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Click here to subscribeMariota Bosanquet (1923-2022). Three figures, oil on canvas, 51cm x 61.5cm and another figures in landscape. (2) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Three figures, oil on canvas laid on board, 51cm x 76cm and another seated figure. (2) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Five figures, oil on canvas, 40.5cm x 56cm and another three figures. (2) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Landscape, oil on canvas laid on board, 41cm x 56cm and another three figures two dogs, signed. (2) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Fruit still life, oil on canvas, 23cm x 30cm and three others. (4) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Floral still life, oil on canvas, 40.5cm x 35.5cm and four others. (5) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Seated figure, oil on canvas, 25cm x 35.5cm and four others. (5) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Seated figure, oil on canvas, 35.5cm x 25.5cm and five others. (6) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Two figures, oil on board, signed, 35.5cm x 51cm and two others. (3) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Landscape, pastel, signed and dated (19)89, 26cm x 36cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Figure with card, pastel, signed, 28cm x 36cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Figures in park, pastel, signed, 24cm x 28cm. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Figure reading, pastel, 36cm x 26cm Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Three figures, watercolour, signed, 24.5cm x 19cm and three others. (4) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Landscape, pastel, signed and dated (19)78, 26cm x 36cm and four other drawings and watercolours. (5) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Half length portrait oa young lady, oil on board, 29.5cm x 23cm. Artist label verso and another. (2) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Half length portrait, oil on canvas, 47cm x 40cm and three others. (4) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Portrait of a gentleman, oil on canvas, 23cm x 18cm and another inscribed verso. (2) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Religious sun, oil on canvas, 35cm x 25cm and two others. (3) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Studio sketch books, etc. (a quantity) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Studio contents including easel, table easel, palette, etc. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Needlework accessories, etc. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Studies, books, booklets, etc. Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Studio portraits, pictures, newspaper clippings, watercolours, suitcases, etc. (a quantity) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Seated figure, sculpture, 22cm high and five others. (6) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Studio works, sketches, etc. contents of folder (red). Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Studio works, sketches etc. contents of folder (green). Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Studio works, sketches, etc. contents of folder (brown) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Studio works, sketches, etc. contents of folder (green). Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Studio works, sketches, etc. contents of folder (black). Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Studio works, sketches, etc. contents of folder (black). Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Studio contents, picture frames, canvases, etc. (a quantity) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Sunrise, pastel and watercolour, signed, 17cm x 24cm and another signed Tom Bosanquet. (2) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Maqbool Fida Husain (1915-2011)Untitled (Horse) signed and dated 'Husain 008' lower rightpen and ink on paper21.3 x 20.3cm (8 3/8 x 8in).Footnotes:ProvenanceProperty from a private collection, India. Acquired from the artist. Husain's watercolour horses are not confined to a single style or aesthetic; they reflect his evolving artistic journey. His horses range from meticulously detailed renderings to more abstract and expressive interpretations, each offering a unique perspective on this timeless subject. This diversity of approach showcases his ability to adapt and innovate within the realm of watercolour painting. In Untitled(Horse) Husain invites us to experience the beauty, energy, and spirit of the magnificent creature. Depicted singularly, he is drawn as though charging towards us from the top right corner. Characteristically, the hooves are not depicted and yet the intensity of the horses movement can be felt coming off the composition. The muted colours of blues and blacks aids this burst of energy. Typically, a blue moon is considered to be a powerful time to set intentions, release negative energy and manifest abundance. Husain's horses are positive creatures, and his extensive knowledge would likely have played a part in deciding the colour palette employed to disseminate his message.To see a similar work sold in these rooms, see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 29.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 (1924-2002)Untitled (Abstract Portrait Head) signed and dated 'Souza 64' upper leftball point pen and mixed media on canvas, framed 15.2 x 21cm (6 x 8 1/4in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired from Christies, The Art of Souza: Property from the Estate of Francis Newton Souza, 9th June 2010, lot 145.'Souza has given to art a great deal more than he has taken from it. His painting is intensely personal, to the point of being esoteric. To appreciate it, one has to participate in certain preoccupations and fears which make his visual distortions explicable and sympathetic...If he was creating monsters, probably no one would be troubled; but because his images are clearly intended to be human, one is compelled to ask why his faces have eyes high up in the forehead, or else scattered in profusion all over the face; why he paints mouths that stretch like hair combs across the face, and limbs that branch out like thistles. Souza's imagery is not a surrealist vision - a self-conscious aesthetic shock - so much as a spontaneous re-creation of the world as he has seen it, distilled in the mind by a host of private experiences and associations.' (Edward Mullins, Souza, Anthony Blond Ltd, 1962, p.38-39.)Francis Newton Souza, a trailblazing artist of the 20th century, left an indelible mark on the world of modern Indian art. His distinctive style, marked by bold colours, striking compositions, and a fearless exploration of the human form, made him one of India's most celebrated and controversial artists. Born on April 12, 1924, in Saligao, Goa, Souza's life journey was a tumultuous one, marked by artistic triumphs and personal tribulations.Early Life and EducationSouza was born into a Roman Catholic family in Portuguese-occupied Goa. His early years were fraught with challenges, including poverty and the loss of his father at a young age. Despite these hardships, Souza displayed a remarkable talent for drawing, catching the attention of his teachers and local artists. Encouraged by their support, he pursued formal art education at the Sir J.J. School of Art in Mumbai, where he honed his skills and developed a strong foundation in classical European art techniques.The Progressive Artists' GroupAfter completing his formal education, Souza moved to London in 1949, where he was exposed to the avant-garde art scene. He soon became a prominent member of the 'Progressive Artists' Group,' a collective of artists who