newton Souza (Indian, 1924-2002)Sketch Book 1996-97 (20 Drawings including 2 artist inscriptions) all signed and datedmixed media on papereach 18 x 26.5 cmFootnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired from Christies, South Asian Modern & Contemporary Art, including Property from the Estate of Francis Newton Souza, 9th and 10th June 2010, lot 138.Born Francisco Victor Newton de Souza, Souza was expelled from St Xavier's College, Bombay for drawing obscene graffiti in the bathrooms. He subsequently enrolled at the Sir J.J School of Art, Bombay but was expelled again, this time for participating in the Quit India Movement and pulling down the Union Jack flag during a school ceremony. Despite this, he became a founding member of the Bombay Progressives in 1947, and later emigrated to the UK in 1949, as his works were deemed to be obscene for Indian audiences. Initially he found little success in the UK, however his sold out 1955 exhibition at Victor Musgrave's Gallery cemented his status in the art world. His works, a combination of the eclectic, drew heavily on the post-war Art Brut movement and elements of British Neo-romanticism. The sketch book on offer in this auction made towards the end of his life is an amalgamation of his most well known motifs; sensual and statuesque nudes, faceless bodies, sex and the visceral and still life. They capture Souza's essence and illustrate the spontaneity that he is so well known for. The 18 drawings are accompanied by 2 inscriptions, as below. The two inscriptions are: 'In a land of geniuses I chose to be a dumb-dumb.' Mumbai, Souza '97.3 January '97 - Calcutta MuseumSo much stuff on fertility: goddesses, lingams, yonis and cults - that no wonder modern India beats the brunt of overpopulation! Men's origin is higgledy-piggledy! Who can ever render an apology to anthropology? That man ever attempts to record history, catalogue the diversity, label the facets shows the absurdity of his egotism, the futility of the exercise - worse: nature makes a mockery of him by forcing him to maintain such records in libraries and museum and archives! (Which turn out to be erroneous eventually...)The infinity of the Cosmos and the cast branching of man cannot be categorised as subjects like cosmology and antropology, (biology and science and religion etc.) The answer is a humble retreat saying, I know that I know nothing.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Ghulam Rasool Santosh (Indian, 1929-1997)Untitled (Enlightenment) signed lower upper left and signed, dated and with size, G R Santosh/34 x 41'/9/2/62 verso oil and wax on canvas, framed86.6 x 104.5cm (34 1/8 x 41 1/8in).Footnotes:ProvenanceAcquired by the vendor's cousin, William Begley, in Kashmir from the artist between 1963-1965;Gifted to the vendor's family in 1969.Born Ghulam Rasool Dar in Chinkral Mohalla, Habba Kadal in Srinagar, Kashmir, Rasool came to be known as Ghulam Rasool Santosh, after he assumed his wife's name, Santosh, at the beginning of their marriage. In 1954 he enrolled at the Maharaja Sayajirao University, Baroda and studied fine arts under N.S Bendre, where he produced a large body of figurative and landscape work in the cubist style. Kashmir was the subject of his landscapes, and his style remain unchanged until 1959, after which his works evolved and figuration gave way to abstraction. The period between 1959-1964, was a precursor to his neo-tantric style, for which he is most well known, and when the present lot was painted. The early sixties were politically, socially and art historically important for India. In 1959, New Delhi witnessed an influx of Tibetan exiles, including the Dalai Lama, who were driven out of Tibet by the Chinese government. This was coupled with the end of the Nehruvian era and the questions that were raised about the success of his industrialisation programmes and presidency. Artistic groups such as Group 1890 were also emerging that challenged and sought a new outlook on Indian Art. Inspired by these changes, Santosh wanted to move away from a derivative European style, and wanted to create an idiom that embraced his Kashmiri heritage within the broader Indian context. (Rebecca M. Brown, Awakening: A Retrospective of G.R. Santosh, Delhi Art Gallery, New Delhi, 2011, pp 29)Still captivated by Kashmir, he derived his inspiration for the body of work created during this period, including the present lot, from his native Kashmiri hills. Although elements of Cubism are apparent in this work, we can also see the beginnings of spirituality and mystery, that would flourish in his works after 1964, which is when his trip to the Amarnath cave resulted in a mystical experience, that transformed his works. This work is therefore important for it bridges his two crucial periods and fuses elements from both, something that would not be seen in his works again. To see similar works from 1962, titled 'Snows of Kashmir,' and Cityscape (Reflection) respectively see Sotheby's, Modern and Contemporary South Asian Art, New York, 18th September 2013, lot 60 and Awakening: A Retrospective of G.R. Santosh, Delhi Art Gallery, New Delhi, 2011, pp 96.William Begley worked for the UN and was stationed in Kashmir during the peacekeeping operations between 1964-1966 which is when he acquired this work.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
