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F.H. Danvin. A 1930's French Art Deco bronze mounted onyx and marble clock garniture, the central mantel clock of stylised geometric form surmounted by a model of an Asian pheasant, with dial signed De Vis Poitiers, with a pair of electrically internally lit bird finial side ornaments, clock: width 32cm, height 46cm, side ornaments: width 15cm, height 31cmOverall in good clean condition, perhaps some slight oxidisation and rubbing to the silvering of the birds and very minor nicking to the edges of the marble cases, clock has an eight day countwheel movement striking on a bell which is going but not tested for timekeeping, side ornaments will require re-wiring.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. clock: width 32cm, height 46cm, side ornaments: width 15cm, height 31cm

ASIAN ART BOOKS - BY IMPERIAL COMMAND, HUGH MOSS By Imperial Command, An Introduction to Ch'ing Imperial Painted Enamels Hibaya Co Ltd, Hong Kong, 1976, Limited edition, number 177 from the published 1000 copies Two volumes, hardcovers, no dust jackets, with outer slip case Condition: The slip case shows plenty of wear, and one section to the of the case is lacking, both volumes are lacking their dust jackets but pages appear clean

A LARGE HANGING SCROLL OF A TIGER Probably Korean Ink and colour, mounted on hanging scroll The tiger depicted seated with its head turned facing forwards, a landscape beyond Littleton & Hennessy Asian Art label to scroll end 142 x 78cm excluding scroll backing Condition: Some loss of colour evident to the areas of white on the tiger's feet, belly chest and face, together with further loss of colour to the orange fur. Some general signs of age, occasional light creases and rubbing in places

AUCTION CATALOGUES - SOTHEBY'S ASIAN ART COLLECTION SALES 1983-1998 Comprising: The British Rail Pension Fund, Hong Kong May and December 1989 (2 vol); Paul and Helen Bernat Collection, Hong Kong 1988; Private Collection of Ming and Qing Porcelain, Hong Kong 1988; The Su Lin An Collection, Hong Kong, 1995; The T.Y. Chao Private and Family Trust Collections, Hong Kong 1986; Eight Treasures from a Private Collection, Hong Kong, 1998; The Collection of Mr & Mrs C. Bull, New York 1983; An Important Private Collection of Chinese Celadons and Other Ceramics, Hong Kong 1996; and A Highly Important Ming and Qing Imperial Porcelain from a Private Collection, Hong Kong 1997 All hardcovers, all but one with dust jackets (10) Condition: All with some general wear, some examples with tears to dust jackets

AUCTION CATALOGUES - ASIAN ART PUBLICATIONS AND CATALOGUES To include: A Tale of Three Cities, Canton, Shanghai & Hong Kon, David S. Howard, Sotheby's; Xubaizhai Collection of Chinese Paintings and Calligraphy, two collection catalogues; Important Chinese Paintings from the Robert Chang Collection; Freedom of Clay and Brush through seven Centuries in Northern China, Yutaka Mino, Cleveland Museum of Art, 1981; and various Chinese ceramics auction catalogues from Bonhams and Hanhai Beijing (13) Condition: Some general minor wear and use

AUCTION CATALOGUES - VARIOUS ASIAN ART COLLECTION SALES A good group of Sotheby's, Christie's and other private collection Chinese Ceramics and Works of Art auction catalogues, mostly hardcovers To include: Sakamoto Goro, Sotheby's, five catalogues 2013/14; The Gerald Godfrey Collection of Fine Chinese Jades, Christie's Hong Kong, 1995; Robert Chang Collection, Christie's 1999/2000; F.Gordon Morrill Collection, Doyle New York 2003; Emile Guimet, Sotheby's Hong Kong 2008; R.E.A. Riesco Collection, Christie's Hong Kong 2013 and many others (29) Condition: Some general signs of age and shelf wear to most, dust jackets to the older examples with wear and tears. One Sothebys example (Collection of Ming and Qing Imperial Porcelain from a Private Trust, 2000) binding has come apart and pages are loose

Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Feuilles de bambou". Medium: Original vintage photogravure. Date: Composed c1935. Printed 1935. Dimensions: Image size: 11 3/4 x 9 1/8 in. (298 x 232 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [23916-2-300]

A selection of auction catalogues on Asian Art, Islamic carpets etc. 

Six Asian works of art to include: two Chinese watercolour paintings on silk of birds and flowers bearing artist's seal, 32 x 52 cm each, three Thai temple rubbings and one watercolour river scene, possibly Vietnamese (6)

El-Fayum portrait of a lady. Ancient Egypt, Er-Rubayat period, P. Romano, ca. 121-245 AD.Wood and pigments.In good state of preservation.Carbon 14 test attached.Provenance:- Found in er-Rubaiyat, Egypt, before 1903.- Theodor Graf (1840-1903), Vienna.- Private collection of engineer Claes A. Philip (1912-2000, Sweden), acquired by inheritance. He was a passionate collector of antiques, old paintings, Asian works of art, European furniture and decorative arts. His eclectic home was spectacularly presented in Trollesund Säteri until 1965, thereafter at his home in Stockholm. Behind the frame is a label as an exlibris of the collection, as well as a handwritten note cataloguing the piece.Enclosed are old photographs of the piece in the collector's home, as well as a copy of the collection's inventory page with the piece.Publications:-PARLASCA, Klaus. Ritratti di Mummie. Repertorio d'arte dell'Egitto Greco-Roman. Volume IV. Rome. Series B.N.823 fig. 3.Size: 34 x 17.5 cm.The present panel was part of the first collection of portraits of El Fayum assembled by the Viennese antiquarian Theodor Graff in the late 1880s, an important compilation that introduced this genre of portraiture to the Western world. Theodor Graff was a carpet and art dealer who, in 1887, acquired more than 300 portraits of mummies such as the one presented here. He exhibited the pieces in various places in Europe and America to great public acclaim, selling them to various institutions and private collectors. The success of his collection led him to supply portraits to the most important international museums, from the British Museum in London to the Metropolitan in New York.The Fayum portraits are realist-style paintings on wood that originally covered the faces of mummies from the Roman province of Egypt. They are part of the tradition of panel painting, a highly respected discipline in the classical world, and are the only major ensemble of this tradition that has survived to the present day. It was continued in the Byzantine and Western traditions of the post-classical world, including Egyptian Coptic iconography.They have been found throughout Egypt, but are most common in the Fayum region, and date from the Roman period, from the 1st century BC onwards. Although it is not known for certain when their production ended, research suggests that it was around the middle of the 3rd century. Often, given the realism of these portraits, they can be dated by the type of hairstyle, jewellery or clothing.These portraits covered the faces of mummified bodies, complementing the traditional cartonnage of Egyptian mummies. They usually depict a single person, showing the face or head and upper torso, always with a frontal view. Stylistically, these images are directly inherited from the Greco-Latin tradition rather than the Egyptian one. In fact, the population of the Fayum area grew considerably as a result of a wave of Greek immigration during the Hellenistic period.In terms of technique, there are two groups of portraits: those painted in encaustic, using wax, and those painted in tempera, although they are always on wood.These works are of exceptional historiographical interest as they illustrate the meeting point between Greek painting, Roman realist portraiture and Ancient Egyptian religion. In fact, the Egyptians believed that their funerary portraits should be as realistic as possible so that they could be clearly recognised after death.

Alena Vavilina, "Butterflies series 6", silver leaf, watercolour, ink, charcoal on paper, 32 x 39cm, c. 2019. AV's famous "Butterfly collection" has significant success at Art Expo Malaysia 2018 which also brought an award to the artist. AV Art is famous for her gold plated and silver plated butterflies in minimalistic and Asian style. UK shipping £80.