aimed to break free from the confines of traditional Indian art and embrace contemporary, international influences. Souza's work from this period is characterized by a blend of Western modernism and a distinct Indian sensibility.Artistic Style and ThemesSouza's style was bold and unapologetic. He painted with a sense of urgency, often using thick impasto layers and vibrant colours to depict his subjects. His subjects ranged from portraits and landscapes to religious and erotic themes. Souza's fascination with the human form was a recurring motif in his work, which he often rendered in an abstract and distorted manner, exploring themes of desire, sexuality, and spirituality.Controversy and CritiqueSouza's provocative art often courted controversy, and his provocative themes led to both admiration and condemnation. His bold depictions of sexuality and religion sometimes raised eyebrows, even leading to legal troubles. Despite these challenges, Souza remained uncompromising in his artistic vision, and his work continued to garner attention on the international stage.International SuccessIn the 1950s and 1960s, Souza's reputation as a groundbreaking artist grew beyond India's borders. He exhibited extensively in London, New York, and other major art capitals, earning critical acclaim and commercial success. His paintings were acquired by major museums and private collectors worldwide, solidifying his status as a leading figure in contemporary art.Later Life and LegacySouza's later years were marked by personal struggles, including health issues and financial difficulties. He spent the last years of his life in New York, where he continued to paint prolifically until his passing on March 28, 2002. Souza's legacy endures through his pioneering contributions to modern Indian art, inspiring subsequent generations of artists to push boundaries and challenge conventions.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Francis Newton Souza (1924-2002)Untitled (Head of Nixon) executed in 1970chemical alteration and mixed media on printed magazine paper28 x 21.1cm (11 x 8 5/16in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired in New York.'For a long time Tolstoy and others have asked the big question: What is Art? I now know my answer quite simply: Art is what I do.' - F.N Souza'Souza began experimenting with the altered image in the 1950s, drawing over newspaper and magazine images. By the late 1960s Souza discovered a special chemical solvent that would dissolve away part of the photographic image. He would then re-work it and draw over it to produce a juxtaposition of painting and the commercially produced print, called chemicals.' (Saffron Art & Grosvenor Gallery, Francis Newton Souza, Planet Saffron Inc. and Grosvenor Gallery (Fine Arts) Ltd, 2005, p.78) To see a another work from the Time portrait series see, Christies, South Asian Modern & Contemporary Art, 9th June 2011, Lot 31.Francis Newton Souza, a trailblazing artist of the 20th century, left an indelible mark on the world of modern Indian art. His distinctive style, marked by bold colours, striking compositions, and a fearless exploration of the human form, made him one of India's most celebrated and controversial artists. Born on April 12, 1924, in Saligao, Goa, Souza's life journey was a tumultuous one, marked by artistic triumphs and personal tribulations.Early Life and EducationSouza was born into a Roman Catholic family in Portuguese-occupied Goa. His early years were fraught with challenges, including poverty and the loss of his father at a young age. Despite these hardships, Souza displayed a remarkable talent for drawing, catching the attention of his teachers and local artists. Encouraged by their support, he pursued formal art education at the Sir J.J. School of Art in Mumbai, where he honed his skills and developed a strong foundation in classical European art techniques.The Progressive Artists' GroupAfter completing his formal education, Souza moved to London in 1949, where he was exposed to the avant-garde art scene. He soon became a prominent member of the 'Progressive Artists' Group,' a collective of artists who aimed to break free from the confines of traditional Indian art and embrace contemporary, international influences. Souza's work from this period is characterized by a blend of Western modernism and a distinct Indian sensibility.Artistic Style and ThemesSouza's style was bold and unapologetic. He painted with a sense of urgency, often using thick impasto layers and vibrant colours to depict his subjects. His subjects ranged from portraits and landscapes to religious and erotic themes. Souza's fascination with the human form was a recurring motif in his work, which he often rendered in an abstract and distorted manner, exploring themes of desire, sexuality, and spirituality.Controversy and CritiqueSouza's provocative art often courted controversy, and his provocative themes led to both admiration and condemnation. His bold depictions of sexuality and religion sometimes raised eyebrows, even leading to legal troubles. Despite these challenges, Souza remained uncompromising in his artistic vision, and his work continued to garner attention on the international stage.International SuccessIn the 1950s and 1960s, Souza's reputation as a groundbreaking artist grew beyond India's borders. He exhibited extensively in London, New York, and other major art capitals, earning critical acclaim and commercial success. His paintings were acquired by major museums and private collectors worldwide, solidifying his status as a leading figure in contemporary art.Later Life and LegacySouza's later years were marked by personal struggles, including health issues and financial difficulties. He spent the last years of his life in New York, where he continued to paint prolifically until his passing on March 28, 2002. Souza's legacy endures through his pioneering contributions to modern Indian art, inspiring subsequent generations of artists to push boundaries and challenge conventions.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
George Keyt (1901-1993)Untitled (Radha and Krishna) signed and dated G Keyt '65 upper rightoil on canvas, framed70.4 x 67.9cm (27 11/16 x 26 3/4in).Footnotes:ProvenanceProperty from a private collection, UAE.Acquired from Sotheby's, Indian Art, 22nd March 2007, lot 9;Acquired from Saffron Art, Summer Online Auction, 24-25th June 2020, lot 6.This work is an exquisite masterpiece by Keyt and captures the timeless essence of divine love and eternal devotion through a harmonious fusion of colour, form, and emotion. This captivating work stands as a testament to Keyt's profound artistic vision, his deep-rooted connection to spiritual themes, and his distinctive blend of modernism and traditional influences.Rendered in Keyt's signature style, 'Radha and Krishna' unveils a mesmerizing portrayal of the divine couple, enveloped in a world of ethereal charm and aesthetic allure. Keyt's mastery over line and composition is evident as he presents Radha and Krishna entwined in a dance of love, their forms set amidst a backdrop of lush foliage and celestial beauty. The sinuous lines and fluid movements within the composition evoke a sense of rhythm and energy, drawing viewers into the enchanting narrative.Keyt skilfully marries tradition with modernity, infusing the classical theme with his distinctive contemporary approach. He draws inspiration from his extensive study of ancient Sri Lankan art forms, imbuing the composition with a sense of cultural heritage and spiritual resonance. Simultaneously, Keyt's unique interpretation imbues the figures with a dynamic vitality, reimagining the divine love story in a manner that speaks to the universal human experience.Moreover his use of colour further enhances the emotive power of the artwork. Vivid hues of blues, browns, maroons and beiges dominate the canvas, symbolizing tenderness and tranquillity. The interplay between warm and cool tones infuses the painting with an emotional dynamism that resonates deeply with the viewer, portraying the dichotomy of love's ardour and serenity.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