Sadanand K. Bakre (Indian, 1920-2007)Landscape inscribed Bakre 1962 in Devanagari lower right and signed and dated versooil on board, framed45.8 x 60cm (18 1/16 x 23 5/8in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenancePrivate Collection UK; Acquired from a shop in Lancashire in the 90s.Note: There is a label on the reverse from Burton Gallery, Burton in Wirral, Cheshire which includes the artist's name, the title, medium, the name of the original collector and the date 30th November 1966. In addition, the artist has signed and dated the work in English and Devanagiri, and there is an address 19 Street Helens Garden, London, W.10. The size of the work 18 x 24 is also written, along with LAD 8434.Born in Baroda, Bakre was one of the six founders of the Bombay Progressive Artists' Group in 1947. He studied at the Gokhale Education Society School, where his talents were encouraged, and at the age of sixteen, he held his first solo exhibition at school, where he showcased his clay models of drapery, watercolour landscapes, still life and figurative works. He subsequently enrolled at the Sir J.J School of Art and received his Diploma in Sculpture in 1944. Always looking for new ways to express himself, he abandoned the medium in 1951 when he moved to London and turned his focus to paintings. The present work was created during the 60s, when Bakre's style evolved considerably. Often considered the most important period for his oeuvre, he moved away from academic realism to abstraction, and was influenced by the sculptors Henry Moore and Jacob Epstein and the jagged and repetitive style of the British Vorticists; they were a group formed in London in 1914 who wanted to create art that expressed the dynamism of the modern world. This period is characterised by the visual similarities between his paintings and sculptures and their bold geometric lines. He perhaps best describes this period himself 'I paint as I like... I am traditionally trained and perfectly capable of accomplishing completely realistic work. But my interest in forms has gone far beyond the dull imitations of subject matter, which to me is almost unimportant.' (S. Bakre, All Art Is Either Good or Bad, Free Press Bulletin, March 24, 1965). For a similar work sold in these rooms see, Bonhams, Modern and Contemporary South Asian Art, London, 25th October 2021, lot 46.For further information on this lot please visit Bonhams.com
Jamini Roy (Indian, 1887-1972)Untitled (Krishna and Cows) signed lower right, executed circa 1960sgouache on card, framed53 x 67cm (20 7/8 x 26 3/8in).Footnotes:ProvenanceAcquired from Plate Loft Gallery, Sri Lanka in 2005For a similar work sold at Christies see, South Asian Modern & Contemporary Art, 25th May 2017, lot 21.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
Jamini Roy (Indian, 1887-1972)Untitled (Three women) signed lower right, executed circa 1960stempera on card, framed57.5 x 40cm (22 5/8 x 15 3/4in).Footnotes:ProvenanceAcquired from Plate Loft Gallery, Sri Lanka in 2005.To see a similar work sold on these premises, see Bonhams, Modern and Contemporary South Asian Art, London, 24th May 2022, lot 5.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Sayed Haider Raza (Indian, 1922-2016)Untitled (Village Scene) signed 'S.H Raza 47' lower rightwatercolour on paper laid on board, framed42.5 x 55.5cm (16 3/4 x 21 7/8in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenancePrivate Collection, Switzerland. Acquired from Christies, South Asian Modern & Contemporary Art, New York, 12th September 2012, lot 383.Note: This work will be included in the SH Raza, Catalogue Raisonné, Early Works (1940-1957) by Anne Macklin on behalf of The Raza Foundation, New Delhi.Raza arrived in Bombay in 1943, aged 25, to attend the Sir J.J School of Art. Whilst waiting to join the School he obtained employment at Express Block Studio. The Studio was based in a bustling commercial district, and he painted the scenes he could see from his window. Two of these works were included in the group show at the Bombay Art Society in 1943, and it was here that critics like Rudi von Leyden took note of his works, and propelled him into the artistic limelight. The work on offer in this lot was made during this period, when Raza was studying at the Sir J.J School of Art (he graduated in 1948), and when he was predominately painting landscapes. Dominated by browns, with speckles of red, yellows and oranges, we can see details including the shapes of the buildings, the horse carriage and the streets teaming with vendors and people. The strong white illuminates the work and adds a level of depth and perspective as it draws our eyes to the vanishing point to the centre right of the work. 'The city of Bombay, with its wealth, high-rises, and noise was both awesome and forbidding for the boy used to the peace and quiet of the small town. The intellectual stimulation it provided was even more overpowering as the cross-currents of views served to bewilder rather than to illuminate. The subject of many of Raza's early works is the cityscape-narrow lanes and bylanes as well as buildings and monuments...what distinguished Raza's work from that of most other landscape painters was its non-representational quality, with the colour tonalities creating an innate rhythm. As his vision scanned the city, it began to draw upon changing lights, atmospheric effects on buildings, and people and he would create virtually new compositions of the same scene.' (Yashodhara Dalmia, The making of modern indian art, New Delhi, 2001, pg. 146-147)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
George Keyt (Sri Lankan, 1901-1993)Untitled (Girl with Ball) signed and dated 'G Keyt 67' upper middleoil on canvas, framed83.8 x 51.1cm (33 x 20 1/8in).Footnotes:ProvenanceAcquired from Sotheby's, Indian and Southeast Asian Art, New York, 1st April 2005, lot 142.An Anglo-Dutch of Burgher origin, Keyt grew up in Sri Lanka and attended Trinity College, Kandy. He had a consuming passion for literature and poetry, specifically Shakespeare and also devoted time to drawing and art. For a short period Keyt worked for a firm of photographers, manually enhancing the negatives with a brush. It was here that his friend, photographer Lionel Wendt, and later the leader of the '43 Group, of which Keyt was a founding member, noticed Keyt's skill and encouraged him to pursue art. Aged 26 in 1927, Keyt devoted himself to art and undertook a course on painting with the painter George de Niese. Keyt was also influenced by C.F. Winzer, the Ceylon Government's inspector of art in schools who rejected the naturalistic styles of painting favoured by art teaching that emulated Western Victorian and Edwardian traditions.By the early 1930s, the Cubism that would forever alter the character of his paintings began to emerge in his work. He broke away from academic naturalism and embraced modernism with bold colourful fervour. Upon seeing the 1932 and 1933 issues of French art magazine Cahiers d'Art featuring Cezanne, Picasso and Braque his passion for modernism was cemented. In the two works