STÈLE DE GANESHA EN GRÈSINDE CENTRALE, CIRCA XE SIÈCLE71.5 cm (28 1/8 in.) high Footnotes:A SANDSTONE STELE OF GANESHA CENTRAL INDIA, CIRCA 10TH CENTURY印度中部 約十世紀 砂岩象神石碑 Provenance: With Claude de Marteau, New York, by 1967 The mischievous elephant-headed god Ganesha can clear (or create) obstacles and is therefore propitiated before the start of almost any undertaking. The whimsical, improbable vision of Ganesha dancing while snacking on a bowl of sweets is the subject of this early medieval stone sculpture. Ponderous weight is placed on the right foot and hip as Ganesha sways to the right. He turns his left foot out, resting it delicately on the toes. Ten arms are rhapsodically poised around the torso, holding attributes and weapons; two additional arms (one on either side) are now lost. Six ecstatic musicians inspire this motion, four below and two flanking the garland-bearing vidyadharas above. Crouching on the pedestal beneath is a rat, Ganesha's humble vehicle, adding to scene's delightful humor. Tales of the origins and appearance of Ganesha vary, but most describe him as having been created a boy by his mother Parvati from the residue of her bathwater. Once manifest, she placed him as sentry to her bath chamber. Shortly thereafter, Parvati's husband Shiva appeared, demanding entry. When Ganesha refused the stranger's request, Shiva removed his head. Parvati insisted Shiva restore Ganesha's head immediately. The first available head was that of an elephant, which was expediently placed atop the young man's body, thus forming the unique appearance of this beloved deity. A smaller work of approximately the same period is now in the Virginia Museum of Fine Arts (Dye, The Arts of India, 2001, pp. 142-43, no. 42). See also the much larger example, of unsurpassed quality, in the Mr. and Mrs. John D. Rockefeller 3rd Collection at Asia Society Museum in New York, published in Leidy, Treasures of Asian Art, 1994, p. 42, fig. 22.For further information on this lot please visit Bonhams.com

STÈLE REPRÉSENTANT UNE SURASUNDARI EN MARBREINDE OCCIDENTALE, XII/XIIIE SIÈCLE83.5 cm (32 7/8 in.) highFootnotes:A WHITE MARBLE STELE OF A SURASUNDARIWESTERN INDIA, 12TH/13TH CENTURY印度西部 十二/十三世紀 白大理石天女石碑Provenance: With Claude de Marteau, New York, by 1973Published: Jan van Alphen (ed.), Steps to Liberation: 2500 Years of Jain Art and Religion, Antwerp, 2000, p. 166, no. 91. Exhibited: Steps to Liberation: 2500 Years of Jain Art and Religion, Ethnographic Museum, Antwerp, 26 May - 15 October 2000. The nimble dancing goddess wields a sword above her head in the mode of a protector. She would have joined a host of surasundaris, celestial beauties whose presence around the temple walls is auspicious. Such figures strengthen the potency of the prayers offered in the temple, as their beauty beckons the deity to listen to them. Another bracket of the same origin was formerly on loan to the Denver Art Museum (1970–85) from the collection of Christian Humann, later to become the Pan-Asian Collection (Sotheby's, New York, 20 & 21 September 1985, lot 283). As one of Claude de Marteau's most important patrons, it is likely that Humann acquired the bracket from de Marteau's inventory in New York during the 1960s. Other related examples can be found in Davidson, Arts of the Indian Subcontinent, 1968, p. 48, no. 61; Pal, Indian Sculpture, 1988, p. 134, no. 58; Pal, The Peaceful Liberators , 1994, p. 195, nos. 77A & 77B; Heeramaneck, Masterpieces of Indian Sculpture, 1979, no. 95; Pal et al., Dancing to the Flute, 1997, p. 114, no. 61b.For further information on this lot please visit Bonhams.com

STÈLE DE SURYA EN GRÈSUTTAR PRADESH, CIRCA XE SIÈCLE76.2 cm (30 in.) highFootnotes:A SANDSTONE STELE OF SURYAUTTAR PRADESH, CIRCA 10TH CENTURY北方邦 約十世紀 砂岩太陽神石碑Provenance:With Claude de Marteau, New York, by 1967Richard B. Gump, San FranciscoSotheby's, New York, 6 October 1990, lot 290Identified by his characteristic boots, breast plate, and tall cylindrical crown—as well as by the two fully-blown lotuses he wields—this stele is devoted to the ancient Vedic sun god Surya, whose cult at one time rivaled that of Shiva and Vishnu, and who became prominently incorporated into the Vaishnavite tradition in northern India. He is dressed according to traditional conventions that depict him as a king. His 'northern' garb is thought to resemble that of Central Asian Indo-Scythian tribesmen, such as the Kushans, who ruled northern India in the first centuries of the common era. It is also thought to reflect the influence of ancient Iranian religious ideas, where the worship of the sun in personified form is through to derive (Rosenfield, The Arts of India and Nepal, 1966, p. 43). This near-complete composition includes Surya's wife, Ushas, the goddess of dawn, standing immediately before him as the herald of each new day. Either side of his feet are Surya's clerk and measurer, Pingala and Danda, carved in complementary tribhangha poses. Behind them are two further wives of Surya, possibly the shapelier Sarenu, daughter of Heaven, on the right, and her shadow, Chaya, on the left (although his wives Rajni and Nikshubha are also possible). Above them, by Surya's elbows, the two archers Usha and Pratyusha defend dawn and dusk from the darkness. At the very sides of the stele's lower half are yakshas squatting below celestial attendants carrying Brahmanic waterpots and offering gestures of reassurance, both pairs representing additional helpers in Surya's benign entourage. As Dye once deftly noted, Surya's bold lotus blossoms and crisp lotus halo, 'suggest both the sun itself and the boundless life it nurtures.' (Dye III, The Arts of India, Richmond, 2001, p.136). Such vitality is further evoked by virile youths wrestling the oversized makaras either side, whose conjoined tails carved with foliate motifs frame the radiant halo. Surya's proliferous benevolence is praised by pairs of celestial adorants flanking the halo, offering him garlands. The softly modeled fleshy cheeks and prominent lips that harken back to Gupta period point to the regional style of Uttar Pradesh in northern India. So too does the buff-to-reddish colored sandstone, the less extravagant array of regalia (in contrast to neighboring Rajasthan and Madhya Pradesh), and the treatment of the lotus halo with broad, plain leaves arranged in a circle, bordered by a rim. Compare these various idioms with examples attributed to Uttar Pradesh in Desai & Mason (eds.), Gods, Guardians, and Lovers, 1993, pp. 187-8, 244-7 & 262-3, nos. 28, 62, & 70. Also see a Vamana in the Walters Art Gallery, Baltimore (25.260).For further information on this lot please visit Bonhams.com

STATUE DE BOUDDHA SHAKYAMUNI EN ALLIAGE DE CUIVRE DORÉKHASA MALLA, XIII/XIVE SIÈCLEHimalayan Art Resources item no. 4855 31.5 cm (12 3/8 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF SHAKYAMUNI BUDDHA KHASA MALLA, 13TH/14TH CENTURY 卡薩馬拉 十三/十四世紀 銅鎏金釋迦牟尼像Provenance:With Claude de Marteau, Brussels, by 1970s This grand image of the Buddha is one of only a handful of large bronzes attributed to the Khasa Malla kingdom, whose territory comprised parts of Western Nepal and Tibet between the 12th and 14th centuries. The juxtaposition of this Buddha's warm, quiet demeanor and his formidable, robust physique strikes an accomplished balance conveying benign yet supreme authority. Although the mysterious kingdom of the Khasa Mallas was known to Western scholars from epigraphical sources by the 1950s, it was Ian Alsop's pioneering research on a peculiar gilt-bronze female figure in the National Museum of Asian Art, Washington D.C. (1986.23M) that spurred awareness of the Khasa Mallas' visual culture (Alsop, 'The Metal Sculpture of the Khasa Malla Kingdom' in Singer & Denwood (eds.), Tibetan Art, Towards a Definition of Style, 1997, pp. 68-79). Subsequently, a growing number of objects have been assigned to their avid promotion of Buddhism, whose aesthetic was informed by prevalent styles circulating in neighboring kingdoms and the lands the Khasa Mallas controlled or raided. For example, numerous features of the present sculpture show clear borrowings from the Malla kingdom, centered in the Kathmandu Valley, including the thick beading running along the robe's 'rice-grain' hemline, the floral medallions tucked behind the Buddha's ears, his beaked nose, and the fishtail sash draped over his left shoulder. Compare these features with three Malla Buddha sculptures sold at Sotheby's, New York, 25 March 1999, lot 39; Sotheby's, New York, 1 April 2005, lot 52; and Christies, New York, 13 September 2017, lot 620. Chief among the diagnostic traits that can identify a work from the Khasa Malla kingdom is the representation of the joints of each finger, displayed in this Shakyamuni's right hand, lowered in the gesture of 'calling the Earth to witness' (bhumisparsha mudra). The 'rice-grain' pattern, an inlaid turquoise urna in the shape of a teardrop, and the manner in which his eyebrows terminate at the nasal bridge are other features found among Khasa Malla sculptures. All are shared by a Buddha of similar scale in the Rubin Museum of Art (C2006.24.1), and two other large Khasa Malla Buddhas sold at Bonhams, Hong Kong, 2 December 2020, lot 1010, and Bonhams, New York, 19 March 2018, lot 3019.For further information on this lot please visit Bonhams.com