Abdulrahim Apabhai Almelkar (1920-1982)Hut signed 'Almelkar 64' in Devanagiri lower leftoil on canvas, framed38.7 x 45.2cm (15 1/4 x 17 13/16in).Footnotes:ProvenanceProperty from a private collection, UK.Acquired from a charity shop in Windsor in the early 1990s.'A.A. Almelkar (1920 - 1982), not directly related to the revivalist movement at [Bombay's Sir] J.J. [School of Art], was friendly with artists from the Progressive Artists' Group. But he was obsessed with Indian miniatures along with tribal and folk traditions. His paintings after 1952, are truly Indian in character and full of rhythm, enhanced by a rich texture and the graceful serpentine black line, encompassing various forms into a coherent whole.'- Excerpt from S. Bahulkar and D. Ghare, Artists of the Bombay SchoolAlmelkar was a contemporary of the Bombay Progressive Artists and graduated in 1948 from the Sir J.J. School of Art. Heavily influenced by the impressionist inclinations of his fellow artists, Walter Langhammer and N.S Bendre, he began as a landscape painter, before shifting his focus towards depicting rural Indian life, an example of which can be seen in Hut. Here, as in many other works he has combined techniques from western art such as thick impasto, with Indian folk art to create a unique visual language. The hut dominates the canvas, and is devoid of humans. The two water vessels to the bottom left are the only other objects that populate the composition, indicating that the hut is a living organism. The sophisticated and muted colour palette employed by Almelkar consists of the earthy greens, browns and whites and enhances the tranquillity of the scene. These colours are applied in blocks, and then worked on using both his brush and fingers to give the work a textural quality. Given his artistic prowess it is unsurprising to learn that he held over 40 solo exhibitions in Asia and was the recipient of the 1955, 1956 and 1960 awards at the Art Society of India and the Lalit Kala Academy respectively. Moreover, he was awarded 20 gold and 24 silver medals, which is testament to his contribution to the art scene.To see a similar work from 1965 sold at Sotheby's, see Modern & Contemporary South Asian Art, 10th September 2012, lot 50.For further information on this lot please visit Bonhams.com
Maqbool Fida Husain (Indian, 1915-2011)Untitled (Horses) signed 'Husain' lower left, circa early 1990sacrylic on canvas, framed100.8 x 74.5cm (39 11/16 x 29 5/16in).Footnotes:ProvenanceProperty from a private collection, London.Acquired from the artist in the late 2000s.Animals and birds have appeared in Indian sculpture since ancient times. In painting, apart from the pre-historic rock paintings in which there is naturally a strong presence of animals, the practise of incorporating animal and bird forms is an uninterrupted tradition right up to contemporary times. Quite often, these creatures reflect or enhance the mood of the human characters in the painting with their emotional, literary and mythical associations or just represent nature along with its other elements. Husain is an inheritor of this classical and folk tradition that he reformulates for his own purpose as a modern artist...One of his most perennial obsessions as an artist has been the form of the horse. During an interview with the well known art critic Vinod Bhardwaj in 1979, Husain said, I say this about myself: I sell horses and make films....Husain's encounter with horses began in his childhood in Indore. These encounters came in several forms with different associations, inspiring different emotions...One of the closest friends of his grandfather Abdul was Acchan Mian. He was a farrier. Husain would often accompany his grandfather when he visited Acchan Mian's workshop. At the time, tonga or a horse drawn carriage was a common mode of transport in Indore. Tonga horses were often brought to Acchan Mian's workshop for fixing iron shoes. At this stage the dominant emotion that was associated with the horse in Husain's mind was that of a friendly, gentle and affectionate animal that helped poor men earn their daily living. Acchan Mian's workshop also sometimes attracted horses from the local Holkar King's cavalry and the fancy carriages of British officers who represented a kind of imported royalty. These animals exuded an aura of dignity, power, speed, vitality and aristocratic elegance...Another major source for Husain's horses is the iconic Duldul, Imam Husain's horse in the battle of Karbala, whose decorated image was carried during the Muharram processions in Indore that Husain had often watched in his boyhood. The iconic image of Duldul is a large toy like image in a rising posture with front legs stretched out...This folk-heroic form of Duldul became more complex when Husain entered Bombay's art world and started travelling to different parts of India. During these travels, he became aware of several other traditional forms of the horse in folk arts and crafts. One of these forms is the unique Bankura horse or West Bengal that has a distinctive elongated and erect neck, and raised ears...Husain similarly reaches out to other ritualistic and mythical sources of the horse such as the horses in the Chariot of the Sun God in the Konark temple and Ashvamedha that was the standard bearer of an emperor who wanted his supremacy to be acknowledged by smaller kings and chieftains...Apart from these diverse Indian sources Husain has also been influenced by some foreign sources in evolving his unique horses. According to Shiv S. Kapur, during Husain's visit to China in 1952, He studied the Sung dynasty renderings of horses. In addition, Husain also specifically acknowledges his debt to the horses of Xu Beihong... Husain's horses that show Chinese influence generally have flying manes, prancing movement, open jaws and flared nostrils. They exude a feeling of vitality, vigour, anger and aggression. (K. Bikram Singh, Maqbool Fida Husain, New Delhi, 2008, p.169-176).The three horses depicted in Untitled (Horses) illustrate a cohesion of the various influences on Husain. Painted in a vibrant red, the colour of the Bankura horse, gold, the colour of Chinese horses and white, the colour of Duldul, their bodies dominate the painting, whilst creating a balance and harmony at the same time. We can see the front legs, neck and head of the red horse, the body and neck of the gold horse and the full body of the white horse. They appear to be surging forth from the canvas, converging and prancing and have the characteristic open jaws, flared nostrils and an absence of hooves, exuding energy, passion, purity and earthly qualities. Painted using quick brushstrokes, their forms have been created entirely in colour, without a dependence on line and resemble puppets or wooden effigies. The background heightens the atmosphere, with shades of deep maroons and purple merging seamlessly. The painting is a testament to Husain's multifaceted understanding and appreciation of cultures, fusing tradition and modernity, symbolism and vitality, in a singular work of art.For further information on this lot please visit Bonhams.com