on offer in this auction we can see how he married modern European practises with ancient South Asian fresco techniques found at Ajanta and Sirgirya and subject matter that was largely rooted in local tradition. His works depicted women, children, villagers, dancers, tradesmen and gods often drawn from Hindu and Buddhist mythology.Pablo Neruda perhaps best summed up Keyt in his 1930 review of the exhibition at Zwemmer Gallery in London, in which Keyt works were featured alongside Picasso and Braque,'Keyt, I think, is the living nucleus of a great painter. In all his work there is the moderation of maturity, the beautiful stability of achievement – qualities most precious in so young an artist. Magically though he places his colours, and carefully though he distributes his plastic volumes, Keyt's pictures nevertheless produce a dramatic effect, particularly in his paintings of Sinhalese people. These figures take on a strange expressive grandeur, and radiate an aura of intensely profound feeling.' (M. Russell, George Keyt, Marg Publications, Bombay, 1950)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
George Keyt (Sri Lankan, 1901-1993)Untitled (Woman with a Vase) signed 'G Keyt' 71 upper leftoil on canvas, framed98 x 60.3cm (38 9/16 x 23 3/4in).Footnotes:ProvenanceAcquired from Plate Loft Gallery, Sri Lanka in 2005.'The lyric painting of George Keyt is sensuous Indian poetry brought to canvas. Like earlier Indian painters of Rajasthan and the Punjab Hills, and M. F. Husain after him, Keyt takes as his primary theme woman as the focus of man's concern. He paints her in flat planes, with bounding lines and rich warmth of colour. His idiom occasionally carries in it a hint of Picasso but is, once again, in direct line with the traditional styles of Central India, Mewar, and Basohli. But the originality of Keyt's inspiration is undoubted, and his work remains uniquely his own.' (R. Bartholomew and S. S. Kapur, Husain, Abrams, New York, 1972, p. 27)For a similar work sold at Sotheby's see Indian and South East Asian Art, New York, 29th March 2006, lot 10.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
B. Prabha (Indian, 1933-2001)Untitled (Village Scene) signed 'B Prabha' lower right, executed circa early 1950sink and gouache on paper, framed38.5 x 49.5cm (15 3/16 x 19 1/2in).Footnotes:ProvenanceAcquired from Sotheby's, Indian and Southeast Asian Art, New York, September 2004, lot 156Born in Bela, Nagpur Prabha commenced her training in art at the Nagpur School of Art, before moving to Bombay where she earned her diploma in Painting and Mural painting from the Sir J J School of Art. She is primarily known for her trademark works illustrating rural women in their milieu, and the two works on offer in this auction are early examples of this. She depicted women from various tribal communities and focussed on important details such as their skin colour, attire and jewellery. In both works the women appear to be from the same community. They are married as evidenced by their naths (nose rings), mangalsutras (marriage necklace), toe rings and payals (anklets) and they are engaged in their daily activities. Prabha's accomplishment lies in chronicling and elevating the lives of women at a time when opportunities afforded to them were few and far in between. Prabha exhibited widely over her nearly five-decade long career both nationally and internationally. The Nobel prize nominee for physics, Homi J. Bhaha bought three of her works during her first exhibition whilst she was still a student. Later, the airline Air India acquired her works to display and use as part of their collection, which included other notable contemporaries like M.F. Husain and V.S. Gaitonde. Posthumously, her works continue to be exhibited at galleries that include Aicon Gallery in New York and Gallery Beyond in Mumbai and are testament to her timelessness as an artist.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
B. Prabha (Indian, 1933-2001)Untitled (Mother & Child) singed ' B Prabha' centre right, executed circa early 1950sink and oil on paper on board, framed30 x 24cm (11 13/16 x 9 7/16in).Footnotes:ProvenanceAcquired from Sotheby's, Modern and Contemporary South Asian Art, 19th March 2012, lot 13.For similar work sold at Sotheby's see Indian and Southeast Asian Art including Modern Indian Paintings, New York, 29th March 2006, lot 12.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
Jamil Naqsh (Pakistani, 1939-2019)Portrait of Ali Imam signed and dated 'Jamil Naqsh/12th Sept.79' lower rightwatercolour on paper, framed44.8 x 52.3cm (17 5/8 x 20 9/16in).Footnotes:AN IMPORTANT WORK DEPICTING ALI IMAMProvenanceAcquired from the Indus Gallery in Karachi in the 1990s;Sotheby's, New York 16/03/17 Lot 151;Acquired by the vendor from the above.ExhibitedPasadena, California, Pacific Asia Museum, A Selection of Contemporary Paintings from Pakistan, 1994 LiteratureM.N. Sirhandi, A Selection of Contemporary Paintings from Pakistan, by D. Kamansky, Pacific Asia Museum, Pasadena, California, illustration p. 91Collectors of Naqsh's paintings will be familiar with his skilful representations of nudes, pigeons and horses. He was a prolific artist whose works continue to be admired and sold. To see examples of his works sold in these rooms, see Bonhams, Islamic and Indian Art, London, 11th June 2020, lot 249 and Modern & Contemporary South Asian Art & Art of Pakistan, London, 24th October 2018, lot 123.What however, is not well known is that away from the emphasis on voluptuous nudes and preening pigeons, Naqsh created a corpus of work that focused away from his usual norm. This included male nudes and an acknowledgement of his debt to individuals who had helped him along the way. The work on offer in this auction is one such rare work and pays homage to Ali Imam, the pioneering gallerist in Pakistan who established Indus Gallery in Karachi in 1971 and who was instrumental in patronizing and promoting an entire generation of Pakistani artists amongst them Ahmed Parvez and Bashir Mirza.Ali Imam was the older brother of Syed Haider Raza, the renowned Indian painter (1922-2016); while both were born in India, both brothers left India shortly after independence, Ali to Pakistan in 1949 and Haider for France in 1950.Besides being a gallerist, Ali Imam was a painter in his own right and his works have been sold in these rooms. To see a recent example see Bonhams, Modern and Contemporary South Asian Art, London, 24th May 2022, lot 53.This painting is a tribute by Naqsh to Ali Imam for the gallerist's help in recognizing his skill early on and helping him establish himself in the Pakistani art scene. Imam's posture is reminiscent of Adam in Michelangelo's Creation of Adam and illustrates the importance of Imam in Naqsh's life. Painted after Imam's open heart surgery, it documents a period in the history of Pakistan when the patronage of art was being accepted as a civilizing aspect in the country's consciousness.For further information on this lot please visit Bonhams.com