STATUE DE MANJUSHRI EN ALLIAGE DE CUIVRE DORÉNÉPAL, FIN DE LA PÉRIODE MALLA, XV/XVIE SIÈCLEHimalayan Art Resources item no. 4863 16.4 cm (6 1/2 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF MANJUSHRINEPAL, LATE MALLA PERIOD, 15TH/16TH CENTURY尼泊爾 馬拉王朝晚期 十五/十六世紀 銅鎏金文殊菩薩像 Published:Arman Neven, Le tantrisme dans l'art et la pensee, 1974, no. 384. Exhibited:Le tantrisme dans l'art et la pensee, Palais de Beaux-Arts, Bruxelles, 7 March - 10 April 1974.Provenance:With Claude de Marteau, Brussels, by 1970sThis tranquil four-armed figure of Manjushri, the Bodhisattva of Wisdom, wields a bow and arrow, a sword and a teaching. While ritual supplication and ablutions have worn away some of the gilding on the cheeks and forehead, the bodhisattva's crisp, handsome features are well preserved. Related bronze sculptures of Manjushri from Nepal's Late Malla period include an example in the Norton Simon Museum, Pasadena (Pal, Asian Art At the Norton Simon Museum, vol. II, 2003, pp. 96, no. 62), and two sold at Sotheby's, New York, 20 March 2013: one which shares a similar expression (lot 203), and another with a similarly pointed aureole (lot 208). Also, compare a bronze in the Denver Art Museum (von Schroeder, Indo-Tibetan Bronzes, 1981, p. 377, no. 100F).For further information on this lot please visit Bonhams.com

STATUE DE MANJUVARA ET PRAJNAPARAMITA EN ALLIAGE DE CUIVRE DORÉNÉPAL, DATÉ 1779 APR. J.-C.The back of the base has a dedicatory inscription dated Samvat 899 corresponding to 1779 CE.Himalayan Art Resources item no. 4854 32.5 cm (12 3/4 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF MANJUVARA AND PRAJNAPARAMITANEPAL, DATED 1779 CE尼泊爾 1779年（據銘文） 銅鎏金文殊金剛及般若波羅蜜多像Provenance:With Claude de Marteau, Brussels, by 1970s Identified by the sword and manuscript he brandishes in his primary hands, Manjuvara is a three-headed and six-armed tantric form of Manjushri. Seated in royal ease (lalitasana), he is joined in blissful union by his diminutive female consort, Prajnaparamita, who embodies the sutra of the same name. Here, she comfortably mirrors her consort's seated pose as she pinches the stem of a blue lily in the gesture of teaching (vitarka-mudra). The bronze's inscription, translates to: 'May it be good: The third of the bright half of Phalgun, in the year 899 (ca. February 1779 CE) was the day on which (this) statue of Mahamanjushri, made in their own names by Chikidhikara Vajracarya and his wife Jaya Lakshmi, residing in Dharmadahtu Mahavihara of the great city of Shankapura, (Mod: Sankhu) was consecrated. May it be good.' Bonhams is grateful to Ian Alsop for his assistance with translating the inscription. This consecration by husband-and-wife donors supports a more romantic interpretation of the divine couple, as Dr. Pal observes, 'when Prajnaparamita holds a blue lotus, the book placed on it is the Kamasastra, the manual of physical desire rather than the lofty Paramita treatise. Curiously, Manjushri is sometimes identified specifically with Kama, god of desire' (Pal,Asian Art At the Norton Simon Museum, vol. 2, 2003, p. 96, no. 62). Although relatively slimmer in proportion than their Early Malla counterparts, images from the Late Malla period are often adorned with elaborate, flaming aureoles to stress the cosmic power of their respective deities. Examples of Manjuvara-Prajnaparamita pairs that share this double-layered arch can be found in von Schroeder, Indo-Tibetan Bronzes, 1981, pp. 389, 391 & 392, nos. 106F, 107F & 108C.For further information on this lot please visit Bonhams.com

SANCTUAIRE DE SURYA EN LAITONHIMACHAL PRADESH, XIIE SIÈCLEHimalayan Art Resources item no. 4838 26.3 cm (10 3/8 in.) high Footnotes:A BRASS SHRINE OF SURYAHIMACHAL PRADESH, 12TH CENTURY喜馬偕爾邦 十二世紀 太陽神銅像 Published:Arman Neven, Sculpture des Indes, Brussels, 1978, p. 224, no. 166.Exhibited: Sculpture des Indes, Société Générale de Banque, Brussels, 8 December 1978 - 31 January 1979.Provenance:With Claude de Marteau, Brussels, by 1970sThis simple yet striking shrine features Surya flanked by his clerk and measurer, Pingala and Danda. The chief attributes of Surya are presented as massive, batten-like scepters. His face, crown, and the jewelry across his torso are worn almost completely smooth, and only the form of the sword across his thighs is discernible.In a comprehensive survey of sculpture from Himachal Pradesh, closely related examples are attributed to the 11th century, based on the structure of the throne (Postel et., al, Antiquities of Himachal, 1985, figs. 179 & 182). Also compare the stepped base and lotiform motif with another bronze group of Lakshminarayana from the collection of Dr. Leo S. Figiel at the Smithsonian's National Museum of Asian Art (S1992.2).For further information on this lot please visit Bonhams.com

Kabinettkasten im nanban-Stil. Holz und Lack. Momoyama-Zeit, 2. Hälfte 16. Jh.Hinter einer nach vorne aufklappbaren Tür insgesamt acht Schubladen, die mittlere mit einer Front in der Art einer Nische und mit einem Schlüssel zu verschließen. Allseitig Schwarzlack mit Gold-makie und Perlmuttereinlagen. An der Front zwei shishi und ein Vogel zwischen blühenden Pflanzen, auf der Oberseite ist nur mehr ein Hahn zwischen Blättern zu erkennen, an der Rückseite Klematiszweige, an den Seiten Trauben und Weinranke bzw. Herbstpflanzen. An den Rändern von Front und Oberseite Zickzackborte aus aogai. Beschläge an Ecken und Schloss, seitliche Tragegriffe aus teilweise ziselierter Bronze. Unterschiedlich starke altersbedingte Gebrauchsspuren, eine Schublade ergänzt. Schlossplatte mit Schlüssel vorne ergänzt.H 32,3 cm; B 43 cm; T 36,3 cmProvenienzPrivatsammlung, Belgien, zusammengetragen zwischen 1950 und 1990LiteraturVgl.: J. Watt und B. Brennan Ford, East Asian Lacquer. The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, New York 1991, Kat.-Nr.105

A collection of books from Berlin's studio.Included in the collection are a variety of books with subjects ranging from Asian Art to the Gypsy community. Some of the books are signed by Berlin.