Jamini Roy (1887-1972)Untitled (Three Women) signed 'Jamini Roy' in Bengali' lower rightgouache on paper, framed74.1 x 38.5cm (29 3/16 x 15 3/16in).Footnotes:ProvenanceProperty from a private collection, UK.Acquired from Bangladesh in the 1950s by an American Diplomat;Thence by descent.Roy is celebrated for his distinctive artistic language that fuses indigenous folk traditions with contemporary sensibilities. 'Three Women,' a remarkable work within his extensive oeuvre, stands as a testament to his ability to capture the essence of human relationships and communal bonds.The painting is characterized by bold lines, earthy colours, and simplified forms which are typical of Roy's style. He often drew inspiration from the folk and tribal art of Bengal, and this painting reflects his exploration of those artistic traditions. The composition is balanced, and the figures are positioned in a way that creates a sense of harmony and unity.Through his work, Roy aimed to capture the essence of rural life and celebrate the beauty of everyday subjects. His style was a departure from the academic art that dominated the Indian art scene at the time, and he sought to create a more accessible and inclusive form of art that drew from the cultural heritage of his country.Untitled (Three Women) is just one example of Roy's contribution to the art world. His paintings continue to be highly regarded and are sought after by collectors and art enthusiasts. His legacy as a pioneer of modern Indian art and his ability to blend traditional and contemporary influences have left a lasting impact on the artistic landscape of India.For further information on this lot please visit Bonhams.com
Francis Newton Souza (1924-2002)Untitled (Couple) signed and dated 'Souza 57' upper centrepen on paper, framed24.3 x 19.2cm (9 9/16 x 7 9/16in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired from Christies, The Art of Souza: Property from the Estate of Francis Newton Souza, 9th June 2010, lot 32.PublishedFrancesca Souza ed. F. N. Souza: Religion and Erotica. Early Religious and Erotic Drawings from the Estate of F. N. Souza, London, 2005, p. 68 (illustrated)'Renaissance painters painted men and women making them look like angels. I paint for angels, to show them what men and women really look like.' F. N. Souza, 1962.Francis Newton Souza, a trailblazing artist of the 20th century, left an indelible mark on the world of modern Indian art. His distinctive style, marked by bold colours, striking compositions, and a fearless exploration of the human form, made him one of India's most celebrated and controversial artists. Born on April 12, 1924, in Saligao, Goa, Souza's life journey was a tumultuous one, marked by artistic triumphs and personal tribulations.Early Life and EducationSouza was born into a Roman Catholic family in Portuguese-occupied Goa. His early years were fraught with challenges, including poverty and the loss of his father at a young age. Despite these hardships, Souza displayed a remarkable talent for drawing, catching the attention of his teachers and local artists. Encouraged by their support, he pursued formal art education at the Sir J.J. School of Art in Mumbai, where he honed his skills and developed a strong foundation in classical European art techniques.The Progressive Artists' GroupAfter completing his formal education, Souza moved to London in 1949, where he was exposed to the avant-garde art scene. He soon became a prominent member of the 'Progressive Artists' Group,' a collective of artists who aimed to break free from the confines of traditional Indian art and embrace contemporary, international influences. Souza's work from this period is characterized by a blend of Western modernism and a distinct Indian sensibility.Artistic Style and ThemesSouza's style was bold and unapologetic. He painted with a sense of urgency, often using thick impasto layers and vibrant colours to depict his subjects. His subjects ranged from portraits and landscapes to religious and erotic themes. Souza's fascination with the human form was a recurring motif in his work, which he often rendered in an abstract and distorted manner, exploring themes of desire, sexuality, and spirituality.Controversy and CritiqueSouza's provocative art often courted controversy, and his provocative themes led to both admiration and condemnation. His bold depictions of sexuality and religion sometimes raised eyebrows, even leading to legal troubles. Despite these challenges, Souza remained uncompromising in his artistic vision, and his work continued to garner attention on the international stage.International SuccessIn the 1950s and 1960s, Souza's reputation as a groundbreaking artist grew beyond India's borders. He exhibited extensively in London, New York, and other major art capitals, earning critical acclaim and commercial success. His paintings were acquired by major museums and private collectors worldwide, solidifying his status as a leading figure in contemporary art.Later Life and LegacySouza's later years were marked by personal struggles, including health issues and financial difficulties. He spent the last years of his life in New York, where he continued to paint prolifically until his passing on March 28, 2002. Souza's legacy endures through his pioneering contributions to modern Indian art, inspiring subsequent generations of artists to push boundaries and challenge conventions.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A.R. Nagori (1938-2011)Untitled (Five Figures) circa 1980soil on board, framed28.1 x 22.2cm (11 1/16 x 8 3/4in).Footnotes:ProvenanceProperty from a private collection, Pakistan. 'Nagori came from a social background and was angry enough at inequities, to be able to produce politically committed painting of a far authentic order than any other painter in Pakistan... Nagori showed profiles of protest publicly in Karachi in the hope of causing scandal. He built his public personality as a provocateur who, if he did not upset the officials of Pakistan National Council of Arts through his paintings, read papers in seminars in which he attacked real or imagined pressure groups and individuals who had harmed him in his mind.' (Akbar Naqvi, Image and Identity: Fifty years of Painting and Sculpture in Pakistan, Karachi, 1998, p.520-522)Nagori is known for his statement making works about injustice and the present lot comes from this series. Cut vertically into two equal parts, this is a painting of two halves. On the left side, we have what appears to be a holy man, holding tasbih beads, and a woman with a child bent in prayer, whilst on the right side we have a man, someone in authority as denoted by his headgear, and a woman and a child. The child bears a perplexed look, as the mother gazes straight ahead. The right side of the canvas is bathed in red, and the only respite is the blazing yellow sun, whilst the colours have been reversed on the left side of the canvas. The women and children appear to be unaware of the dual holy man/men, and this appears to have been deliberate on Nagori's part, as he likely attempted to show that a force greater than man was watching the events unfold. It is an engaging work and raises copious questions. It is not meant to be pleasant, and that is precisely where its triumph lies. For a similar work by the artist sold on these premises see Bonhams, Modern and Contemporary South Asian Art, 6th June 2023, lot 27.