Thota Vaikuntam (Indian, B. 1942)Untitled (Lady) signed and dated '03 in Telugu lower rightacrylic on canvas on board, framed58.7 x 43.5cm (23 1/8 x 17 1/8in).Footnotes:ProvenanceAcquired from the artist in 2006.There is a label on the reverse which includes the artist's name, the size and year of the work and the medium.Vaikuntam was born in Telangana (formerly Andhra Pradesh), and obtained a Diploma in Painting from the College of Fine Arts and Architecture in Hyderabad, and then pursued further studies in Painting and Printmaking under the tutelage of K.G. Subramanyan at the Maharaja Sayajirao University of Baroda. His works are inspired by the rural women of Telangana, with whom he has had a lifelong fascination. This intrigue can be traced to the travelling theatre groups of his childhood, when the male artists would impersonate female characters. The muses in his works are voluptuous and sensuous and are adorned with ornaments, vermilion bindis and draped in colourful sarees of reds, saffrons, greens and blues, the latter of which can be seen in the present lot.Vaikuntam had his first solo exhibition in 1973, at the Kala Bhavan in Hyderabad and has gone on to exhibit worldwide since. Some notable shows include, 'The Telangana Icons' presented by Art Alive Gallery, New Delhi at Grosvenor Gallery, London in 2015, 'Post Independence Masters' at Aicon Gallery, New York in 2008, '6 Artists Show' at 1x1 Gallery, Dubai in 2006 and 'Tradition and Change' at Arts India, New York in 2002. He has also been the receipt of various awards, the 1993 National Award for Painting, being the most recent. For similar works sold in these rooms, see Modern and Contemporary South Asian Art, 24th May 2022, lot 24 and Islamic and Indian Art, 25th October 2007, lot 290.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
Liaqat Rasul (British, B.1974)Envelop industrial plastic sheeting, cardboard, chunky felt tips, staples, tissue paper, wooden coffee stirrers, nylon net, staples, polypropylene plastic strapping, printed silk khadi, old shirt fabric, leather, grey board, packaging card, receipts, biro, rizzla paper, framed99 x 78.5cm (39 x 30 7/8in).Footnotes:ProvenanceThe Artist's Collection.Liaqat Rasul is a gay welsh dyslexic Pakistani male. He was born in Feb 1974 in Wrexham, North Wales. Liaqat studied fashion, gaining a first-class degree, specialising in textiles. He spent a year in industry, working and studying in New Delhi, India. Liberty's in Regent Street, London, bought his graduating collection, and he ran the business Ghulam Sakina for ten years, creating beautiful textile clothing. After Ghulam Sakina was liquidated in 2009, Liaqat decided to explore his life and career choices. He worked at the Roxy Beaujolais -run pub the Seven Stars, in Carey Street, while exploring art exhibitions and public art. A huge, heavy penny dropped in 2017, and Liaqat started making collages for friends. Small but vital art practice was initiated. Liaqat made a few pieces for commission, and in 2019 had his first-ever solo exhibition of eight pieces at the Tracey Neuls shop in Coal Drops Yard, London. The collage works are not a social or political statement; they are abstract and cartographic, made from old envelopes, stamped tickets, wooden coffee stirrers, misplaced printing on cardboard boxes, leftover yarn, swing tags, creased tissue papers, napkins, abandoned receipts, an old t-shirt chopped up, tatty found papers, packaging... marked with biros and felt-tip pens and stuck with PVA glue, sellotape on to card inserts and graphics on cardboard boxes left out in the street. Their bold, odd colours and real-world experiences create unique, buoyant collage tableaux.Making art is an act of hope. Liaqat invites the viewer to experience his low-tech, textured works, eyes darting about to take in the many elements, in their own time, meditatively, diverted from smartphones and the persistent digital world. Liaqat aims to create bigger and bolder collages and fibre works. Think tactile. Think analogue.He has been commissioned by Ty Pawb, Wrexham in North Wales, his place of birth to have his first solo exhibition in June 2024, which will then be on tour from Autumn 2024. He was part of the group show at Grosvenor Gallery, 'Patterns of the Past: Weaving Heritage in Pakistani Art' in the Summer of 2021, which was held in collaboration with Canvas Gallery, Karachi. The Crafts Council acquired a 3.5m tall portrait mobile and he has also been commissioned to work on a project with the elderly South Asian community in Gloucester, focussing on the migrant journey from Sri Lanka, India, Bangladesh and Pakistan.For further information on this lot please visit Bonhams.com