Haji Widayat (Indonesian 1919-2002) Picnic No. 1 Signed, inscribed and dated Widajat/84/PICNIC I (lower left) Oil on canvas 138.8 x 140.7cm Provenance: Christie's, Hong Kong, Asian 20th Century Art, 26 May 2013, lot 3489; Property from the Estate of Roland Baker dec'd

A Chinese celadon famile rose beaker, Daoguang reign mark to base; together with a quantity of other Asian art to include a Cantonese enamel cylindrical jar and cover, a pair of Japanse Kutani footed dishes, an Imari fluted charger and a Prunus blossom ginger jar etc.Celadon beaker with very slight glazed fritting to the rim, Cantonese enamel jar and cover, with two large chips, one to the cover and one to the base, scratches, tea bowl cracked, all other pieces in good order

GYOKKO: AN INLAID WOOD PANEL DEPICTING A CAT AND FLOWERSBy Gyokko, signed Gyokko sho koreJapan, Meiji period (1868-1912)The wood panel neatly decorated with inlays of bone, ivory, and mother-of-pearl to depict a recumbent white Persian cat with characteristic long hair, round face, and short muzzle, the eyes with dark pupils, the animal surrounded by grasses, chrysanthemums, leaves, and bamboo stalks. SIZE 74.5 x 60.5 cmCondition: Good condition with minor surface wear, few minor age cracks to inlays, one pupil is lost.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Trade Certificate: In accordance with new EU regulations that went into effect in January 2022, we have applied for a certificate to sell this item within the EU. We expect the Austrian Federal Ministry for Climate Action, Environment, Energy, Mobility, Innovation and Technology to issue the certificate in 3-6 weeks. The item can only be shipped / handed over once the certificate has been issued.This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

KOICHI: A PARCEL GILT BRONZE FIGURE OF AN ARCHERBy Koichi, signed KoichiJapan, Meiji period (1868-1912)Well cast, the archer preparing to shoot an arrow at his target, supporting himself on one knee as the other one is fully outstretched, wearing a removable wakizashi tucked into his belt, the bow and arrow crafted separately. His robes are finely decorated with shippo and wheel roundels as well as bird designs, the different textures of the bronze and gilt creating a striking contrast. Signed to the back KOICHI.HEIGHT 27.6 cm (excl. bow) and 34.5 cm (incl. bow)WEIGHT 2,736 gCondition: Very good condition with some wear and rubbing to gilt, few minuscule nicks, minor casting irregularities. The string and arrow have been replaced.Provenance: Czech private collection.Auction comparison:A closely related bronze by the same artist was sold at Bonhams, Asian Works of Art, 30 August 2011, San Francisco, lot 6517 (sold for 3,050 USD).

A STAG ANTLER NETSUKE OF A MONKEY HOLDING A PEACHJapan, late 18th century, Edo period (1615-1868)Very finely carved from the coronet of a branch of deer antler, the natural features brilliantly incorporated into the design. Depicted is a monkey casually leaning on a rocky base with a peach in his right hand. Large himotoshi through the base.HEIGHT 3.5 cmCondition: Very good condition, little wear and natural flaws to the material.Provenance: Ex-collection Richard R. Silverman purchased from Ito, Tokyo, in 2007. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

KANO TSUNENOBU: A MUSEUM-QUALITY 'GEESE IN WINTER' EIGHT-PANEL FOLDING SCREEN, EX-COLLECTION KENZO TAKADABy Kano Tsunenobu (1636-1713), signed Tsunenobu hitsu with seal Ukon TsunenobuJapan, 17th century, early Edo period (1615-1868)The Byobu finely painted with ink on paper, with a silk brocade frame and mounted to a black-lacquered wood screen with gilt-metal fittings neatly incised with peony and foliate scroll.Depicting a continuous scene with a gaggle of geese on a snowy outcrop, one standing on a gnarled willow covered in snow, with a flock of geese flying toward them in the background.Signed lower left TSUNENOBU hitsu [made by Tsunenobu] and with a red seal Ukon Tsunenobu.SIZE 206 x 75 cm (each panel) TOTAL SIZE 206 x 600 cmCondition: Very good condition, particularly when considering the age, with minor wear, soiling, few small tears and losses.Provenance: Galerie Gisèle Croës, Brussels, 1990. Kenzo Takada, acquired from the above. Kenzo Takada (1939-2020) was an iconic Japanese fashion designer living in France. He founded Kenzo, a worldwide brand of perfumes, skincare products, and clothes, and was the honorary president of the Asian Couture Federation. Takada was made a Knight of the Legion of Honor on 2 June 2016. For decades, Kenzo Takada had built an impressive and diverse collection of furniture, paintings, objects, works of art and fashion pieces, including many objects of fine Japanese art, displaying in his home a subtle balance between the influences of East and West, reflecting the free spirit of his creative genius.Kano Tsunenobu (1636-1713) was a Japanese painter of the Kano school. He first studied under his father, Kano Naonobu, and then his uncle, Kano Tan'yu, after his father's death. He became a master painter and succeeded his uncle Tan'yu as head of the Kano school in 1674. It is believed many works attributed to Tan'yu might actually be by Tsunenobu, but it is difficult to know since they often worked on larger pieces together.Auction comparison: Compare a pair of closely related eight-panel screens by the same artist, depicting cranes and pine trees in a similar winterly setting, at Christie's, Japanese Screens, Paintings and Prints, 27 October 1998, New York, lot 146 (sold for 74,000 USD = 124,500 USD in today's currency after inflation).

A RARE MIXED METAL NETSUKE OF A FUCHI-GASHIRA WITH ORCHIDJapan, late 19th centuryThe fuchi-gashira shaped netsuke fitted with a gilt metal plate and inlaid in the front with a silver orchid, the sides bearing a nanako ground, the back with a gilt metal chrysanthemum knop and looped cord attachment.LENGTH 3.9 cmCondition: Good condition with minor associated surface wear.Provenance: Ex-collection Richard R. Silverman, purchased from Ito, Tokyo, in 2006. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

AN IVORY NETSUKE OF A RECLINING HOTEI WITH HOSSU (FLYWHISK)Japan, 18th century, Edo period (1615-1868)Finely carved in a reclining posture, holding a hossu, the netsuke of a type meant to be worn horizontally reclining on the top of the obi. His loose robe with finely carved folds and opening at the chest to reveal his rotund belly and ample chest, a cheerful expression on his chubby face, the mouth agape in a laugh, the back with two generously excavated, asymmetrical himotoshi.LENGTH 6.1 cmCondition: Very good condition, appealingly worn, minor age cracks, light honey-yellow patina to the reverse. The himotoshi clearly display signs of use.Provenance: Acquired at Kunsthaus Lempertz, Asian Art, 6 September 2017, Cologne, lot 500.Netsuke such as the present lot are of unusually high quality for early figural ivory netsuke. Unlike the seated Hotei types, which tend to follow earlier Chinese models, these horizontal variants are purely Japanese in concept.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0339).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A FINE WOOD NETSUKE OF OKAME SLEEPINGJapan, mid-19th century, Edo period (1615-1868)Finely carved to depict Okame sleeping on a mat carved as the character yume (dream), her head resting on one hand, the other hand on her knee, the face with a gentle expression, the hair neatly incised. Himotoshi to the underside.LENGTH 4.5 cmCondition: Very good condition, minor wear.Provenance: Ex-collection Richard R. Silverman, purchased from Ito, Tokyo, in 2003. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

NORITSUGU: A RARE SILVER AND MIXED-METAL NETSUKE OF A KABUTOBy Noritsugu, signed Noritsugu Japan, 19th century, Edo period (1615-1868)The netsuke cast in the form of a kabuto (helmet), the rounded bowl overlaid with silver ridges and surmounted by a tehen kanamono in the form of a chrysanthemum, a fitting at the front for the maedate (forecrest), the himotoshi also in the form of chrysanthemum to the underside and the signature NORITSUGU within an oval reserve.LENGTH 4.3 cmCondition: Very good condition, minor surface wear. Provenance: Ex-collection Richard R. Silverman, purchased from Midori Gallery (Sachi Wagner) in 1994. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

A GOLD LACQUER BOWL WITH KATABAMI MONJapan, Meiji period (1868-1912)The deep rounded sides supported on a slightly spreading foot, the rims of gold fundame, the nashiji ground decorated in gold and silver takamaki-e with three irregularly spaced katabami mon, a design of yellow sorrel flowers, against scrolling foliage.DIAMETER 12.4 cmCondition: Very good condition with minor surface wear, the rim with two tiny nicks.Provenance: The Ankarcrona Collection of Japanese Works of Art. Old inventory label to base. Sten Ankarcrona (1861-1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century.

A FINE GOLD LACQUER SIX-LOBED KOBAKO AND COVERJapan, mid-19th century to Meiji period (1868-1912)The kinji ground finely decorated in black, red, and gold hiramaki-e and takamaki-e to depict a textile with hanabishi (lit. flowery diamonds) ground, the cover further with a lacquer storage box for playing cards (karuta) with dense foliate designs and a beautiful red cord wrapped around it, as well as chrysanthemum sprays and a folding fan, the interior and base with nashiji, the interior edges of gold fundame.DIAMETER 10.6 cmCondition: Good condition with minor wear, a small chip to the interior rim of the box, few tiny nicks to edges, light surface scratches to base.Provenance: The Ankarcrona Collection of Japanese Works of Art. Old inventory labels to base. Sten Ankarcrona (1861-1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century.