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Maqbool Fida Husain (1915-2011)Untitled (Ganesh Riding a Horse with the Sun) signed 'Husain' lower left and signed 'Husain' verso, circa early 1990sacrylic on paper board, framed58.8 x 90.4cm (23 1/8 x 35 9/16in).Footnotes:ProvenanceProperty from a private collection, England. Acquired from the artist in the late 2000s.Untitled (Ganesh riding a horse with the sun) illustrates Husain's ability to fuse traditional Indian mythological themes with contemporary artistic expressions. In this painting, Husain presents Lord Ganesh, the elephant-headed deity, in a dynamic and unconventional form. Ganesh is traditionally depicted as a portly figure seated on a lotus, symbolizing wisdom and auspiciousness. However, Husain reimagines Ganesh in a novel and dynamic avatar, riding a powerful horse.The central figure of Lord Ganesh is portrayed with grace and vitality as he confidently guides the galloping horse beneath him. This amalgamation of two distinct elements, Ganesh and the horse creates a sense of harmony and unity, bridging the gap between tradition and contemporary interpretation.The presence of the sun held in Ganesh's hand adds a celestial and ethereal dimension to the composition. The sun a symbol of light, knowledge and life itself, is cradled by Ganesh's divine presence, signifying his role as a remover of obstacles and a source of enlightenment. Husain's use of bold, vibrant colours; bright yellow, primary blue, vermilion and brilliant green coupled with his dynamic brushwork infuses the painting with energy and movement. The background is awash in warm, cool and fiery hues of brown, blue and red creating a vivid contrast with the rosehip red and cool white of Ganesh and the horse. The two sets of vertical red lines and dot at either end of the composition are probably a variation on the tripundra or rudra-tilaka, an ornamental spot traditionally worn on the forehead by Shaivas, followers of the Lord Shiva. Husain has incorporated this into his painting and Lord Shiva appears to be protecting his son Lord Ganesh. The importance of Ganesh in Hinduism and horses in traditional art act as a tool for Husain to discuss the topic of the re-appropriation of cultural roots. The search for a national identity after India's independence in 1947 represents the perennial focus of Husain's art. The end of colonial rule left a hole in the national identity that artists, among others, tried to fill and shape with bringing back a past that was cast aside in favour of Western customs and traditions. Throughout his career Husain remained steadfast in his dedication to this. Perhaps this is the reassuring beauty of his art, the knowledge that regardless of the colours or technique used and the subject employed, Husain's love for his country and its history always prevailed.For further information on this lot please visit Bonhams.com
Sheikh Mohammed Sultan (1923-1994)Untitled (Kashmir Landscape) signed 'S M Sultan 1968' lower rightwatercolour on paper, framed34.7 x 54.5cm (13 11/16 x 21 7/16in).Footnotes:ProvenanceProperty from a private collection, Pakistan.'S.M. Sultan lived in Karachi after wandering through Kashmir, without money or any other resource and a short stay in Lahore. Sultan was a quick painter who, according to a story from Amjad Ali, announced in the Lahore papers that he was going to hold an exhibition within two weeks, and managed to paint twenty large water-colour sketches of Kashmir in time.' (S. Amjad Ali, Painters of Pakistan, National Book Foundation, 1996, p.323)One of the pioneers of modern art in Bangladesh, Sultan was awarded the Ekushey Padak in 1981; the Bangladesh Charu Shilpi Sangsad Award in 1986; and the Independence Day Award in 1993. Born in the Narail district of present day Bangladesh, then India and subsequently East Pakistan, Sultan spent the years 1949-1953 and 1967-1971 in the West Pakistani cities of Lahore and Karachi, where he held exhibitions of his works. This was one of the most prolific periods of Sultan's life, as he produced a large body of works based on his travels to Kashmir, mainly water-colours and pen and ink drawings on brown coloured wrapping paper; the material readily available at the time. These paintings were largely village scenes, as seen in Untitled (Kashmir Landscape, where huts, humans and nature lived in harmony. Through this work, Sultan captures the serene and enchanting vistas of Kashmir. He has used soft edges and muted tones creating a sense of distance and a feeling of vastness. These works pre-date his muscular depictions of the peasants in Bangladeshi villages, however the scenery painted during this time is a precursor to his later works.For a similar work sold at Sotheby's see, Modern & Contemporary South Asian Art, 16th March 2020, lot 45.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 (1924-2002)Untitled (Landscape) signed and dated 'Souza 60' lower leftpencil and oil on paper, framed16.6 x 15.9cm (6 9/16 x 6 1/4in).Footnotes:ProvenanceProperty from a private collection, UK.Acquired from Grosvenor Gallery. Note: There are Grosvenor Gallery and Saffron Art labels on the reverse.'Souza is a painter of cityscapes and religious themes. While in the latter he is loaded with a troubled presentiment, in the former he is singularly devoid of emotive inhibitions. Unlike the cityscapes of Ram Kumar which ooze a silent melancholy and flare warmly from amidst the gloomy shadows of all-consuming time, Souza's cityscapes are the congealed visions of a mysterious world. Whether standing stolidly in enamelled petrification or delineated in thin colours with calligraphic intonations, the cityscapes of Souza are purely plastic entitles with no reference to memories or mirrors.' J. Swaminathan, (21.10.62), Souza's Exhibition. Rpt in LKC 40 (Mar 1995)Francis Newton Souza, a trailblazing artist of the 20th century, left an indelible mark on the world of modern Indian art. His distinctive style, marked by bold colours, striking compositions, and a fearless exploration of the human form, made him one of India's most celebrated and controversial artists. Born on April 12, 1924, in Saligao, Goa, Souza's life journey was a tumultuous one, marked by artistic triumphs and personal tribulations.Early Life and EducationSouza was born into a Roman Catholic family in Portuguese-occupied Goa. His early years were fraught with challenges, including poverty and the loss of his father at a young age. Despite these hardships, Souza displayed a remarkable talent for drawing, catching the attention of his teachers and local artists. Encouraged by their support, he pursued formal art education at the Sir J.J. School of Art in Mumbai, where he honed his skills and developed a strong foundation in classical European art techniques.The Progressive Artists' GroupAfter completing his formal education, Souza moved to London in 1949, where he was exposed to the avant-garde art scene. He soon became a prominent member of the 'Progressive Artists' Group,' a collective of artists who aimed to break free from the confines of traditional Indian art and embrace contemporary, international influences. Souza's work from this period is characterized by a blend of Western modernism and a distinct Indian sensibility.Artistic Style and ThemesSouza's style was bold and unapologetic. He painted with a sense of urgency, often using thick impasto layers and vibrant colours to depict his subjects. His subjects ranged from portraits and landscapes to religious and erotic themes. Souza's fascination with the human form was a recurring motif in his work, which he often rendered in an abstract and distorted manner, exploring themes of desire, sexuality, and spirituality.Controversy and CritiqueSouza's provocative art often courted controversy, and his provocative themes led to both admiration and condemnation. His bold depictions of sexuality and religion sometimes raised eyebrows, even leading to legal troubles. Despite these challenges, Souza remained uncompromising in his artistic vision, and his work continued to garner attention on the international stage.International SuccessIn the 1950s and 1960s, Souza's reputation as a groundbreaking artist grew beyond India's borders. He exhibited extensively in London, New York, and other major art capitals, earning critical acclaim and commercial success. His paintings were acquired by major museums and private collectors worldwide, solidifying his status as a leading figure in contemporary art.Later Life and LegacySouza's later years were marked by personal struggles, including health issues and financial difficulties. He spent the last years of his life in New York, where he continued to paint prolifically until his passing on March 28, 2002. Souza's legacy endures through his pioneering contributions to modern Indian art, inspiring subsequent generations of artists to push boundaries and challenge conventions.