Biswajit Goswami (Bangladeshi, B.1981)Traveling with mother signed 'Biswajit 2022' lower rightchinese ink on fabriano paper, framed128 x 132cm (50 3/8 x 51 15/16in).Footnotes:'MA-a sound, a concept – there is no expectation, only omnibenevolence. When Bishwajit visited China for a third time, for an art project in 2015, his wife was pregnant; distance made him contemplate about his wife and baby. He started to ruminate, 'is my mother also missing me in the same way? How I'm missing...' the beautiful universal thought insisted him and provided energy to make a journey with an art project named 'Travelling with Mother'.He used an iconography 'MA' for this art project that was made by a traditional rickshaw painter from Bangladesh. In this project, he performed with general people in different cultures and geographical areas publicly. In the same way, he introduced Bengali sound 'MA' as an Art form to the different parts of the world. The people who have the same feeling about their mother or motherhood, they were the part of this work. 'Traveling with Mother', conveyed universal emotions of the global citizens.'Born in Netrakona, Bangladesh, Goswami is an artist and educator based in Bangladesh. He obtained his B.F.A in Drawing & Painting from the University of Dhaka, where he is now a lecturer, and subsequently obtained his M.F.A in Painting from Bharti University, Santiniketan, India. His works focus on revealing aspects of his surroundings which have a profound impact on contemporary culture. He employs photography, printmaking, painting to illustrate this. His works have been exhibited at the Dhaka Art Summit (2012,2014 and 2016), the Asian Art Biennale of Bangladesh (2008, 2010, 2012 and 2014), the Beijing International Art Biennale (2012 and 2015) and the Setouchi Triennial in Japan (2013). Recently in September 2022, his works were presented at the Victoria and Albert Museum, London as part of the Bureau 555 exhibit at the annual Digital Design weekend.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
Jamal Ahmed (Bangladeshi, B. 1955)Untitled (Bathing) signed and dated Jamal '19 lower rightacrylic on canvas, framed181.3 x 146.4cm (71 3/8 x 57 5/8in).Footnotes:ProvenanceAcquired directly from the artist in 2019.ExhibitedUSA, Eye for Art, 'Jamal Ahmed Solo Exhibition,' 30th October-29th November 2019.Jamal Ahmed is an artist and professor at the University of Dhaka and was awarded the Ekushey Padak in 2019, Bangladesh's second highest civilian award in recognition for his contribution to the Fine Arts. He graduated from the Faculty of Fine Arts from the University of Dhaka in 1978 and then undertook a course at the Academy of Fine Arts in Warsaw from 1980-1982. He subsequently studied oil painting at the University of Tsukuba in Japan from 1982-1984 and also earned his post graduate degree from there in 1986. He adopted acrylics as his main medium in the mid 1980s. The imagery depicted in his works is that of his native Bangladesh. They are wistful and nostalgic portrayals of women and the beauty of Bangladesh as evidenced in this lot. His works have been exhibited in India, Pakistan, London, Japan the USA and Norway, and his works are also held at the National Art Gallery in Bangladesh.For similar works sold in these rooms, see Modern and Contemporary South Asian Art, London, 24th May 2022, lots 70, 71 and 73 and Modern and Contemporary South Asian Art Online Only, 4th-14th July 2022, lot 16.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
Jamini Roy (Indian, 1887-1972)Gopini printed sign lower rightserigraph on paper, framed33 x 47.5cm (13 x 18 11/16in).Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Note: Edition size 500.To see a similar style of work sold on these premises see Bonhams, Islamic and Indian Art including Modern and Contemporary South Asian Art, London, 24th April 2018, lot 358.Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Sayed Haider Raza (Indian, 1922-2016)Les Rochers signed and dated 'Raza 69' lower centre, further signed, dated, titled and inscribed Raza/P_782 '69/Les Rochers/10F and 'SHR-26' verso and 'YK520 CIN' on the stretcheroil on canvas54.7 x 46cm (21 9/16 x 18 1/8in).Footnotes:CELEBRATING SAYED HAIDER RAZA'S BIRTH CENTENARY AND 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired by the owner from Galerie Lara Vincy, Paris (acquired directly from the artist;Private Collection, France (acquired from the above)Christies, South Asian Modern & Contemporary Art,11th June 2012, lot 55.Acquired by the current owner from the above.LiteratureAnne Macklin (ed.), SH Raza, Catlogue Raisonné 1958-1971 (Volume I), Vadehra Art Gallery & he Raza Foundation, New Delhi, 2016, p. 173 (illustrated)A fascinating aspect of Raza's long career lies in how he evolved at least three different modes of abstraction – and their particular reflection on his own life and experiences.At the time of painting these small works, Raza was going through one of the most significant periods of his painterly career. His stint at the JJ school, the early years in Paris and his exposure the life of an artist in post war Europe was already behind him. This phase may well have started during the early 1960s, when he travelled to the University of California at Berkeley from France and experienced for the first time the works of Sam Francis, Mark Rothko and other leading American abstract expressionists, who lent their work the primacy of colour. Completely devoid of any structure, allowing for a fluid evocation of emotion, their work led Raza to move dramatically beyond the School of Paris influences that he had hitherto been exposed to. As he allowed himself greater painterly freedom in the unfolding decade of the sixties, Raza's work was to become more gestural, the brushwork looser, and the painterly affect that he sought more emotive. Yet nothing about this confluence of impressions was simple or direct. An artist of his time who responded spontaneously to the great wave of abstraction that swept the West in the 1950s and 60s, Raza also had nurtured a slew of memories that tied him inextricably with his homeland. As he describes it, the dense forests surrounding Mandla, a district in Madhya Pradesh where his father served as a forest officer were an overwhelming memory, of a sensorium of sounds, shadow and movement, unknown and mysterious to the young child. The weight of the night as it descended on the forest – innocent of electricity, as the villagers returned to their homes - was occasionally broken by the dances and singing of the Gond tribals by firelight, which etched deeply on his impressionable mind. Years later, as he engaged with a more liberated, and spontaneous mode of painting, Raza reverted to that childhood memory, making his works rich with an inchoate movement, and the irrepressible pulsation of life. There was also the memory of Kashmir, which Raza visited in 1947, its rich explosion of colours and its landscape, the