A RARE SILVER AND GILT RYUSA MANJU NETSUKEJapan, 18th century, Edo period (1615-1868)The massively cast and open-worked silver manju netsuke consisting of two parts which are welded together, ornately decorated with a central flower surrounded by scrolling foliage and with gilt highlights. Two himotoshi to the reverse.DIAMETER 4 cmCondition: Very good condition, minor wear, few casting irregularities.Provenance: Ex-collection Richard R. Silverman, purchased from Yagi, Kyoto, in 2007. Richard R. Silverman (1932-2019) was a renowned Asian art collector with one of the largest private collections of netsuke outside of Japan. He lived in Tokyo between 1964 and 1979 and began to collect netsuke there in 1968. Since the 1970s, he wrote and lectured about netsuke and was an Asian art consultant for Christie's, Sotheby's, and Bonhams. His gift of 226 ceramic netsuke to the Toledo Museum of Art constitutes perhaps the largest public collection of these miniature clay sculptures in the world. After moving to California, Silverman became a member of the Far Eastern Art Council at the Los Angeles County Museum of Art in 1984. In 1993, he joined LACMA's Executive Board. He served on the board of directors for the International Society of Appraisers from 1986 to 1994 and served nine years as chair for the City of West Hollywood Fine Arts Commission. Richard Silverman was posthumously awarded the Order of the Rising Sun for his decades-long promotion of Japanese culture.

AN IVORY NETSUKE OF A RAT WITH HAMAGURI CLAMSJapan, Osaka or Kyoto, 18th century, Edo period (1615-1868)A well-sized and boldly carved ivory netsuke of a seated rat (nezumi) lifting its front paws, the thick tail curling around and caught inside a hamaguri clam, another clam next to it revealing a fleshy tongue - both surely an erotic allusion. The rodent's eyes are inlaid in dark horn. Very large and generously excavated himotoshi underneath. The ivory bearing a fine, yellowish patina and the neatly incised hairwork is appealingly worn.LENGTH 4.8 cmCondition: Very good condition with associated natural age cracks.Provenance: French private collection.Auction comparison:Compare to a closely related ivory netsuke, signed Masakazu, sold at Van Ham, Asian Art, 14 June 2018, Cologne, lot 2280 (sold for 1,935 EUR).Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number AT 22-B-0105).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.

A FINE GOLD LACQUER BOX AND COVER WITH A BIRD AND PRUNUSJapan, 19th centuryOf rectangular tebako form with rounded corners, bearing a nashiji ground finely decorated in iro-e takamaki-e, hiramaki-e, kirigane, and e-nashiji to depict a bird with open beak perched on a bamboo gutter mounted between gnarled branches of an old burly cherry blossom tree bearing rich blossoms, the water from the gutter splashing onto a rock amid grasses and bamboo from the cover to the side of the box, leading to a meandering stream. The interior of nashiji with gold fundame edges.SIZE 13.6 x 10.6 cmCondition: Very good condition with minor surface wear.Provenance: The Ankarcrona Collection of Japanese Works of Art. Sten Ankarcrona (1861-1936) began collecting upon his first visit to Japan in the late 1880s, at the beginning of the golden age of travel and collecting in Europe. The young aristocratic Swedish naval officer became fascinated by the breadth of artistic production in the region and continued to add to his collection back in Europe. In 1923, by then an admiral, he was appointed by the King of Sweden to travel back to Japan on a special mission, where he spent two months making many more purchases. His love of Asian art was later passed down to his children and grandchildren, who have enriched the family collection during their own visits to Japan throughout the second half of the 20th century.

A VinÄa Terracotta Female Figure Neolithic Period, Circa 5700-4500 B.C.Height 4 inches (10.4 cm).Property from a New Jersey Private CollectionProvenance: Artemis Gallery, Louisville, Colorado, Exceptional Day 1: Antiquities Asian Fine Art 22,May 2019, Lot 63B.

A Roman Amber Glass Date Flask Circa 1st-2nd Century A.D.Height 3 inches (8 cm).Collection from an Important Midwestern ScholarProvenance:Ancient Art International, October 1999.Warren Koch, New York.Arte Primitivo, New York, Fine Classical, Egyptian & Asian Antiquities, 3 October 2006, Lot 303.Private Collection, Connecticut. Christie's, New York,Antiquities, 4 June 2008, Lot 131.Height with stand 4 inches (10.1 cm)

A Roman Marble Statue of CybeleCirca 1st-3rd Century A.D.Height 20 1/4 inches (51.4 cm)Property from a New Jersey Private CollectionProvenance: Private Collection, Germany, 1980s.Artemis Gallery, Louisville, Colorado, Antiquities Asian Ethnographic Fine Art, 26 September 2019, Lot 76A.Size: 10.5" W x 20.25" H (26.7 cm x 51.4 cm)

A Luristan Bronze SwordCirca Early 1st Millennium B.C.Height 22 inches (55.4 cm).Property from a New Jersey Private CollectionProvenance: Art Market, London.David Kennedy Collection, late 1980s.Private Collection (Green), York, England. Artemis Gallery, Louisville, Colorado, Ancient Asian Ethnographic Winter Variety, 10 January 2019, Lot 59A.

A group of books relating to Asian Art, to include Davison (Gerald) Marks on Chinese Ceramics, Royal Academy of Arts The Great Japan Exhibition; Art of the Edo Period 1600-1868, The Dawn of the Floating World, The Art of East Asia, etc. (a quantity)