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Paire de candélabres d'époque Louis XV, en porcelaine de Chine d'époque Qianlong (1736-1796) à motifs d'échassiers, à trois bras de lumière, ornementation de bronze doré, milieu du XVIIIe siècleA pair of Louis XV ormolu-mounted and Chinese Qianlong (1736-1796) porcelain wader birds three-branch candelabra, mid-18th centuryEach échassier resting on a naturalistic oval shaped blue decorated base issuing floral sprays and a trunk, surrounded by a branch-like berried foliate border issuing three scrolling branches with further conforming leaves and fruited berries, terminating in engraved foliate-shaped nozzles and drip-pans, 35cm wide, 19cm deep, 41cm high (13 1/2in wide, 7in deep, 16in high). Footnotes:Provenance:Collection of the Late Arnold Seligmann, sold Paris, 4-5 June 1935, lot 117;Collection P. et M. Jonas. With Gismondi, Paris, sold in February 1999 and thence by descent to the present ownerThe fashion for embellishing exotic and expensive Chinese porcelain into objets de luxe with the addition of rich ormolu mounts, reached its peak in the mid-18th century through the activities of the marchands-merciers such as Lazare Duvaux or Simon-Philippe Poirier. The Livre-Journal of Lazare Duvaux for 1751 notes that Madame de Pompadour paid the extraordinary sum of 1,680 livres for a pair of ormolu-mounted celadon ewers. The detail with which such rich objects were described in contemporary sale catalogues during the second half of the 18th century, in contrast to the more generalised descriptions of unmounted Chinese porcelain found in earlier inventories, demonstrates the importance of these objects.Arnold SeligmannFrom the collection of the famous art and antiquities dealer Arnold Seligmann (1871-1935). The gallery Jacques Seligmann & Co. moved from Rue de Sommerand to Place Vendôme and Arnold's two brothers, Jacques and Simon joined the business as partners. The celebrated gallerists went through a very favourable period at the beginning of the 20th century and the gallery was expanding its clientele among the most important art collectors of the time such as Edmond James de Rothschild, the Stroganov family, Benjamin Altman, William Randolph Hearst and J.P. Morgan. However, in 1912, a family quarrel resulted in a lawsuit that split the company. Arnold Seligmann remained the sole owner of the gallery in Place Vendôme which was then renamed Arnold Seligmann & Cie.For further information on this lot please visit Bonhams.com
Commode d'époque Louis XV de Joseph Schmitz en marqueterie de bois de rose, amarante, ébène, bois fruitier et bois teinté, incrustations de nacre, ornementation de bronze ciselé et doré, milieu du XVIIIe siècleA Louis XV ormolu-mounted mother-of-pearl inlaid tulipwood, amaranth, ebony, green-stained wood and fruitwood marquetry bombé marquetry commode by Joseph Schmitz, mid-18th centuryThe shaped moulded brèche d'Alep marble top above two drawers inlaid sans traverse with floral and foliate sprays, exotic birds, butterflies and other insects within C-scroll encadrements, with pierced chutes and rocaille handles and escutcheons and conforming apron mount surmounted by an foliate bearded inlaid and engraved mask with mother-of-pearl eyes, the sides conformingly inlaid with floral sprays, stamped 'J.SCHMITZ' (partly obliterated) and 'JME', 146cm wide x 63.5cm deep x 87.5cm high, (57in wide x 25in deep x 34in high)Footnotes:Provenance:Sale, Versailles, 15 November 1987.With Röbbig, Munich.The Rosa Alba Collection.Literature: Pierre Kjellberg, Le Mobilier Français du XVIIIe siècle, 1998, p. 796; Exhibition Calatogue Hetjens-Museums, Deutsches Keramikmuseum, Düsseldorf, Januar-April 1997: Frühes Meissner Porzellan, Kostbarkeiten aus deutschen Privatsammlungen, 1997, p.195.Joseph Schmitz, maître ébéniste in 1761.This elegant commode is profusely inlaid with a pattern of floral sprays, birds and butterflies, which was the specialty of Joseph Schmitz. The delicate mother-of-pearl inlays to the birds and to the masks above the apron give this rare commode a powerful and special effect demonstrating his talent as a talented marqueteur. Joseph Schmitz was born in Paris and worked in the Rue de Caronne, yet little else is known about his career. The present commode was almost certainly executed just after Schmitz obtained his maîtrise, when his work shows similarities to that of his contemporary Pierre III Migeon, who, also became a master in 1761. A pair of Louis XV marquetry commodes by Schmitz are conserved at the Huntington Library and Art Gallery, in San Marino, while other commodes are in prestigious collections, such as the red lacquer Louis XV commode, formerly in the Espirito Santo Collection, later sold Galerie Charpentier, Paris, 14 June 1955. Other related commodes were sold at auction: Christie's Paris, 29 April 2015, lot 667.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Charles Gerrard ARA (British, 1892-1964), Director of the Sir J. J. School of Art, Bombay (1936-46) Seated Sadhuoil on canvas, signed lower right 97 x 85 cm.Footnotes:ProvenanceSworders, Stansted Mountfitchet, Essex, October 1996, the sale of the remaining contents of the Gerrards' studio, where acquired by the seller. Private UK collection, 1996-present.The same sitter appears in another painting entitled Sadhu in the Catalogue of Exhibition of Sculpture and Drawings by Doris Gerrard and Oil Paintings by Charles Gerrard, 4th-9th November 1940, Sir J. J. School of Art, Bombay, plate IX (see fig. 1 in our present catalogue). In the brief listing of works in the exhibition, there appear no. 5, Sadhu, in Gallery I, and no. 32, The Sadhu, in Gallery II, which is the one in plate IX. It is therefore possible that our painting was no. 5 in this exhibition. A review in The Times of India of an exhibition of Gerrard's paintings at the Sir J. J. in November 1940 observed that it encompassed Impressionist and post-Impressionist styles as well as those of 'solid academic traditions'. Sadanand K. Bakre, paying tribute to his direct influence on his own work, was later to comment on Gerrard's skill as a draughtsman, and his use of 'sharp, hot colours'.Several other works by Charles Gerrard have been sold in these rooms: see Bonhams, India in Art, 7th June 2022, lot 92 (the Delhi Gate), and 93 (Still Life); and Islamic and Indian Art Online Sale, 18th-26th May 2023, lot 464 (the Garden of the Director's Residence), and 466 (Female Nude). Also offered in the same sale (lot 465) was a group of pamphlets, sketchbooks and photographs relating to Gerrard and his wife Doris. Charles Gerrard was Director of the Sir J. J. School of Art in Bombay from 1936 to 1946, introducing a keen personal observation of 1930s modernist developments in British and European painting, sculpture, graphic design and architecture. He was assisted in this by exiles from the Nazi regime such as Walter Langhammer and Rudi van Leyden, who with Gerrard directed at the School, invigorated the Bombay Art Society and encouraged modernist and art deco European design amongst local architectural practices and in commercial printing. Despite the pupils' necessarily local origins and inability to travel during the war, Gerrard encouraged groupings of pupils to adopt this eye on Western developments.In 1941 a group referred to as the 'Young Turks' held a show featuring the work of P. T. Reddy, M. Y. Kulkarni, A. A. Majeed, C. Baptista and M. Bhople, artists who regarded themselves as being in modernist opposition to the more Victorian and Edwardian style of Dhurandhar, Haldankar, and Trindade. But more notably in the history of modern Indian art the less tentative group known as the Bombay Progressives emerged. This consisted of Francis Newton Souza (whom, however, Gerrard was forced to expel from the School for his connections with the pro-independence movement), H. A. Gade, S. H. Raza, S. K. Bakre, K. H. Ara and M. F. Husain. Some of Gerrard's pupils retained close ties with Bombay (e.g. K. K. Hebbar and Tyeb Mehta) while others, like Souza and Raza, under his influence embarked for Britain and Europe after the war.Gerrard brought the J. J. to maturity: under enlightened predecessors such as Lockwood Kipling, Solomon Gladstone, Cecil Burns and M. V. Dhurandhar a beaux-arts and arts and crafts traditionality had understandably persisted, but with Gerrard the J. J. became modernist.For discussion of Gerrard and his work, his influence on Bakre and others, and the Bombay art scene at this time, see Y. Dalmia, The Making of Modern Indian Art: the Progressives, New Delhi 2001, pp. 27-28, 189, 240-241; and N. Tuli, The Flamed Mosaic: Indian Contemporary Painting, 1997, pp. 196, 200.For further information on this lot please visit Bonhams.com