subject of a wealth of miniature paintings.Les Rochers (1969)The two small paintings on view cohere in terms of Raza's treatment; whether these are preparatory works for larger canvases or complete in themselves, they bear the dynamism and energy of this phase. In the earlier work titled Les Rochers (1969) Raza allows a heavy overhang of darkness to seemingly merge with the large rock like forms, making one indistinguishable from the other. The sense of a looming darkness, kindled by embers of colour that seem to rise at the base of the work suggests the deepening of shadow over the landscape, like the closing in of the night.About this time Raza was to make a series of works drawing upon the rich tones of Rajasthani paintings – red, black, white and yellow—which not only drew from the burning sands of the Malwa region and the blazing sun of the desert but the passionate music of Rajputana, and the rich symbolism of Tantric painting. Here we have the first inklings of the Bhanu mandala, or the form of the blazing sun – black, or red, and its associative form, the bindu, in paintings like Terre Rouge (1968). There is also the preoccupation with darkness, the pitch black of the night which will be fractured or broken through with shards of colour, in paintings like Les Rocher (1969) and La Nuit (1971). It is remarkable that Raza's paintings, devoid of all living forms – other than the Naga, or the cosmic serpent which wraps around the circumference of the earth, invoke life through the sheer vitality of colour.What the energy and spirit of these works indicate is Raza's exploration of primordial elements that appear to mark the beginnings of creation. The first few verses of the Rig Veda (c.1750 BE) are dedicated to the five elements that imbue the life force. On the earth -to-sky painted surface, even in the smallest works, he engages the power and mystery of the elements, drawing them into a great, cosmic churn. Indian art had never dedicated itself entirely to the landscape, and Raza stands like a solitary figure, closer to the Romantic poets of the 18th and 19th centuries, to Rilke and Lawrence in the sweeping agonistes that he draws from nature.The GroundMind you are, ether you areAir you are, fire you areWater you are, Earth you areAnd you are the Universe, mother...Saundaryalahiri verse 28It is against this background, of a vibrant evocation of the primal forces of wind, ether, fire and water, that the question of the ground arises. On what premise, both conceptual and artistic, is Raza grounding his work? While the paintings of the late 1960s and 70s fall under the broad rubric of the landscape, there is very little of the recognizable elements of nature on view. Instead, Raza seems to depend entirely on the energy of his brush strokes, and the sheer magic of colour to invoke a sensorial effect, of the seasons and the intensity of an Indian summer. It is in the churning, and the unexpected appearance of the circle, the square or a suggestion of a triangle in such works, that Raza is also preparing the ground for another mode of abstraction. This would lead him further into a recessed visual space, not to the Vedic pronouncement on the Panchamahabhutas or primal elements, but to the yantra, and its geometric symbolism. Codified by Adi Shankara in the Saundaryalahiri,(c 8th century) the geometry of the yantra is loaded with the signification of life giving energies. In secularizing them into a highly evolved geometric abstraction, Raza creates a unique language, which abandons concepts of time and space to create their own ground – of metaphysical reading perhaps, but also sheer visual pleasure.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Maqbool Fida Husain (Indian, 1915-2011)Ashta Vinayak all signed and with printed sign and edition 395/500offset print on paper52 x 35.4cm (20 1/2 x 13 15/16in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceArcher Graphic Studio, Ahmedabad. Ashta means eight and Vinayak is the name for the God Ganesh, also known as the Elephant God in Sanskrit. Husain created the Ashtavinayak series to celebrate the pilgrimage, Ashtavinayak Yatra that covers the eight ancient holy temples in Maharashtra. These eight temples house eight distinct idols of Ganesh, and each temple has its own history and legend. Although Husain was raised in a Muslim household, he captured the essence of other religions through his works. An example of a work where he depicts Buddhism, Sikhism, Zoroastrianism, Islam, Christianity, Judaism, Vedic and Humanism can be seen in his limited edition of ten serigraphs, titled Theorama, previously sold in these rooms. To see Theorama, see Modern and Contemporary South Asian Art, London, 24th May 2022, lot 51.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
Anjolie Ela Menon (India, B.1940)Crow signed Anjolie Ela Menon '20 lower right and edition 24/100 lower leftserigraph in 12 colours on paper, framed33.6 x 26.4cm (13 1/4 x 10 3/8in).image size (in) 12 x 9.5Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Born in Burnpur, Bengal, Menon studied at the Sir JJ. School of Art in Bombay, obtained a degree in English literature from Delhi University, and subsequently went to Paris where she studied Frescos at the École des Beaux-Arts. Influenced by Modigliani, Husain and Shergil, she is known primarily for her figurative works, in which she developed the distinctive features of early Christian art, in particular that of the frontal perspective, the slight body elongation and the averted head, but focussed on the female nude as her protagonist. In her later works she features black crows, as in the present lot, hidden figures, empty chairs and windows. These symbols that she has come to be known for arise from the mundane rather than the heroic. The repetition of these motifs have elevated them to a symbolic status, and these every day objects or in this case bird, contextualised or used as an embellishment tells its on story, which is Menon's story. Her works have been exhibited worldwide are kept as part of the collections of the Peabody Essex Museum, Massachusetts, the Asian Art Museum, San Francisco and the National Gallery of Modern Art. Her most recent retrospective titled, Anjolie Ela Menon: A Retrospective was held in 2017 at Aicon Gallery. Prior to that the National Gallery of Modern Art, Mumbai held her retrospective in 2002 which then travelled to Bangalore, Chennai and Delhi. She is the recipient of the Padma Shree (2000), India's fourth highest civilian honour.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