Maqbool Fida Husain (Indian, 1913-2011)Untitled (Horse) signed lower rightacrylic on canvas60 x 75.6cm (23 5/8 x 29 3/4in).Footnotes:ProvenanceAcquired directly from the artist in December 2007 in London.CompareFor a similar work sold in these rooms see Islamic & Indian Art Part II, Modern & Contemporary South Asian, Middle Eastern & Turkish Art, London, 23rd April 2013, lot 414.Arabic سيرو في الأرض كيف كان عاقبة المكذبين RomanSiro fil arzKaifa kaana aakebatul-mukazabeenEnglishExplore the worldHow was the end of liarsThe sound of galloping horses seemed like a tremor to me.Its echoes do not seems to stop.All these horses running together raise a cloud of dust.Duldul - the horse from the battle of Karbala,Ashwamedh - reaching up to Luv and Kush.Luminous in their seven rainbow colours.Horses harnessed to the chariot of the Sun God,Bursting through the sky.Passionate horses, screaming with desire.The Chinese terracotta horses,Folk horses from the village of Bankura,Horses, with the beauty of a woman and the valour of a man.M.F. Husain (R. Siddiqui, In Conversation with Husain Paintings, Books Today Group, 2001, p. 114)Husain's rapture with the horse motif was formed after the recurrence of this symbol at numerous points in his life. An early influence was the procession to mourn and commemorate the Prophet's grandson, Husayn ibn Ali, during the Islamic month of Muharram, when a tazia or effigy of Husayn ibn Ali's horse was carried through the streets.In 1952 Husain visited China and was struck by both ancient Chinese pottery and paintings, in particular that of the Sung dynasty renderings of horses and by the works Xu Beihong. The dramatic monochromatic lines had the deftness of certainty yet also the fluidity of motion.This undated acrylic on canvas created in the latter part of Husain's career encapsulates his various influences and is bolstered by the inclusion of the 137th verse of chapter 3, the Family of Imran from the Qu'ran, which says that similar situations [as yours] have passed before you, so travel through the earth and see what was the end of those who disbelieved [in the Oneness of Allah, and disobeyed Him and His Messengers]. The vibrant yellow of the horse pitted against the red background echoes this verse, and is both theatrical and striking, making it a quintessential Husain painting.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, 1913-2011)Untitled (Cow and White Lady) signed and dated Husain 1956 lower rightoil on canvas40 x 55cm (15 3/4 x 21 5/8in).Footnotes:ProvenancePrivate Collection, France;Acquired from the artist by the vendor in 1956/1957 in Pondicherry.CompareFor a watercolour depicting a similar composition dating from 1957, see Sotheby's, Modern & Contemporary South Asian Art, London, 25th October 2017, lot 13.Note: The work is in its original frame.Husain's paintings in the 1950s were an amalgamation of various influences that included Gupta sculptures, Basholi miniatures, Chinese calligraphy, Western Art, and the Partition of India in 1947. Whilst it is difficult to attribute which source played a more pertinent role in each of his works, it would not be erroneous to say that the aftermath of Partition is evident in the present lot. Husain chose to remain in India after 1947, despite being a practising Muslim. He travelled extensively around the country and in order to reconcile his decision and articulate it artistically he chose to identify with the rural and tribal people of India, who despite their differing religions, were unified in their poverty. Husain's works from this period therefore are dominated by the rural cultural landscape of India, and the present lot is an archetypal example of this. For another work of a similar style dating from the same period, see K. Bikram Singh, Maqbool Fida Husain, New Delhi, 2008, p.75, figure 57.'There is an exalted dignity about the people who inhabit Husain's canvasses. Peasants, workers, craftsmen, women toiling in fields of huddled together in conversation all have self-contained poise, the stoic patience and grace associated with the common people. He captures their postures and lineaments their distinctive ethos and culture...not by physiognomy or costume alone are they differentiated, but in their total bearing and presence.' (Alkazi, M.F. Husain: The Modern Artist and Tradition, New Delhi, 1978, p. 22)Critic Yashodhara Dalmia goes further and has drawn parallels between Husain and Amrita Sher-Gil's rural themed works, delineating that 'Husain drew from the classical, the miniature and folk and attempted to meld it into a language which formulated the present. It allowed him to express a perceived reality which while being seamless, mythical and vast was at the same time hurtling towards industrialisation and modernisation. Husain took Amrita's legacy further toward a more authentic stage. His villagers are not particularly beautiful; but surrounded by their tools, their animals... they appear more truly alive, secure and rooted in their environment.' (Dalmia, The Making of Modern Indian Art: The Progressives, Delhi, 2001, p. 107This 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, 1938-2019)Figure with Pigeon II signed and dated '06 lower left and signed versooil on canvas122 x 91cm (48 1/16 x 35 13/16in).Footnotes:ProvenanceAcquired by the vendor from Albermarle Gallery, London in 2009.PublishedAlbermarle Gallery, Jamil Naqsh: A retrospective, plate 51, 2011.Nigaah Magazine: Arts and Culture from South Asia, Volume.1, Seventy Three, 2018.CompareFor similar works sold in these rooms, see Modern and Contemporary Arab, Iranian, Indian and Pakistani Art, Dubai, 3rd March 2008, lot 115 and Modern and Contemporary South Asian Art, London, 27th May 2016, lot 59.Jamil Naqsh is perhaps best known for his two leitmotif's, images of pigeons, or of pigeons and women combined, as evidenced in the present lot. These motifs are important in Naqsh's oeuvre and possess numerous meanings. One such meaning is that the birds represent domestic harmony drawn from memories of his childhood in Kairana, where birds used to frequent his family home. They would fly in and out through open windows, strut around the courtyard and peck at the grains left for them, whilst the depiction of women could be seen to be reminiscent of his mother, who passed away whilst he was still a child. These works could also be interpreted as being deeply romantic, with the pigeons being seen as messengers of love. Naqsh was influenced by various artists and artistic movements. Some of these included Mughal miniature painting, the erotic reliefs on the temples of Khajuraho, Puri and Bhuvaneshwar created between 950 and 1150 c.e., European and American Modernism and the European Old Masters. Naqsh's success lay in his ability to merge the techniques of these various schools, and to come up with his own idiom. In the present work, from the latter part of his career, we can see the fusion of Cubist elements and the geometrical division of the pictorial space, and yet the work is distinctly modern in its abstraction and lack of ornamentation. Far from Naqsh's depiction of the same subject being seen as repetitive, it is testament to his abilities that he managed to stay engaged and explore the same subject continually, in minute detail and in an infinite variety of tones and textures. To see more examples of these works from across his artistic career, see Mohatta Palace Museum, Karachi, Jamil Naqsh: A retrospective, 2003, pp. 60-107.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

Jagdish Swaminathan (Indian, 1928-1994)Untitled (Mountain & Bird Series) signed and dated (indistinct) in Devanagari versooil on canvas85 x 120cm (33 15/32 x 47 1/4in).Footnotes:ProvenancePrivate Collection, Mumbai; Acquired by the vendor from Baburao Bhalinge in 2006, who acquired the work from the artist in 1990.CompareFor a similar work sold at Sotheby's see, South Asian Modern & Contemporary Art, New York, 16th September 2009, lot 528.'Commonly referred to as the Bird and Mountain series, the paintings are luminous and induce a meditative calm. They are suggestive, open to interpretation: as an expression of the self's unity with nature, they can be seen as a visual equivalent to the transcendental principle expounded in the Upanishads.' (A. Jhaveri, A Guide to 101 Modern and Contemporary Indian Artists, Mumbai, 2005, p.93)Swaminathan founded 'Group 1890' in 1962, alongside 12 other male members, some of whom included Gulam Mohammed Sheikh, Himmat Shah, Ambadas Khobragade and Eric Bowen. Many of these members had graduated from the University of Baroda, and they held their only exhibition, 'Group 1890' at the Lalit Kala Akademi, where they publicised their manifesto. Their manifesto was a call to artists to see phenomena in their 'virginal state,' and Swaminathan's canvases from his 'Bird and Mountain' series can be seen to emulate this. The canvasses feature mountains and levitating stones with the archetypal bird form. Painted with a delicacy and simplicity that is confounding, this work seeks to exemplify the ascent of man's inner being leaving the gross and the sullied. (J. Swaminathan, 20th Century Museum of Contemporary Indian Art, presented online by Vadhera Art Gallery).The series is heavily inspired from the folk and tribal art of India which feature lucid compositions, forms and bold use of colours, and the series therefore is a rejection of the romanticism of the Bengal tradition and the mannerism of modern European Art. The abstracted forms hint at a ritual significance and are reminiscent of Neolithic cave paintings found throughout Europe, Africa and Asia. The common theme pervading the series is the artist's spirituality and respect for nature as the guide to the unrealized and hidden. The series is perhaps best described in Swaminathan's owns words, 'In the late 1960s I tried to probe the relation of colour to space and after a study of Pahari miniatures did a series called Geometry of Space. After the colour Geometry show I entered the now famous phase of the bird, the mountain, the tree, the reflection, the shadow, and it lasted for quite a while...However, the obsession was wonderful while it lasted and what tribute would a painter want then a letter from a collector saying that my work brought peace and tranquillity into her house.' (Lalit Kala Contemporary, Issue 40, March 1995, New Delhi, p.11)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

Krishna Hawlaji Ara (Indian, 1914-1985)Untitled (Still Life) signed 'Ara' lower rightwatercolour and gouache on paper61.8 x 46.5cm (24 5/16 x 18 5/16in).Footnotes:ProvenancePrivate Collection, India; Acquired from the artist's family member.CompareFor a similarly styled vase and painting technique see Christie's, South Asian Art, Mumbai, 19th December 2013, lot 13.It was around the late 1940s and all through the 1950s that Ara turned towards painting Still Life. His Still Life's have a deliberate roughness in both drawing and painting as can be seen in the present lot, and this is perhaps the most striking aspect of his paintings. The pink flowers drawn with minimal attention to detail, help distinguish his work from other artists and seeks to encapsulate what Ara wished to achieve in his works, which was the honest expression of form. Although Ara worked primarily in watercolours, his techniques evolved so that it looked as though his works were made using oil paints, as one might deduce when looking at the current lot. He achieved this by applying his colours straight from the tube and then spreading it in a dry impasto method. Ara's achievement perhaps lies in his abilities to combine sensuality with a calculated structuring that elevated and distinguished him from his contemporaries.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