An illuminated Qur'an, commissioned by Muhammad Husayn Nizam al-Dawlah (also known as Sadr-e Isfahani), copied by Muhammad Hasan al-Isfahani Qajar Persia, dated Sh'aban 1237/April-May 1822Arabic manuscript on paper, 31 leaves, between 40 and 48 lines to the page written in neat ghubari script in black ink with diacritics and vowel points in black and red, gold roundels marking the verse-endings, inner margins ruled in gold, sura headings written in gold, the margins with occasional commentary in black ghubari and gold juz', khamsa, 'ashr, nisf and hizb markers, opening illuminated double page with large floral medallions containing prayers in black naskhi script on a gold ground surrounded by a band of scrolling floral vine on a red ground, and further gold and polychrome illumination on a silver ground, loose in contemporary Qajar floral lacquer binding 262 x 182 mm.Footnotes:ProvenanceChristie's, Art of the Islamic and Indian Worlds including a Private Collection donated to benefit the University of Oxford, Part IV, 10th October 2013, lot 115.Private UK collection.The scribe, Muhammad Hasan al-Isfahani, is known to have copied another three manuscripts, all prayer books, and dated between AH 1237/AD 1821 and AH 1242/AD 1827 (Mehdi Bayani, Ahval va asar-e khosh-nevisan, vol. 4, Tehran, 1358 sh., pp. 147-48).This Qur'an was copied for Muhammad Husayn Nizam al-Dawlah (also known as Sadr-e Isfahani), whose name - originally given in the colophon in red - appears to have been defaced with a seal impression. He is recorded as one of the richest men in Persia and a high official of Isfahan. He held the post of Finance Minister (mustawfi al-mamalik) and the title Amin al-Dawlah between AH 1221/AD 1806-07 and AH 1228/AD 1813-14, after which he received the title Nizam al-Dawlah and held the post of Prime Minister (sadr a'zam) between AH 1234/AD 1818-19 and AH 1239/AD 1823-24. He was responsible for buildings in Najaf, gold and silver doors for various Shi'a shrines including the shrine of Ma'sumah in Qom, and his gifts to Fath 'Ali Shah include the Sun Throne, at the time of Shah's marriage to Tawus Khanum, after which it was called the Peacock Throne, takht-e tawus (not to be confused with the Mughal Peacock Throne, brought from Delhi by Nadir Shah). See M. Bamdad, Dictionary of National Biography of Iran, 1700-1900, vol. III, Tehran, 1966, pp. 379-81.Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: • R• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Victoria, Golden Jubilee, 1887, a bronze medal by L.C. Wyon after Sir J.E. Boehm and Sir F. Leighton, crowned bust left, rev. enthroned figure of Empire surrounded by standing figures representing Science, Letters, Art, etc., Mercury and Time below, 77mm (W & E 2000.1; BHM 3219; E 1733b); Victoria, Diamond Jubilee, 1897, a gilt-copper medal by F. Bowcher for Spink, crowned bust left, rev. royal arms with supporters, names of British territories on small shields around, 76mm (W & E 3475A.4; BHM 3511; E 1816) [2]. Extremely fine or better; housed in a contemporary double case by Spink, rare thus £500-£700
Original vintage advertising poster for Twelve years of contemporary art in France / Douze ans d'art contermporain en France from 17 May to 18 September 1972 at Grand Palais, the poster features numbers 7 and 2 set over an orange circle on a gree background. Good condition, creasing, tears, tape marks on edges, staining, paper skimming in top left corner. Country of issue: France, designer: R. Cieslewicz, size (cm): 60x40, year of printing: 1972.
Set of nine art prints and posters on various subjects. 1. Paul Klee Stadtartiger Aufbau / City-like Structures 1917, an art exhibition at Museum Berggruen featuring a colourful artwork by Paul Klee (1879-1940) a Swiss-born German artist, influenced by expressionism, cubism, and surrealism. Very good condition, creasing. Country of issue: Germany, designer: Paul Klee, size (cm): 84x59, year of printing: 2006 2. Zap Mama promoting the release of Adventures In Afropea 1 album, the poster features an image of five ladies in colourful pattern clothing smiling and dancing at the camera, yellow and black lettering set over a green and orange background. Zap Mama is a Belgian performer born in the Democratic Republic of Congo and raised in Belgium. Good condition, creasing, tears. Country of issue: USA, designer: Unknown, size (cm): 91x61, year of printing: 1993; 3. Caoba Nicaragua Suiza featuring a black and white design of a flag and cogwheel set over a striped background, the text in red below reads - Swiss Workers' Aid Organisation, Farm Workers Association, International Solidarity Syndicate, Construction and Wood Union, House of Agricultural Workers Matagalpa, Nicaragua. Excellent condition, backed on linen. Country of issue: Nicaragua, designer: Unknown, size (cm): 59x43, year of printing: 1970s; 4. Graue und die Kuste / the Gray and the Coast, depicting a silhouette looking at grey and blue shapes. Published and printed by Mercurius Art Publishing. Very good condition, minor staining. Country of issue: Netherlands , designer: Paul Klee, size (cm): 80x60, year of printing: 1996; 5.Maurice Chevalier featuring an outline of a face, boater hat, and a bow tie in blue and yellow, with a smiling face formed from the name. Maurice Auguste Chevalier (1888-1972) was a French singer, actor and entertainer. Good condition, staining, foxing, blind embossed stamp. Country of issue: France, designer: Ch Killer, size (cm): 76x55, year of printing: Unknown; 6. Potlatch Pour Noel Arnaud Prises de Terre / Earth Plugs from November 6 to December 30, 1997 at the Palais des Arts Modern and contemporary art space in Toulouse and Midi-Pyrenees, featuring red and blue lettering and abstract shapes around green lettering. Excellent condition. Country of issue: France, designer: Unknown, size (cm): 65x48, year of printing: 1997; 7. Large letter M in white and black set over an orange background. Excellent condition. Country of issue: USA, designer: Rosemarie Tissi, size (cm): 89x59, year of printing: 1994; 8. Lecture by Gunter Rambow at the multi-purpose hall of Neubau II State Academy of Fine Arts in Stuttgart, featuring a silhouette of a man in black, with bold red and white lettering set over a brown background. Gunter Rambow (b.1938) is an award-winning graphic designer and photographer. Good condition, creasing, small tears, minor staining. Country of issue: Germany, designer: Unknown, size (cm): 84x60, year of printing: 2008; 9.Appel Superpositions exhibition in Antwerpen, featuring a colourful image of a red cat with a bird on its side titled Le Chat Rouge by a Dutch painter, sculptor and poet Christiaan Karel Appel (1921-2006). Excellent condition. Country of issue: Belgium, designer: Karel Appel, size (cm): 49x32, year of printing: Unknown.