Shanti Panchal (Indian, B. 1951)Untitled (Puja Scene) watercolour on paper, framed60.8 x 83cm (23 15/16 x 32 11/16in).Footnotes:For a similar work sold in these rooms see Modern and Contemporary South Asian Art, London, 24th May 2022, lot 102.For further information on this lot please visit Bonhams.com
Small library of auction catalogues, mostly Asian Art and Decorative Art sales, 1980s-present, including single owner collection catalogues such as Harriman Judd parts 1 and 2, Albert Wade parts 1 and 2, Important Chinese Ceramics from the J M Hu Family Collection (1985), Chinese Furniture from the Museum of Classical Chinese Furniture (1996), Nelson: The Alexander Davison Collection (2002), etc.Qty: 6 boxes
Holger Lippmann, "Unknown Flower", "Asian Vector" u. "Magnetic Pull", digitale Malerei, 3 Multiples von 2008, hinter Glas montiertHolger Lippmann, *1960 Mittweida, bildender Künstler, zählt zu den Pionieren der Netzkunst, studierte 1985-1990 an der Hochschule für Bildende Künste Dresden klassische Bildhauerei bei Klaus Schwabe, dessen Meisterschüler er auch war, und bei Dietrich Nitzsche, später am Art Department des New York Institute of Technology, lebt und arbeitet in Berlin und Brandenburg, hier: "Unknown Flower", "Asian Vector" u. "Magnetic Pull", farbige digitale Malerei, Multiples, 42,5 x 42,5 cm, verso sign., dat. num. 1/25 u. bez., hinter Glas montiert
A CHINESE YELLOW AND RUSSET JADE CARVING OF A BIRD 17TH/18TH CENTURY The bird resting with its two legs folded under the body, the wings tucked against its sides, with a curling plume rising above its neck, the stone of a yellowish green tone with dark brown and russet inclusions, with a reticulated wood stand, 9.5cm. (2) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
A CHINESE PALE CELADON JADE PEAR-SHAPED VESSEL 18TH/19TH CENTURY Raised on a splayed foot, decorated with bands of geometric patterns and archaistic scrolls, set with two loop handles to one side, one with a suspended loose ring, the stone of an even tone with minor white and russet inclusions, 15.8cm. Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
TWO CHINESE PALE CELADON JADE CARVINGS OF ANIMALS QING DYNASTY One a recumbent cat with its head turned to sinister, the other a toad with a sprig of millet in its mouth, with a wood stand, the stones of even pale tone, 4.5cm and 5cm. (3) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
A CHINESE PALE CELADON JADE LION DOG GROUP 19TH CENTURY Carved as a recumbent mother and pup, both with long bushy tails, the spines and manes well defined, the stone of an even pale tone with paler inclusions, with a wood stand, 9cm. (2) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
TWO CHINESE PALE CELADON AND RUSSET JADE CARVINGS 17TH/18TH CENTURY One formed as a lotus seed pod growing from a stem, with a bird perched on the side, the other as a fan-tailed fish, each with small areas of pale russet inclusions, 6.3cm and 6.5cm. (2) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
TWO CHINESE JADE CARVINGS OF RECUMBENT ANIMALS QING DYNASTY AND LATER One jadeite, carved as a Buddhist lion, the stone of celadon with minor russet inclusions, the other black and grey nephrite jade of a dog, each resting with its legs tucked under the body, with two wood stands, 8.5cm and 7.3cm. (4) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
FIVE CHINESE JADE CARVINGS OF ANIMALS MING/QING DYNASTY Three carved as felines, two as birds crouching with their heads turned over their backs, the stones ranging from grey to russet brown and black, with three wood stands, 9.7cm. (8) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
A CHINESE YELLOW JADE BI, A JADE MANDARIN DUCK AND TWO JADEITE ITEMS QING DYNASTY The bi carved with the zodiac animals and the eight trigrams, the mandarin duck on a lotus leaf, a pendant carved with lotus, and an uncut seal with a lion dog finial, one with a wood stand, 7cm. (5) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
FOUR CHINESE CELADON AND RUSSET JADE ITEMS MING/QING DYNASTY Comprising: a disc-shaped pendant carved with four chilong, a rectangular pendant, a recumbent deer and a bird, the stones with darker inclusions, with a wood stand, 5.3cm. (5) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
TWO CHINESE CELADON JADE CARVINGS OF RECUMBENT ANIMALS 18TH/19TH CENTURY One carved as a mythical beast with its mane and spine well defined, the other as a ram with its head turning to sinister, the stones with some darker inclusions, with a wood stand, 7cm and 6.5cm. (3) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
TWO CHINESE JADE CARVINGS OF AN ANIMAL GROUP AND A BAT 18TH CENTURY One carved as a recumbent beast with a bird picked out in celadon, the other depicting a peach in white stone, with a bat in russet to the reverse, with a wood stand, 5cm and 4.9cm. (3) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
THREE CHINESE CELADON AND BLACK JADE ANIMAL CARVINGS MING/QING DYNASTY Comprising: a recumbent deer holding a lingzhi sprig in its mouth, a single horned mythical beast crouching with its head raised, the third depicting two reclining badgers with a green glass bead, with a wood stand, 9cm. (4) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
THREE CHINESE JADE CARVINGS OF BOYS QING DYNASTY Each depicting a smiling child holding a sprig of lingzhi or lotus, the stones ranging from grey and russet to black, with white mottling and darker markings, 8cm max. (3) Provenance: from the collection of Brian Tisdall (1934-2008) and Christa Tisdall (1936-88) who lived in Hong Kong from the early 1960s until 1987. Their collection was mostly formed in Hong Kong in the 1970s, they were advised by James C Y Watt and Brian McElney. James C Y Watt is a well known expert in early Chinese jades; Brian McElney is a renowned collector and connoisseur who founded the Museum of East Asian Art, Bath.