Krishna Hawlaji Ara (Indian, 1914-1985)Youth signed 'Ara' lower rightoil on canvas59 x 44cm (23 1/4 x 17 5/16in).Footnotes:ProvenanceRudi von Leyden and thence by descent;Sotheby's, Modern & Contemporary South Asian Art - Including Indian Miniature Paintings, London, 8th June 2012, lot 32; Acquired by the vendor from the above. ExhibitedInternational Contemporary Art Exhibition, New DelhiThere is a label on the back, titled International Contemporary Art Exhibition, New Delhi(India) with the title of the picture: Youth, competition No: 1, medium: oil colour, Price: Rs. 450/Four Hundred and..., Name and address of the artist: K.H. Ara... The price and address is not decipherable. Ara was a self-taught artist who was born in Bolarum, Secunderabad into poverty as the son of a chauffeur, and ran away from home aged 7 to Mumbai following his mother's demise and his father's remarriage. He supported himself in Mumbai by cleaning cars and then working as a houseboy. He was imprisoned for five months following his participation in the Salt Satyagraha during the Civil Disobedience Movement. Despite his economic plight and the challenges he faced, he was devoted to the pursuit of art, and carried on with his practice. It was after the success of his first solo show, organised by Kekoo Gandhy at the Chetana Restaurant in Bombay in 1942, that Ara founded the Progressive Artist's Group, where he had opportunity to interact with several critics of the time. The present lot traces it origins to one of those critics, Rudi von Leyden from the Times of India. Von Leyden was a staunch supporter of Ara, and provided him with a stipend in order to hone his craft. Although Ara started painting landscapes and still life paintings, he later moved to painting female nudes and portraits, as evidenced in the present lot. His medium of choice to paint also changed, from gouaches and watercolours to oil paints. He now favoured precision in his paintings over the jagged and brash strokes used to execute his earlier works. His art appears to be spontaneous and intuitive, and although there is no apparent nudity in the present lot, the lower half of this painting was obscured and unvarnished when it was exhibited at the International Contemporary Art exhibition in New Delhi, owing to the artistic practise at the time of depicting brazen nudity.He exhibited widely during the early part of his career, and one notable exhibition includes the inaugural show of the Pundole Art Gallery in 1963. He was the recipient of the annual prizes of the Bombay Art Society, and was the founder and secretary of the Artists' Aid Centre and trutee of the Jehangir Art Gallery in Bombay. He was also a fellow and general council member of the Lalit Kala Akademi, New Delhi.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)Maya and Radha signed and dated 'G Keyt 48' upper leftoil on canvas68 x 66.7cm (26 3/4 x 26 1/4in).Footnotes:ProvenanceIndigo Blue Art, Singapore;Acquired by the vendor from the above in 2006.CompareFor a similar work sold at Sotheby's, see Indian Art, New York, 19th March 2008, lot 2.In his enduring legacy as the most distinguished modern artist from Sri Lanka, George Keyt's vivid representations of Maya and Radha can be identified as one of the hallmarks of his artistic practice. Born in 1901, George Keyt started painting when he was 26 and developed a seminal style that grounds bounding lines and rich warmth of colour. A style that found its roots in Cubism, Fauvism and flourished under the influence of ancient South Asian fresco techniques found at Ajanta and Sigiriya.A trademark of Keyt's figuration, the eyes of the two maidens in the painting bear the marks of the artist's signature stylisation, with their enlarged, almond-shaped eyes and exaggerated features with a focus on bold, crisp lines drawn from a distinct Cubist perspective. The blue, fauvist background of the scene conveys the life and exuberance of Sri Lanka and Keyt's love and passion for this land.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

Abdur Rahman Chughtai (Pakistani, 1897-1975)Untitled (Under the Arch) signed lower leftEtching40.3 x 24.8cm (15 7/8 x 9 3/4in).Footnotes:ProvenancePrivate UK Collection.CompareFor an identical etching sold at Christie's see South Asian Modern & Contemporary Art, New York, 18th March 2014, lot 226.For further information on this lot please visit Bonhams.com

Jamini Prokash Gangooly (Indian, 1876-1953)Untitled (Himalayan Landscape) signed lower leftoil on board23 x 31.2cm (9 1/16 x 12 5/16in).Footnotes:ProvenancePrivate UK Collection.CompareFor a similar work sold at Christie's see South Asian Modern & Contemporary Art, London, 26th May 2016, lot 24.Jamini Prokash Gangooly was part of the extended Tagore family, that included Gagendranath and Abanindranath Tagore. It was under the tutelage of British painter Charles Palmer that he crafted and developed his skills in realist portraiture, oil painting and landscapes. Whilst he was adept at depicting various genres, and received awards both locally and internationally, he gravitated towards painting landscapes. Both the present lots exemplify his abilities to combine the imagery of his hometown of Bengal and European naturalistic methods and demonstrate his favoured subject, sunrise and sunset expertly painted, using light and shade.In the first lot, we can see two figures by the river, lighting a fire, the colour of which is mirrored on the tip of the large rock immediately to their left. The densely mist-laden atmospheric affect, created by the brooding mountains, is evident in the second lot, although the foliage plays a more prominent role here, with the various hues of green. His brushstrokes are almost invisible, and it is unsurprising that he earned the sobriquet 'Painter of Padma,' given his predilection for painting hundreds of oils depicting the same subject, the sun setting on the river Padma. Both paintings are quintessential examples of his most celebrated genre.For further information on this lot please visit Bonhams.com

Jamini Prakash Gangooly (Indian, 1876-1953)Untitled (Himalayan Landscape) signed lower leftoil on board29.4 x 45cm (11 9/16 x 17 11/16in).Footnotes:ProvenancePrivate UK Collection.CompareFor a similar work sold at Sotheby's see Modern & Contemporary South Asian Art 21st March 2022, lot 71.For further information on this lot please visit Bonhams.com

Ahmed Parvez (Pakistani, 1926-1979)Untitled (Metaphorical Landscape) signed and dated Ahmed Parvez 1963 lower leftwatercolour and mixed media on paper63.5 x 41.2cm (25 x 16 1/4in).Footnotes:ProvenancePrivate UK Collection.CompareFor a similar work sold in these rooms, see Modern and Contemporary South Asian Art, London, 25th October 2021, lot 59.For further information on this lot please visit Bonhams.com

Iqbal Hussain (Pakistani, B. 1950)Untitled (Woman in a burqa) signed lower rightoil on canvas91.8 x 60.3cm (36 1/8 x 23 3/4in).Footnotes:ProvenanceAcquired by the vendor from a Pakistani Art Gallery.CompareFor another work depicting women, sold at auction, see Sotheby's, Contemporary Indian and South Asian Paintings, London, 17th June 1998, lot 11.Although Hussain is most well known for his portraits of women, he is equally adept at painting landscapes and still life's as can be seen in the other lot in this collection. Husain is often termed a controversial painter as the models for his works are the prostitutes and dancing girls of Lahore. His women, as seen in the present lot are depicted as they appear in real life, fully clothed and sitting, and often with a resigned look in their eyes. The black background heightens the darkness and despair, and its almost as though the woman is receding into the background. Hussain's works have been exhibited in various shows, some of which include the 1983 Asian Biennial Dacca, Bangladesh, the 1986 International Exhibition in Seoul, London, Paris and Brussels and the 2003 show at World Bank Building, Islamabad, Pakistan. A retrospective was held for his works in 2018, at Tanzara Gallery in Pakistan, where the collection of the former World Bank Pakistan country director, John Wall was displayed; Wall is a patron of the 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

Sheikh Mohammed Sultan (Bangladeshi, 1923-1994)Untitled (Farmer ploughing with bulls) signed and dated '88 lower leftoil on jute59.9 x 75cm (23 9/16 x 29 1/2in).Footnotes:ProvenanceAcquired from the artist by Ruqaiyya Bano, a family friend;Acquired by the vendor from the above.CompareFor a scene depicting similar muscular bodies, see Christie's, South Asian Modern & Contemporary Art, New York, 14th September 2016, lot 688.Sultan was born in Machimdia village, in what was then known as Jessore District, British India. He studied at the Government School of Art in Calcutta, where Mukul Dey, the pioneer of drypoint-etching in India was Principal. Under Dey's tutelage, students were encouraged to paint contemporary landscapes and portraits reflecting their own experiences, as opposed to copying the Old Masters and painting Indian allegorical, mythological and historical subjects. The current painting comes from Sultan's Bangladeshi period, after his 1969 solo exhibition at the Khulna Club, Khulna and the first group National Art Exhibition in Dhaka in 1975, where his works were transformed, and he started to paint and draw agricultural labourers engaged in everyday life, as can be seen in the present lot. These works are distinctive due to their exaggerated muscular physiques, which are metaphors for the hard working and sturdy peasants, who are the backbone of Bangladesh. Sultan is seen are one of the four pioneers of Bangladeshi modernism, along with Quamrul Hassan, Zainul Abedin and Safiuddin Ahmed. He exhibited globally during his career and some notable exhibitions included those in Lahore and Karachi in 1948 and 1949, where be forged friendships with Shakir Ali and Abdur Rehman Chughtai, at the Institute of International Education, New York in 1950 and at the German Cultural Centre, Dhaka in 1987.The Bangladeshi Shilpakala Academy, Bangladesh's principal state sponsored national cultural centre of Bangladesh introduced an award named after him, which is given out annually to a notable artist on Sultan's birth anniversary. He also received the Ekushey Padak in 1982, which is Bangladesh's highest civilian national award in the field of culture. His works form part of the collections of the National Art Gallery, Bangladesh; the Bangladesh National Museum, the Bengal Foundation and the SM. Sultan Memorial Museum.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