Original vintage advertising poster for the Study for an Exhibition of Violence in Contemporary Art organised by ICA Institute of Contemporary Arts featuring an image of a bull standing over a grieving woman froom Guernica, a 1937 oil painting by Spanish artist Pablo Picasso, one of his best-known works, regarded by many art critics as the most moving and powerful anti-war painting in history. Good condition, folds, tears on folds. Country of issue: UK, designer: Unknown, size (cm): 59x42, year of printing: 1960s.
This stunning R-Type was bodied in Aluminium by E.D. Abbott of Farnham in 'Continental' style. Only a handful were created, and offer fabulous styling for a fraction of the cost of the celebrated Fastback Continental. In June 1952, Bentley’s new R-Type was presented to the public and it owed its name to the fact that the VI Series had, by this time, reached the chassis letter 'R'. The new model continued to utilise the MkVI’s independent front suspension, hydraulic front brakes and six-cylinder 'F-head' power unit, by now extended to 4,566cc. The standard R-Type was a lively performer, achieving 106mph in silence and reached 50mph from standstill in ten seconds, despite a curb weight approaching two tonnes.As usual, the R-Type could be ordered in chassis form for bodying by specialist coachbuilders, and this manual transmission example was the work of E.D. Abbott of Farnham, Surrey. The stylish, streamlined, Continental-style fastback coupé coachwork, designed by Abbott's stylist, Peter Woodgate, had been intended for the superseded MkVI chassis and bore more than a passing resemblance to H J Mulliner's contemporary Bentley Continental. After two prototypes had been completed, Abbott bodied 14 'production' cars, this example being the first. Of the remaining 13, one was fitted with automatic transmission and one was built with left-hand drive.We understand that this example was sold new to The Earl of Sefton, bodied in Aluminium and presented as a two-door ‘Continental’ style coupé in Ascot Grey.OYE 700 is accompanied by a fascinating history file which contains a list of previous owners, confirming that the car’s first owner was indeed the Rt. Hon. Earl of Sefton at Croxteth Hall. In 1968 it became the property of Richard Clover from Worcester and, ten years later, it was registered to the Midland Record Company (Peter John Riley). Jeremy Pemberton of Yellowhammer PLC acquired the Bentley in 1990 before selling it in 2004 to specialists dealers Frank Dale and Stepsons who, according to invoices in the file, carried out quite a lot of work on the car. A Michael Percival is listed as owning the car in 2004 with Eric Adkins in 2005, prior to Mr and Mrs Silverstone, also in 2005. The famous car-collecting dentist, Dr James Hull, added it to his Collection in late 2009 and, naturally, it moved to a previous vendor’s significant Collection around 2012 when Dr Hull sold everything.There are a number of older invoices with the car and it appears that by 1985, whilst in Peter Riley’s custodianship, the Bentley was looking a little sad. A.B.Price, Automobile Engineers of Studley provided an 'estimate' dated 4th February 1985 for 'totally stripping coachwork, rebuilding corroded and damaged panelwork, re-cellulosing the car, replacing wood frame in body structure, completely refitting the interior woodwork and reassembling all fittings etc'. The estimate totalled £14,338. Invoices over the next 18 months totalled over £20,000 from A.B.Price and detail the work completed. Later invoices over the years from Frank Dale & Stepsons and Hillier Hill detail subsequent maintenance and repairs, with the most recent one dated 8th October 2011, recording the odometer reading of 50,572 miles.The history file also contains a number of old V5s, a dozen older MOTs, lots of correspondence, the original ‘buff’ logbook, its R-Type Bentley Handbook, an article by Bill Medcalf entitled 'R-Type Continentals' and a booklet titled ‘Twenty Years of Crewe Bentleys’. There is also a letter from Bentley confirming that, should the opportunity arise, they would be delighted to display OYE 700 at the factory as part of 'The Bentley Experience'.OYE 700 is currently owned by a private Collector who has recently spent over £1,200 with DA Cooper in Sussex on some mechanical work to ensure the car is in splendid shape for the next owner.This was the first of the Abbotts of Farnham aluminium-bodied cars, and one can only imagine the sort of attention the 'swoopy' Continental bodywork would have generated back in 1954, matched only by the sort of admiration it would garner in 2023. This car is effectively the same as a manual Mulliner R-Type Continental, but at a fraction of the price, and rarer. Both cars are alloy-bodied and drive identically.We encourage you to view this remarkable piece of automotive art in the metal and to appreciate the sheer quality on offer.Specification Make: BENTLEY Model: R-TYPE COUPE BY ABBOTT Year: 1954 Chassis Number: B393SP Registration Number: OYE 700 Transmission: Manual Engine Number: B446S Drive Side: Right-hand Drive Odometer Reading: 51171 Miles Make: RHDClick here for more details and images
Yayoi Kusama (B.1929), Silkscreen Print. Image Size: 20 3/8 by 17 5/8 inches (52 by 45 cm) All measurements are approximate. Signed (lower right). Yayoi Kusama (B.1929) is a Japanese contemporary artist who works primarily in sculpture and installation, but is also active in painting, performance, video art, fashion, poetry, fiction, and other arts. Her work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She has been acknowledged as one of the most important living artists to come out of Japan. Please read our policy carefully:. 1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Yayoi Kusama (B.1929), Silkscreen Print. Image Size: 20 1/4 by 17 1/2 inches (51.5 by 44.5 cm) All measurements are approximate. Signed (lower right). Yayoi Kusama (B.1929) is a Japanese contemporary artist who works primarily in sculpture and installation, but is also active in painting, performance, video art, fashion, poetry, fiction, and other arts. Her work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She has been acknowledged as one of the most important living artists to come out of Japan. Please read our policy carefully:. 1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
Lucio Fontana (1899-1968), Waterpaint on Canvas. Image Size: 31 3/8 by 23 1/2 inches (80 by 60 cm) All measurements are approximate. Signed (reverse). Lucio Fontana (1899-1968) was an Italian-Argentinian artist who left an indelible mark on the art world. He is best known for pioneering the Spatialism movement, which explored the interplay of space and art. Fontana's iconic "Spatial Concept" series featured slashed and perforated canvases, blurring the line between two- and three-dimensional art. His innovative approach challenged traditional artistic boundaries, emphasizing the concept of space as a crucial element of artistic expression. Fontana's radical vision greatly influenced the development of contemporary art and established him as a visionary artist who redefined the relationship between the artist, the canvas, and the surrounding space. Please read our policy carefully:. 1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final.2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period.3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold.4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.
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