Caroline Wong Magnum, 2022 Acrylic and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About Caroline Wong's work responds to traditional, restricted representations of East Asian women. For Wong, subverting these ideals is the essence of her practice. Her beginnings, as an artist, lay in more traditional forms of portraiture, yet, as she has grown, she has nurtured the epicurean side of herself, moving towards more excitable, expressive mark-making driven by a hedonistic desire for fun. She likens creating to eating. In both, she becomes consumed by the moment of pleasure, detaching herself from the world. The final image presents a hot, sticky portal of pleasure and the senses. The scintillating heat of her portraits is a visual representation of this joy and decadence, whilst also being reminiscent of the chaos and colour of Southeast Asia. Whether depicting female friendships or obdurately exhibiting female pleasure in food, her work is a joyful push-back against tradition, celebrating the beauty in excess. Education 2019-2021 Masters in Fine Art, City and Guilds of London Art School, London 2016-2018 Diploma in Contemporary Portraiture, The Art Academy, London Select Exhibitions/Awards 2022 Angels with Dirty Faces, Ojiri Gallery, London Artificial Paradises (solo), Soho Revue, London Cats and Girls (solo), Soy Capitán, Berlin Go Figure!, Daniel Raphael Gallery, London À la carte, Tchotchke Gallery, New York Eat Drink Man Woman, 180 Strand, London Lotus Eaters, Indigo + Madder, London Friends and Family, Pi Artworks, London In the Land of Cockaigne, Quench Gallery, Margate 2021 ING Discerning Eye, Mall Galleries, London MA Show, City and Guilds of London Art School Drawn Out, Drawing Room, London Drawing Biennial 2021, Drawing Room, London 2019 Society of Women's Artists 158th annual exhibition, The Mall Galleries, London 2018 Society of Women's Artists 157th annual exhibition, The Mall Galleries, London Prizes Drawing Biennial Bursary Award (2021) Liberty Specialty Markets Art Prize (2018) Society of Women Artists' Derwent Special Prize for Materials (2018) Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Emily B Yang Longevity Plate, 2022 Block Print on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Emily B. Yang explores the fragmented story of Asian American identity through intergenerational engagement. The story of her own lineage follows four generations of people that have migrated from country to country, preserving and crafting their own unique cultural heritage and meaning. As a block print artist, she employs a traditional medium for a contemporary context and looks back towards the past to reconcile with a disorienting present, before exploring ways to move forward with intention. Education Master in Design Engineering, Harvard University Graduate School of Design Select Exhibitions/Awards New York Public Library, Children's Summer Program (New York, NY) 2022 Poster House, First Friday (New York, NY) 2022 Royal Academy of Art, Summer Exhibition (London, UK) 2022 Yale School of Architecture Gallery "Beyond Asian Silence" (New Haven, CT) 2021 Statement about AOAP Submitted Artwork The Asian diaspora has adapted traditional Chinese porcelain pattern motifs over time to form their own visual languages. This image is a playful and meditative take on the traditional Chinese longevity print, a reflection on the interconnected nature of both longevity and rest. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
Emily B Yang Resting Longevity, 2022 Block Print on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About Emily B. Yang explores the fragmented story of Asian American identity through intergenerational engagement. The story of her own lineage follows four generations of people that have migrated from country to country, preserving and crafting their own unique cultural heritage and meaning. As a block print artist, she employs a traditional medium for a contemporary context and looks back towards the past to reconcile with a disorienting present, before exploring ways to move forward with intention. Education Master in Design Engineering, Harvard University Graduate School of Design Select Exhibitions/Awards New York Public Library, Children's Summer Program (New York, NY) 2022 Poster House, First Friday (New York, NY) 2022 Royal Academy of Art, Summer Exhibition (London, UK) 2022 Yale School of Architecture Gallery "Beyond Asian Silence" (New Haven, CT) 2021 Statement about AOAP Submitted Artwork The Asian diaspora has adapted traditional Chinese porcelain pattern motifs over time to form their own visual languages. This image is a playful and meditative take on the traditional Chinese longevity print, a reflection on the interconnected nature of both longevity and rest. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising
INDIA -- ZEBROWSKI, M. Deccani painting. (1983). Prof. illustr. w. b&w & cold. plts. 4º. Ocl. w. dust-j. -- P. PAL. Court paintings of India. 16th-19th centuries. (1983). W. many cold. plts. 4º. Ocl. w. dust-j. -- Id. A collecting Odyssey. Indian, Himalayan, and Southeast Asian art from the (…) Alsdorf Collection. (1997). 4º Ocl. w. dust-j. -- Id. Indian Painting. A catalogue of the Los Angeles County Museum of Art Collection. Vol. 1, 1000-1700. (1993). W. many b&w & cold. plts. 4º. Ocl. w. dust-j. -- Id. Desire and devotion. Art from India Nepal & Tibet (…) Ford Collection. 2001. W. cold. plts. 4º. Ocl. w. dust-j. -- And 10 o. (15).
Ca. 206BC - 220AD.A hollow-formed terracotta pig in a cream fabric with a painted black topcoat. The pig's features have been beautifully modeled and carefully incised detail is visible, especially around the eyes and snout. The pig, with an extremely prominent belly, is depicted in a neutral standing position as if waiting perhaps to be fed! The pig is the twelfth animal in the Chinese zodiac. According to traditional myth, the Jade Emperor said that the order of the animals in the zodiac would be decided by the order in which they arrived at his party. The pig was late either because he overslept or because the wolf destroyed his house and he had to rebuild it before he could come to the party. Traditions differ but he was certainly the last animal to arrive and could only take the twelfth place. In Chinese culture, pigs are traditionally considered to be symbols of wealth, perhaps because of their chubby faces (and bellies) and their large prominent ears, which are viewed as symbols of wealth. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with a full report will also accompany this lot.Size: L:210mm / W:520mm ; 7kgProvenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s.
Ca. 200-300 AD.A remarkable example of Kushan artistry, richly carved in grey schist, combining naturalism of the classical Greek style with the Asian serenity of Buddhist art. The head is finely shaped, the nose in aquiline, an elaborate coiffure that radiates from the top of the head and is fashioned in a loosely parted topknot. The hair is stylised in such a way as to accentuate his princely status. The gemstone adornment that crowns the centre of the diadem, symbolize the Bodhisattva's earthly return in the service of the enlightenment of all sentient beings. The heavy-lidded eyes similarly convey the contemplative serenity one associates with Buddhist imagery, while a narrow moustache grows outward from above the subtly curved upper lip just above a handsomely shaped chin. The forehead is centred by a raised urna.Size: L:310mm / W:215mm ; 9.75kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in Belgium; previously in 1970s European collection.
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