Abdul Aziz Raiba (Indian, 1922-2016)Untitled (Villagers and buildings on a sea shore) signed and dated Raiba 10.4.93 lower left oil on jute81 x 106cm (31 7/8 x 41 3/4in).Footnotes:ProvenanceAcquired by the vendor's father in the 1990s. He worked for the Portuguese Embassy in India between the 1960s-1980s and continued to live in India after completing his term which is when he acquired this work.CompareFor a similar work sold in these rooms, see Modern and Contemporary South Asian Art, London, 25th October 2021, lot 20.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 (Bride with two companions) signed lower rightgouache on cloth75 x 38cm (29 1/2 x 14 15/16in).Footnotes:ProvenanceAcquired in Calcutta between 1945 and 1954, when the current owner's uncle was employed in the freight department of the Kerr Steamship Company.Private UK collection, Leicestershire, UK.CompareFor a similar work sold at Sotheby's see Modern & Contemporary South Asian Art, London, 29th September 2020, lot 2.For further information on this lot please visit Bonhams.com

Anwar Jalal Shemza (British Pakistani, 1928-1985)Untitled (The Walls of Lahore) signed 'Anwar Jalal Shemza' and dated '1963' in Urdu upper rightink on paper54.5 x 42.9cm (21 7/16 x 16 7/8in).Footnotes:ProvenancePrivate Collection, UK;Acquired from the artist by the vendor who is a family member.CompareFor a similar work, dating from 1960, sold at Christie's, see South Asian Modern & Contemporary Art, New York, 22nd September 2021, lot 676.This work is part of the City Wall series, and it marries the two motifs that are a recurrent theme in Shemza's works, the City and the Wall. The City and the Wall have been constructed through the use of the Roman letters B and D, whilst the pattern itself was created using the materials of muslin and ink. Directly to the left of the City and Wall we can see the waxing and waning of the moons in the sky. In composition, this work is similar to the work, The Wall that was used as the catalogue cover for Hayward Gallery's seminal exhibition in 1989, The Other Story and is part of the collection of the Birmingham Museum & Art Gallery. Parallel's can also be drawn with Untitled, mixed media, which is in the National Museum of Art, PNCA, Islamabad. (Akbar Naqvi, Image and Identity: Fifty Years of Painting and Sculpture in Pakistan, 1998, p. 284, fig. 89)For further information on this lot please visit Bonhams.com

Maqbool Fida Husain (Indian, 1913-2011)Untitled (Horse) signed in Devanagiri lower left, executed circa early 1960soil on canvas56 x 40cm (22 1/16 x 15 3/4in).Footnotes:ProvenancePrivate Collection of George and Norma Dove-Edwin, UK; Purchased by the vendor's between 1966-1968 when they were stationed in India.CompareFor a similar work sold in these rooms, see Islamic and Indian Art including Modern and Contemporary South Asian Art, London, 23rd October 2017, lot 309.George Dove-Edwin (1928-2009) was a Nigerian Diplomat, in the country's post-independence years; Nigeria gained independence on 1st October 1960. He was well known in Britain, having served as the high commissioner in the UK from 1986-1992, the longest tenure of any Nigerian ambassador. He improved relations between the two nations whilst protecting national and African interests. Prior to his term in the UK, he was in the Nigerian foreign service, and he was posted in Washington, Egypt, India, Japan, Sweden and France. It was during his travels to these countries that he acquired art works from the local art scene, and it was in the course of his 2 year stay in India between 1966-1968 that he purchased the present lot, the Husain horse. The horse has been one of the key elements in Husain's oeuvre since he first depicted the animal in 1951. The inspiration for his horses came from various sources, some of which include the classical and folk tradition of the Panchtantra and Jataka tales, Indian sculpture, pre-historic rock paintings, the iconic Duldul, Imam Husain's horse in the battle of Karbala and the Bankura horse of West Bengal. The horse in the present lot, clearly shows the influence of the traditional Bankura horse, with its distinctive elongated and erect neck, and raised ears. The blues deployed in the background and to create the almost translucent figure accentuates the white of the horse, drawing the viewers attention to the horse, the protagonist of the painting.This work dates from the 60s, which was one of the most bellicose decades in the history of modern India. In several works executed in the late 1960s/early 1970s Husain's horses reflect the mood of aggression and violence felt throughout the country. The depiction of this horse is entirely in line with those other works and is infused with the same feeling of aggression and anger. The horse can also be viewed as a victim of the violence and this is evident in the present lot as the nude blue figure is piercing the horse. For works of a similar style dating from the same period, which can be found in the collections of Brian Brown, a Private Collection and the National Gallery of Modern Art, New Delhi, see K. Bikram Singh, Maqbool Fida Husain, New Delhi, 2008, pp.172-184, figures 147, 150 and 160.'Like his bulls, spiders and lamps on women's thighs, boastful snakes and blackly passionate suns, Husain's horses are subterranean creatures. Their nature is not intellectualized; it is rendered as sensation or as abstract movement, with a capacity to stir up vague premonitions and passions, in a mixture of ritualistic fear and exultant anguish.' (R. Bartholomew and S. Kapur, Husain, Harry N. Abrams, New York, 1972, p. 42)For further information on this lot please visit Bonhams.com

Yusuf Arakkal (Indian, 1945-2016)The Epiphany signed lower leftoil on canvas61.8 x 62.2cm (24 5/16 x 24 1/2in).Footnotes:ProvenanceAcquired from the Birla Art Academy, Mumbai in 2004.Yusuf Arakkal was born in Chavkkad, Kerala. He studied at the Karnataka Chitrakala Parishat where he obtained his Diploma in painting in 1973. He subsequently enrolled at the National Academy in Garhi, Delhi and specialized in graphic print making. His works often set against oppressive backgrounds, aim to highlight the plight of ordinary people, who are neglected by society, as illustrated in this lot. He employs sombre shades and the textures of his canvases are reminiscent of peeling and cracked walls, a metaphor for the helpless in society. Arakkal has been featured in solo and group shows held in France, Singapore, New York, London, Japan, Brazil and Hong Kong and received the Lalit Kala Akademi Award in 1979 and in 1981, the Shiromani Kala Puruskar from the Government of India in 1983, and the award of the Third Asian Art Biennale, Dhaka, Bangladesh in 1986.For further information on this lot please visit Bonhams.com

Northern Qi, 6th-7th century A.D. An Uddiyana style Buddha modelled in the round standing, wearing an ankle-length robe with u-shaped folds running down the centre, hair covering ushnisha, elongated earlobes and delicate facial features; relic chamber to reverse; mounted on a wooden display base. 1.4 kg total, 33 cm high including stand (13 in). Acquired 1960s to early 1970s. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages including an image of this lot featured in one of the display cases (p.176 & p.177): Exhibition catalogue cat.no.UD-34, p.31 & TB023, p.167. Accompanied by a copy of Nik Douglas's collection cataloguing document, three pages of collectors illustrations and notes with price (US$70,000). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11211-188545. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition, repair to neck.

c.6th century A.D. A Bodhisattva figure modelled in the round crowned and standing, right hand raised with palm facing outwards, left hand extended by side, holding one end of sash, stylised anatomical and facial detailing with urna between eyes, detailing to crown, sash and dhoti, held in place by a jewel, wearing matching floral pendant and bangles; pierced lug to reverse; mounted on a wooden display base. 664 grams total, 22.2 cm including stand (8 3/4 in). Ex Sherrier or Lindahl by repute. Acquired 1968. Spinks, London, UK. ‘Buckingham Collection’, the late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by a copy of the relevant ‘Out of Uddiyana’ exhibition catalogue pages including an image of this lot featured in one of the display cases (p.176): Exhibition catalogue cat.no.GMB057, p.142. Accompanied by a copy of Nik Douglas's collection cataloguing document, four pages of collectors illustrations and notes with price (US$32,000). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11215-188546. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition.