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Iqbal Hussain (Pakistani, B. 1950)Untitled (Amaltaas in bloom) signed 'Iqbal Hussain lower rightoil on canvas75 x 60cm (29 1/2 x 23 5/8in).Footnotes:ProvenanceAcquired by the vendor from a Pakistani Art Gallery.Known for his portraits of the prostitutes and the dancing girls of Lahore, Husain is equally adept at painting landscapes. His works have been exhibited at the 1983 Asian Biennial Dacca, Bangladesh the 1986 International Exhibition Seoul, London, Paris and Pakistan. A retrospective was held for his works in 2018, at Tanzara Gallery, Islamabad, where the collection of the former World Bank Pakistani country director, John Wall was displayed; Wall is a patron of the artist. For other works sold from the Collection of Orooj Ahmed Ali, see Bonhams, Modern and Contemporary South Asian Art London, 24th May 2022.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Francis Newton Souza (Indian, 1924-2002)Sketch Book 1996-97 (20 Drawings including 2 artist inscriptions) all signed and datedmixed media on papereach 18 x 26.5 cmFootnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired from Christies, South Asian Modern & Contemporary Art, including Property from the Estate of Francis Newton Souza, 9th and 10th June 2010, lot 138.Born Francisco Victor Newton de Souza, Souza was expelled from St Xavier's College, Bombay for drawing obscene graffiti in the bathrooms. He subsequently enrolled at the Sir J.J School of Art, Bombay but was expelled again, this time for participating in the Quit India Movement and pulling down the Union Jack flag during a school ceremony. Despite this, he became a founding member of the Bombay Progressives in 1947, and later emigrated to the UK in 1949, as his works were deemed to be obscene for Indian audiences. Initially he found little success in the UK, however his sold out 1955 exhibition at Victor Musgrave's Gallery cemented his status in the art world. His works, a combination of the eclectic, drew heavily on the post-war Art Brut movement and elements of British Neo-romanticism. The sketch book on offer in this auction made towards the end of his life is an amalgamation of his most well known motifs; sensual and statuesque nudes, faceless bodies, sex and the visceral and still life. They capture Souza's essence and illustrate the spontaneity that he is so well known for. The 18 drawings are accompanied by 2 inscriptions, as below. The two inscriptions are: 'In a land of geniuses I chose to be a dumb-dumb.' Mumbai, Souza '97.3 January '97 - Calcutta MuseumSo much stuff on fertility: goddesses, lingams, yonis and cults - that no wonder modern India beats the brunt of overpopulation! Men's origin is higgledy-piggledy! Who can ever render an apology to anthropology? That man ever attempts to record history, catalogue the diversity, label the facets shows the absurdity of his egotism, the futility of the exercise - worse: nature makes a mockery of him by forcing him to maintain such records in libraries and museum and archives! (Which turn out to be erroneous eventually...)The infinity of the Cosmos and the cast branching of man cannot be categorised as subjects like cosmology and antropology, (biology and science and religion etc.) The answer is a humble retreat saying, I know that I know nothing.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Ghulam Rasool Santosh (Indian, 1929-1997)Untitled (Enlightenment) signed lower upper left and signed, dated and with size, G R Santosh/34 x 41'/9/2/62 verso oil and wax on canvas, framed86.6 x 104.5cm (34 1/8 x 41 1/8in).Footnotes:ProvenanceAcquired by the vendor's cousin, William Begley, in Kashmir from the artist between 1963-1965;Gifted to the vendor's family in 1969.Born Ghulam Rasool Dar in Chinkral Mohalla, Habba Kadal in Srinagar, Kashmir, Rasool came to be known as Ghulam Rasool Santosh, after he assumed his wife's name, Santosh, at the beginning of their marriage. In 1954 he enrolled at the Maharaja Sayajirao University, Baroda and studied fine arts under N.S Bendre, where he produced a large body of figurative and landscape work in the cubist style. Kashmir was the subject of his landscapes, and his style remain unchanged until 1959, after which his works evolved and figuration gave way to abstraction. The period between 1959-1964, was a precursor to his neo-tantric style, for which he is most well known, and when the present lot was painted. The early sixties were politically, socially and art historically important for India. In 1959, New Delhi witnessed an influx of Tibetan exiles, including the Dalai Lama, who were driven out of Tibet by the Chinese government. This was coupled with the end of the Nehruvian era and the questions that were raised about the success of his industrialisation programmes and presidency. Artistic groups such as Group 1890 were also emerging that challenged and sought a new outlook on Indian Art. Inspired by these changes, Santosh wanted to move away from a derivative European style, and wanted to create an idiom that embraced his Kashmiri heritage within the broader Indian context. (Rebecca M. Brown, Awakening: A Retrospective of G.R. Santosh, Delhi Art Gallery, New Delhi, 2011, pp 29)Still captivated by Kashmir, he derived his inspiration for the body of work created during this period, including the present lot, from his native Kashmiri hills. Although elements of Cubism are apparent in this work, we can also see the beginnings of spirituality and mystery, that would flourish in his works after 1964, which is when his trip to the Amarnath cave resulted in a mystical experience, that transformed his works. This work is therefore important for it bridges his two crucial periods and fuses elements from both, something that would not be seen in his works again. To see similar works from 1962, titled 'Snows of Kashmir,' and Cityscape (Reflection) respectively see Sotheby's, Modern and Contemporary South Asian Art, New York, 18th September 2013, lot 60 and Awakening: A Retrospective of G.R. Santosh, Delhi Art Gallery, New Delhi, 2011, pp 96.William Begley worked for the UN and was stationed in Kashmir during the peacekeeping operations between 1964-1966 which is when he acquired this work.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Quamrul Hassan (Bangladeshi, 1921-1988)Untitled (Bathing) signed and dated 'Quamrul Hasan' 1958 lower right and B/7 Dacca lower leftwoodcut, framed63.7 x 46cm (25 1/16 x 18 1/8in).Footnotes:ProvenanceThe Artist's Family Collection.ExhibitedExhibited in the National Museum of Bangladesh in 2012.PublishedSyed Azizul Huq, Quamrul Hassan, Bangladesh, 2003, p.101.'Modernist art in Bangladesh began with the arrival, after the Partition of India in 1947, of a group of artists trained at the Calcutta Art School. These artists established an art school in Dacca. With the independence of Bangladesh in 1971, modernist art in the country came into its own and became progressively more experimental, especially with its turn towards the contemporary.' (A.K.M. Khademul Haque, 20th Century Indian Art: Modern, Post-Independence, Contemporary, United Kingdom, 2022, pg. 620) Quamrul 'Potua' Hassan was born in Kolkata and studied art at the Calcutta Government Art School. Whilst studying he partook in numerous social and political activities delaying his graduation by three years. These political and social activities however were not short lived. Instead, they proved to be his lifelong endeavour and their stories featured heavily in his works. Whilst studying for his degree for example he was part of the Forward Block, the anti-fascist Writers and Artists Union, Peoples Theatre Movement and the Bratachari movement; the latter was a movement started with a view to re-establishing the heritage of Bengalis as a rejection and expression of resistance against British colonial rule. It was here that he came across potuas (folk artists) and the traditional pata artists of Bengal. He was attracted to the simplicity of their works, which included their use of basic colours and the spontaneity of their line drawings. Similarly, he was attracted to the art and aesthetics of Jamini Roy (1889-1972) and Nanda Lal Bose (1882-1966), two other artists who propagated traditional art. Despite his admiration for folk arts, he was not immune to the works of Picasso and Matisse, and they too impacted him greatly. Potuas visual language therefore is derived from the marriage between the styles of the East and the West.After graduating he taught art at the Fine Arts Institute, but subsequently left to join the Design Centre where he embarked on a career which focussed on the development and promotion of folk arts and crafts. While working here, he was able to observe the handicrafts and cottage industries of Bangladesh, which further enriched his own works. Over a career spanning decades, Potua is known for his works which synthesise the cubist style with folk forms and depict scenes of intimacy between women and nature and those that comment on political turmoil. In 2012, the National Museum of Bangladesh held an exhibition of his works to commemorate his 90th birth anniversary. The works offered in this auction were all part of that exhibition and come from the collection of the artist's only child, his daughter.In this work, the woman is drying her hair and her water vessel can be seen to the lower right. This work, along with other notable works from this phase which include 'Bathing in a pond for amusement' (pencil, 1962), 'Loneliness' (watercolour, 1962) and 'Bath' (oil, 1966) all featured women in the same posture. The composition is powerful owing to its simplicity. Potua merges traditional Bengali art and their scenes with cubism to create a work that is unmistakably characteristic of his style. This work comes from the second phase of his life where he portrayed women based on his family life, marriage and the birth of his daughter (1961). During this time, he depicted the nude female form and focussed on their inner beauty and emotions.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sadanand K. Bakre (Indian, 1920-2007)Landscape inscribed Bakre 1962 in Devanagari lower right and signed and dated versooil on board, framed45.8 x 60cm (18 1/16 x 23 5/8in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenancePrivate Collection UK; Acquired from a shop in Lancashire in the 90s.Note: There is a label on the reverse from Burton Gallery, Burton in Wirral, Cheshire which includes the artist's name, the title, medium, the name of the original collector and the date 30th November 1966. In addition, the artist has signed and dated the work in English and Devanagiri, and there is an address 19 Street Helens Garden, London, W.10. The size of the work 18 x 24 is also written, along with LAD 8434.Born in Baroda, Bakre was one of the six founders of the Bombay Progressive Artists' Group in 1947. He studied at the Gokhale Education Society School, where his talents were encouraged, and at the age of sixteen, he held his first solo exhibition at school, where he showcased his clay models of drapery, watercolour landscapes, still life and figurative works. He subsequently enrolled at the Sir J.J School of Art and received his Diploma in Sculpture in 1944. Always looking for new ways to express himself, he abandoned the medium in 1951 when he moved to London and turned his focus to paintings. The present work was created during the 60s, when Bakre's style evolved considerably. Often considered the most important period for his oeuvre, he moved away from academic realism to abstraction, and was influenced by the sculptors Henry Moore and Jacob Epstein and the jagged and repetitive style of the British Vorticists; they were a group formed in London in 1914 who wanted to create art that expressed the dynamism of the modern world. This period is characterised by the visual similarities between his paintings and sculptures and their bold geometric lines. He perhaps best describes this period himself 'I paint as I like... I am traditionally trained and perfectly capable of accomplishing completely realistic work. But my interest in forms has gone far beyond the dull imitations of subject matter, which to me is almost unimportant.' (S. Bakre, All Art Is Either Good or Bad, Free Press Bulletin, March 24, 1965). For a similar work sold in these rooms see, Bonhams, Modern and Contemporary South Asian Art, London, 25th October 2021, lot 46.For further information on this lot please visit Bonhams.com

Jamini Roy (Indian, 1887-1972)Untitled (Krishna and Cows) signed lower right, executed circa 1960sgouache on card, framed53 x 67cm (20 7/8 x 26 3/8in).Footnotes:ProvenanceAcquired from Plate Loft Gallery, Sri Lanka in 2005For a similar work sold at Christies see, South Asian Modern & Contemporary Art, 25th May 2017, lot 21.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jamini Roy (Indian, 1887-1972)Untitled (Three women) signed lower right, executed circa 1960stempera on card, framed57.5 x 40cm (22 5/8 x 15 3/4in).Footnotes:ProvenanceAcquired from Plate Loft Gallery, Sri Lanka in 2005.To see a similar work sold on these premises, see Bonhams, Modern and Contemporary South Asian Art, London, 24th May 2022, lot 5.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Kattingeri Krishna Hebbar (Indian, 1911-1996)Untitled (Veena Player) signed and dated Hebbar '69 lower rightoil on canvas, framed55.1 x 101cm (21 11/16 x 39 3/4in).Footnotes:ProvenanceAcquired from Sotheby's, Indian Art New York, 22 March 2007, lot 80.Born in Kattingeri near Udupi, Karnataka, Hebbar was educated at the local mission school before having to enter employment at the age of fourteen to support his family. Whilst working, his artistic talents were discovered and he formally embarked on his art education aged twenty one, at the Chamarajendra Technical Institute in Mysore. He left shortly thereafter, returned home and worked for a photographer. The photographer upon seeing his artistic abilities encouraged him to go to Bombay and resume his artistic education. In Bombay Hebbar studied at the Nutan Kala Mandir and then joined the Sir J.J School of Art where he obtained his diploma in Art. He then proceeded to work as an art teacher at the School whilst simultaneously continuing with his own artistic practise.His continuously evolving style had numerous influences which included the art of Jain manuscripts, Rajput and Mughal miniatures, the murals at the Ajanta caves, his knowledge of dance, particularly Kathak, which he learnt under the tutelage of Pandit Sunder Prasad for two years, the writings of the art historian Ananda Coomaraswamy and the modernist paintings of Amrita Shergil and Paul Gauguin. In the present lot, the impact of modernist art is evident as he does not provide a faithful imitation of the subjects as he did in prior works such as Threshing (Pran Nath Mago, Contemporary Art in India: A Perspective, New Delhi, 2001, p.70), influenced by his academic training but rather tries to create art based on imagination and memory. Growing up in the Yakshagana bayalata traditions; a folk dance-drama played in the Northern and Southern districts of Mysore meant that he was surrounded by music, drama and dance. This work can therefore be seen as visual music, with the colours being the sounds and the musician and instrument being subsumed into the sounds. The colours are the focal point, and the work imbibes the soothing qualities of classic Indian music. The lack of defined lines adds to the musicality of the work and illustrates Hebbar's abilities to do away with the training he received in classical anatomy and perspective which would hinder the effect he wanted to create. He perhaps said it best himself, when he said 'to achieve the maximum with the minimum lines.' (Amrita Jhaveri, A Guide to 101 Modern and Contemporary Indian Artists, Mumbai, 2005, p 22).As part of the Bombay Group, which came after the Bombay Progressives and included artists like Laxman Pai, Mohan Samant and Shiavax Chavda, Hebbar gained critical acclaim both nationally and internationally. His work Woman Bathing was showcased at the Musée d'Art Moderne de Paris in 1946 and he participated in the Biennales of Venice (1955), São Paulo (1959) and Tokyo (1970). His retrospective was held in 1971 at the Rabindra Bhavan in Delhi and his works are part of the collections of the National Gallery of Modern Art, Delhi; Government Museum, Bangalore; academy of Fine Arts, Kolkatta and Tata Institute of Fundamental Research, Mumbai. In 1961 he was bestowed with the Padma Shri; India's fourth highest civilian honour and 1989 was awarded the Padma Bhushan; India's third highest civilian honour.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sayed Haider Raza (Indian, 1922-2016)Untitled (Village Scene) signed 'S.H Raza 47' lower rightwatercolour on paper laid on board, framed42.5 x 55.5cm (16 3/4 x 21 7/8in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenancePrivate Collection, Switzerland. Acquired from Christies, South Asian Modern & Contemporary Art, New York, 12th September 2012, lot 383.Note: This work will be included in the SH Raza, Catalogue Raisonné, Early Works (1940-1957) by Anne Macklin on behalf of The Raza Foundation, New Delhi.Raza arrived in Bombay in 1943, aged 25, to attend the Sir J.J School of Art. Whilst waiting to join the School he obtained employment at Express Block Studio. The Studio was based in a bustling commercial district, and he painted the scenes he could see from his window. Two of these works were included in the group show at the Bombay Art Society in 1943, and it was here that critics like Rudi von Leyden took note of his works, and propelled him into the artistic limelight. The work on offer in this lot was made during this period, when Raza was studying at the Sir J.J School of Art (he graduated in 1948), and when he was predominately painting landscapes. Dominated by browns, with speckles of red, yellows and oranges, we can see details including the shapes of the buildings, the horse carriage and the streets teaming with vendors and people. The strong white illuminates the work and adds a level of depth and perspective as it draws our eyes to the vanishing point to the centre right of the work. 'The city of Bombay, with its wealth, high-rises, and noise was both awesome and forbidding for the boy used to the peace and quiet of the small town. The intellectual stimulation it provided was even more overpowering as the cross-currents of views served to bewilder rather than to illuminate. The subject of many of Raza's early works is the cityscape-narrow lanes and bylanes as well as buildings and monuments...what distinguished Raza's work from that of most other landscape painters was its non-representational quality, with the colour tonalities creating an innate rhythm. As his vision scanned the city, it began to draw upon changing lights, atmospheric effects on buildings, and people and he would create virtually new compositions of the same scene.' (Yashodhara Dalmia, The making of modern indian art, New Delhi, 2001, pg. 146-147)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sheikh Mohammed Sultan (Bangladeshi, 1923-1994)Untitled signed 'S M Sultan' lower rightcolour pastel and charcoal on paper, framed26.5 x 35.3cm (10 7/16 x 13 7/8in).Footnotes:ProvenanceAcquired by the vendor from Ahmed Saeed Nagi's collection, which was inherited by his son; Nagi was a close friend of the artist.Ahmed Saeed Nagi was known as the 'official artist' of the Pakistan freedom movement, and was the first person to make a portrait of Quaid-e-Azam, Muhammad Ali Jinnah. He completed artwork at Governor House, Karachi, Governor House, Lahore and the Mohatta Palace, Karachi. In 1990 he was bestowed with the Pride of Performance Award by the Government of Pakistan, for his outstanding achievements as a painter.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 painting Indian allegorical, mythological and historical subjects or copying the Old Masters.Sultan absorbed what he was taught and created a visual language that makes him of the pioneers of Bangladeshi modernism. He repeatedly depicted the same subject, village scenes and his trademark included illustrating peasants with exaggerated muscular physiques. The three works on offer in this auction are from the 1960s. In these works on paper, we see the beginnings of what is to come in his works in the 1970s and 1980s, with the slight exaggeration of the female bodies as seen in (Untitled Figures in a Landscape). To view other works on paper from this period, see Eye for Art, Sheikh Mohammad Sultan Exhibition: Works on Paper, 23rd March - 11th April 2022.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

B. Prabha (Indian, 1933-2001)Untitled (Mother & Child) singed ' B Prabha' centre right, executed circa early 1950sink and oil on paper on board, framed30 x 24cm (11 13/16 x 9 7/16in).Footnotes:ProvenanceAcquired from Sotheby's, Modern and Contemporary South Asian Art, 19th March 2012, lot 13.For similar work sold at Sotheby's see Indian and Southeast Asian Art including Modern Indian Paintings, New York, 29th March 2006, lot 12.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jamil Naqsh (Pakistani, 1939-2019)Portrait of Ali Imam signed and dated 'Jamil Naqsh/12th Sept.79' lower rightwatercolour on paper, framed44.8 x 52.3cm (17 5/8 x 20 9/16in).Footnotes:AN IMPORTANT WORK DEPICTING ALI IMAMProvenanceAcquired from the Indus Gallery in Karachi in the 1990s;Sotheby's, New York 16/03/17 Lot 151;Acquired by the vendor from the above.ExhibitedPasadena, California, Pacific Asia Museum, A Selection of Contemporary Paintings from Pakistan, 1994 LiteratureM.N. Sirhandi, A Selection of Contemporary Paintings from Pakistan, by D. Kamansky, Pacific Asia Museum, Pasadena, California, illustration p. 91Collectors of Naqsh's paintings will be familiar with his skilful representations of nudes, pigeons and horses. He was a prolific artist whose works continue to be admired and sold. To see examples of his works sold in these rooms, see Bonhams, Islamic and Indian Art, London, 11th June 2020, lot 249 and Modern & Contemporary South Asian Art & Art of Pakistan, London, 24th October 2018, lot 123.What however, is not well known is that away from the emphasis on voluptuous nudes and preening pigeons, Naqsh created a corpus of work that focused away from his usual norm. This included male nudes and an acknowledgement of his debt to individuals who had helped him along the way. The work on offer in this auction is one such rare work and pays homage to Ali Imam, the pioneering gallerist in Pakistan who established Indus Gallery in Karachi in 1971 and who was instrumental in patronizing and promoting an entire generation of Pakistani artists amongst them Ahmed Parvez and Bashir Mirza.Ali Imam was the older brother of Syed Haider Raza, the renowned Indian painter (1922-2016); while both were born in India, both brothers left India shortly after independence, Ali to Pakistan in 1949 and Haider for France in 1950.Besides being a gallerist, Ali Imam was a painter in his own right and his works have been sold in these rooms. To see a recent example see Bonhams, Modern and Contemporary South Asian Art, London, 24th May 2022, lot 53.This painting is a tribute by Naqsh to Ali Imam for the gallerist's help in recognizing his skill early on and helping him establish himself in the Pakistani art scene. Imam's posture is reminiscent of Adam in Michelangelo's Creation of Adam and illustrates the importance of Imam in Naqsh's life. Painted after Imam's open heart surgery, it documents a period in the history of Pakistan when the patronage of art was being accepted as a civilizing aspect in the country's consciousness.For further information on this lot please visit Bonhams.com

Thota Vaikuntam (Indian, B. 1942)Untitled (Lady) signed and dated '03 in Telugu lower rightacrylic on canvas on board, framed58.7 x 43.5cm (23 1/8 x 17 1/8in).Footnotes:ProvenanceAcquired from the artist in 2006.There is a label on the reverse which includes the artist's name, the size and year of the work and the medium.Vaikuntam was born in Telangana (formerly Andhra Pradesh), and obtained a Diploma in Painting from the College of Fine Arts and Architecture in Hyderabad, and then pursued further studies in Painting and Printmaking under the tutelage of K.G. Subramanyan at the Maharaja Sayajirao University of Baroda. His works are inspired by the rural women of Telangana, with whom he has had a lifelong fascination. This intrigue can be traced to the travelling theatre groups of his childhood, when the male artists would impersonate female characters. The muses in his works are voluptuous and sensuous and are adorned with ornaments, vermilion bindis and draped in colourful sarees of reds, saffrons, greens and blues, the latter of which can be seen in the present lot.Vaikuntam had his first solo exhibition in 1973, at the Kala Bhavan in Hyderabad and has gone on to exhibit worldwide since. Some notable shows include, 'The Telangana Icons' presented by Art Alive Gallery, New Delhi at Grosvenor Gallery, London in 2015, 'Post Independence Masters' at Aicon Gallery, New York in 2008, '6 Artists Show' at 1x1 Gallery, Dubai in 2006 and 'Tradition and Change' at Arts India, New York in 2002. He has also been the receipt of various awards, the 1993 National Award for Painting, being the most recent. For similar works sold in these rooms, see Modern and Contemporary South Asian Art, 24th May 2022, lot 24 and Islamic and Indian Art, 25th October 2007, lot 290.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Arpana Caur (Indian, B.1954)Untitled (Collaborative Work) signed and dated Arpana '96 lower leftmadhubani and gouache on paper, framed41 x 28cm (16 1/8 x 11in).Footnotes:ProvenanceAcquired by the vendor from the artist's solo show at ARKS Gallery in 1997.Born in New Delhi, India in 1954, Caur obtained a degree in literature before deciding on pursuing art. She subsequently enrolled at St Martins College of Art, London in 1979 but returned shortly thereafter as she was homesick. Largely, a self-taught artist, she is known for her large paintings, several of which are part of the permanent collections of the Victoria and Albert Museum, London; the Museum of Contemporary Art, Los Angeles; the Rockefeller Collection, New York and the National Gallery of Modern Art, New Delhi. Her works are inspired by literature, mysticism, religion, politics and societal issues, and stylistically, she is inspired by Pahari miniatures and their arrangement of pictorial space, as seen in the present lot. In this lot she succeeds in merging traditional madhubani painting with the contemporary figure, which is painted on top of the madhubani; it was in the 1990s, that she collaborated with Indian folk artists from the indigenous ethnic groups of Warli and Godna, who lived in the Madhubani region of the state of Bihar. Caur is the recipient of the numerous awards some of which include, the Rotary Club of Delhi: The Lifetime Achievement Award for Vocational Excellence (2011), Sikh Art and Film Foundation, New York: The Lifetime Achievement Award (2010), T.K. Padamini Award, Kerala Govt. (2007) and All India Fine Arts Society Award (1985) In 2016, the National Gallery of Modern Art, Bangalore had her retrospective, titled 'A Painter's Journey; displaying works spanning from the 1970s - 2015.For further information on this lot please visit Bonhams.com

Dhaneswar Shah (B. 1979)Cat in black and white signed and dated D.Shah '08 lower right and signed, dated, medium, size and year versoacrylic on canvas, framed151.4 x 121cm (59 5/8 x 47 5/8in).Footnotes:ProvenanceAcquired from the artist in 2008.Born in New Delhi, India Shah obtained his M.F.A and B.F.A from the College of Art, New Delhi. Working and living predominantly in China, where he is completing his PhD in Chinese contemporary art, it is easy to comprehend how animals have come to occupy a prominent place in his works. His works are influenced by Chinese tribal and aboriginal art and their philosophies, forms and techniques. Animals, dotted lines, thick lines and the fusion of bright and flat colours are characteristic of his works, as seen in the present lot. He is drawn towards using animals as the protagonists in his works as they represent the issues he wishes to address; animals fighting for survival as their territory is encroached upon by humans.Traditional Chinese ink and mixed media art are other influences. His works are best surmised in his own words, 'In my paintings, you can easily discover the small visual elements from my surroundings. I am physically attached to them. These elements are witnesses of the moment and place; they often step into my painting subconsciously and spontaneously.' (Oriental VisArt's Blog, Indian Artist 'Dhaneshwar Shah', 16th May 2010.) He has undertaken artist residencies in China, Tanzania and Australia and has had solo exhibitions at Shangyuan Art Museum, China (2014), Indigo Blue Art Gallery, Singapore (2009), Art Konsult Gallery, India (2007) and has been the recipient of the UNESCO, 'Art Award for Italy' (2008), the National Art Award by the Lalit Kala Akademi for Painting, India (2006), M.F. Husain Award, India (2005), Dhoomimal Art Award (2005), and 'AIFACS; The All India Fine Arts and Crafts Society Award, India (2005).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

Mohammad Iqbal (Bangladeshi, B.1967)The Holy Circle - 28 signed and dated 'M Iqbal 2022' lower rightacrylic on canvas73 x 73cm (28 3/4 x 28 3/4in).Footnotes:Born in Chuadanga, Bangladesh, Mohammad Iqbal obtained his BFA from the Faculty of Fine Art, University of Dhaka, Bangladesh in 1987 and earned his MFA from the same university in 1989. He completed an ME (Master of Education), from Aichi University of Education, Japan in 2003, and obtained his PhD in Fine Arts on Oil painting from the Faculty of Fine Art, Tokyo University of the Arts, Japan in 2010.The present work comes from Iqbal's series titled 'Holy Circle' which he started in 2010. The series is best described in his own words:'Facial expression of the human being is my prime interest. I tried to express the emotions of human nature —sorrow, happiness, melancholy, illness and laughter through face. My paintings do not expose any particular child's face. In fact, I have tried to make them universal and impersonal. Usually the faces are drawn from my imagination and recollection of the past. From top to bottom, the backgrounds in my paintings are created with ten to twelve layers of oil colour.Round and curvy dot-like background shapes in almost all my paintings are my unique trait and style. These dot-like shapes symbolize the air and environmental pollution. These round-dotted shapes or bubble-like forms spread all over the background, parts of my aesthetic style, project the man-made imbalances in nature. Again, this symbol is a reflection of the urge to create a secured livelihood, a good future, a beautiful habitat and a war-free and pollution-free environment for the children. Furthermore, the dotted shapes in my paintings have become the symbol of my dispute.' (Mohammad Iqbal, September 2022)His works have been exhibited in Bangladesh, India, Australia, the Maldives, England, the USA, Japan, Germany and Nepal. His works are part of the collections of the Bangladesh Shilpakala Academy (National Art Gallery), Dhaka; Contemporary Art and Cultural Center, Osaka, Japan; Galerie de L'Alliance Francaise, Dhaka and the Lalitkala Akademy (National Academy of Art), New Delhi; India.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

Biswajit Goswami (Bangladeshi, B.1981)Traveling with mother signed 'Biswajit 2022' lower rightchinese ink on fabriano paper, framed128 x 132cm (50 3/8 x 51 15/16in).Footnotes:'MA-a sound, a concept – there is no expectation, only omnibenevolence. When Bishwajit visited China for a third time, for an art project in 2015, his wife was pregnant; distance made him contemplate about his wife and baby. He started to ruminate, 'is my mother also missing me in the same way? How I'm missing...' the beautiful universal thought insisted him and provided energy to make a journey with an art project named 'Travelling with Mother'.He used an iconography 'MA' for this art project that was made by a traditional rickshaw painter from Bangladesh. In this project, he performed with general people in different cultures and geographical areas publicly. In the same way, he introduced Bengali sound 'MA' as an Art form to the different parts of the world. The people who have the same feeling about their mother or motherhood, they were the part of this work. 'Traveling with Mother', conveyed universal emotions of the global citizens.'Born in Netrakona, Bangladesh, Goswami is an artist and educator based in Bangladesh. He obtained his B.F.A in Drawing & Painting from the University of Dhaka, where he is now a lecturer, and subsequently obtained his M.F.A in Painting from Bharti University, Santiniketan, India. His works focus on revealing aspects of his surroundings which have a profound impact on contemporary culture. He employs photography, printmaking, painting to illustrate this. His works have been exhibited at the Dhaka Art Summit (2012,2014 and 2016), the Asian Art Biennale of Bangladesh (2008, 2010, 2012 and 2014), the Beijing International Art Biennale (2012 and 2015) and the Setouchi Triennial in Japan (2013). Recently in September 2022, his works were presented at the Victoria and Albert Museum, London as part of the Bureau 555 exhibit at the annual Digital Design weekend.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jamal Ahmed (Bangladeshi, B. 1955)Untitled (Bathing) signed and dated Jamal '19 lower rightacrylic on canvas, framed181.3 x 146.4cm (71 3/8 x 57 5/8in).Footnotes:ProvenanceAcquired directly from the artist in 2019.ExhibitedUSA, Eye for Art, 'Jamal Ahmed Solo Exhibition,' 30th October-29th November 2019.Jamal Ahmed is an artist and professor at the University of Dhaka and was awarded the Ekushey Padak in 2019, Bangladesh's second highest civilian award in recognition for his contribution to the Fine Arts. He graduated from the Faculty of Fine Arts from the University of Dhaka in 1978 and then undertook a course at the Academy of Fine Arts in Warsaw from 1980-1982. He subsequently studied oil painting at the University of Tsukuba in Japan from 1982-1984 and also earned his post graduate degree from there in 1986. He adopted acrylics as his main medium in the mid 1980s. The imagery depicted in his works is that of his native Bangladesh. They are wistful and nostalgic portrayals of women and the beauty of Bangladesh as evidenced in this lot. His works have been exhibited in India, Pakistan, London, Japan the USA and Norway, and his works are also held at the National Art Gallery in Bangladesh.For similar works sold in these rooms, see Modern and Contemporary South Asian Art, London, 24th May 2022, lots 70, 71 and 73 and Modern and Contemporary South Asian Art Online Only, 4th-14th July 2022, lot 16.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jamini Roy (Indian, 1887-1972)Gopini printed sign lower rightserigraph on paper, framed33 x 47.5cm (13 x 18 11/16in).Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Note: Edition size 500.To see a similar style of work sold on these premises see Bonhams, Islamic and Indian Art including Modern and Contemporary South Asian Art, London, 24th April 2018, lot 358.Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sayed Haider Raza (Indian, 1922-2016)Les Rochers signed and dated 'Raza 69' lower centre, further signed, dated, titled and inscribed Raza/P_782 '69/Les Rochers/10F and 'SHR-26' verso and 'YK520 CIN' on the stretcheroil on canvas54.7 x 46cm (21 9/16 x 18 1/8in).Footnotes:CELEBRATING SAYED HAIDER RAZA'S BIRTH CENTENARY AND 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired by the owner from Galerie Lara Vincy, Paris (acquired directly from the artist;Private Collection, France (acquired from the above)Christies, South Asian Modern & Contemporary Art,11th June 2012, lot 55.Acquired by the current owner from the above.LiteratureAnne Macklin (ed.), SH Raza, Catlogue Raisonné 1958-1971 (Volume I), Vadehra Art Gallery & he Raza Foundation, New Delhi, 2016, p. 173 (illustrated)A fascinating aspect of Raza's long career lies in how he evolved at least three different modes of abstraction – and their particular reflection on his own life and experiences.At the time of painting these small works, Raza was going through one of the most significant periods of his painterly career. His stint at the JJ school, the early years in Paris and his exposure the life of an artist in post war Europe was already behind him. This phase may well have started during the early 1960s, when he travelled to the University of California at Berkeley from France and experienced for the first time the works of Sam Francis, Mark Rothko and other leading American abstract expressionists, who lent their work the primacy of colour. Completely devoid of any structure, allowing for a fluid evocation of emotion, their work led Raza to move dramatically beyond the School of Paris influences that he had hitherto been exposed to. As he allowed himself greater painterly freedom in the unfolding decade of the sixties, Raza's work was to become more gestural, the brushwork looser, and the painterly affect that he sought more emotive. Yet nothing about this confluence of impressions was simple or direct. An artist of his time who responded spontaneously to the great wave of abstraction that swept the West in the 1950s and 60s, Raza also had nurtured a slew of memories that tied him inextricably with his homeland. As he describes it, the dense forests surrounding Mandla, a district in Madhya Pradesh where his father served as a forest officer were an overwhelming memory, of a sensorium of sounds, shadow and movement, unknown and mysterious to the young child. The weight of the night as it descended on the forest – innocent of electricity, as the villagers returned to their homes - was occasionally broken by the dances and singing of the Gond tribals by firelight, which etched deeply on his impressionable mind. Years later, as he engaged with a more liberated, and spontaneous mode of painting, Raza reverted to that childhood memory, making his works rich with an inchoate movement, and the irrepressible pulsation of life. There was also the memory of Kashmir, which Raza visited in 1947, its rich explosion of colours and its landscape, the subject of a wealth of miniature paintings.Les Rochers (1969)The two small paintings on view cohere in terms of Raza's treatment; whether these are preparatory works for larger canvases or complete in themselves, they bear the dynamism and energy of this phase. In the earlier work titled Les Rochers (1969) Raza allows a heavy overhang of darkness to seemingly merge with the large rock like forms, making one indistinguishable from the other. The sense of a looming darkness, kindled by embers of colour that seem to rise at the base of the work suggests the deepening of shadow over the landscape, like the closing in of the night.About this time Raza was to make a series of works drawing upon the rich tones of Rajasthani paintings – red, black, white and yellow—which not only drew from the burning sands of the Malwa region and the blazing sun of the desert but the passionate music of Rajputana, and the rich symbolism of Tantric painting. Here we have the first inklings of the Bhanu mandala, or the form of the blazing sun – black, or red, and its associative form, the bindu, in paintings like Terre Rouge (1968). There is also the preoccupation with darkness, the pitch black of the night which will be fractured or broken through with shards of colour, in paintings like Les Rocher (1969) and La Nuit (1971). It is remarkable that Raza's paintings, devoid of all living forms – other than the Naga, or the cosmic serpent which wraps around the circumference of the earth, invoke life through the sheer vitality of colour.What the energy and spirit of these works indicate is Raza's exploration of primordial elements that appear to mark the beginnings of creation. The first few verses of the Rig Veda (c.1750 BE) are dedicated to the five elements that imbue the life force. On the earth -to-sky painted surface, even in the smallest works, he engages the power and mystery of the elements, drawing them into a great, cosmic churn. Indian art had never dedicated itself entirely to the landscape, and Raza stands like a solitary figure, closer to the Romantic poets of the 18th and 19th centuries, to Rilke and Lawrence in the sweeping agonistes that he draws from nature.The GroundMind you are, ether you areAir you are, fire you areWater you are, Earth you areAnd you are the Universe, mother...Saundaryalahiri verse 28It is against this background, of a vibrant evocation of the primal forces of wind, ether, fire and water, that the question of the ground arises. On what premise, both conceptual and artistic, is Raza grounding his work? While the paintings of the late 1960s and 70s fall under the broad rubric of the landscape, there is very little of the recognizable elements of nature on view. Instead, Raza seems to depend entirely on the energy of his brush strokes, and the sheer magic of colour to invoke a sensorial effect, of the seasons and the intensity of an Indian summer. It is in the churning, and the unexpected appearance of the circle, the square or a suggestion of a triangle in such works, that Raza is also preparing the ground for another mode of abstraction. This would lead him further into a recessed visual space, not to the Vedic pronouncement on the Panchamahabhutas or primal elements, but to the yantra, and its geometric symbolism. Codified by Adi Shankara in the Saundaryalahiri,(c 8th century) the geometry of the yantra is loaded with the signification of life giving energies. In secularizing them into a highly evolved geometric abstraction, Raza creates a unique language, which abandons concepts of time and space to create their own ground – of metaphysical reading perhaps, but also sheer visual pleasure.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Maqbool Fida Husain (Indian, 1915-2011)Ashta Vinayak all signed and with printed sign and edition 395/500offset print on paper52 x 35.4cm (20 1/2 x 13 15/16in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceArcher Graphic Studio, Ahmedabad. Ashta means eight and Vinayak is the name for the God Ganesh, also known as the Elephant God in Sanskrit. Husain created the Ashtavinayak series to celebrate the pilgrimage, Ashtavinayak Yatra that covers the eight ancient holy temples in Maharashtra. These eight temples house eight distinct idols of Ganesh, and each temple has its own history and legend. Although Husain was raised in a Muslim household, he captured the essence of other religions through his works. An example of a work where he depicts Buddhism, Sikhism, Zoroastrianism, Islam, Christianity, Judaism, Vedic and Humanism can be seen in his limited edition of ten serigraphs, titled Theorama, previously sold in these rooms. To see Theorama, see Modern and Contemporary South Asian Art, London, 24th May 2022, lot 51.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sayed Haider Raza (Indian, 1922-2016)Untitled signed and dated 'Raza 72' lower right, further signed, dated and inscribed 'Raza/1972/15F' and 'SHR-16' versoacrylic on canvas65 x 54cm (25 9/16 x 21 1/4in).Footnotes:CELEBRATING SAYED HAIDER RAZA'S BIRTH CENTENARY AND 75 YEARS OF THE PROGRESSIVE ARTISTSProvenancePrivate Collection, France;Artcurial, Contemporary Art, 29th June 2009, lot 215, Paris;Delhi Art Gallery, New Delhi;Acquired from the above by the current owner.LiteratureKishore Singh, Syed Haider Raza:The bindu as leitmotif for art and life, DAG series, New Deli, Delhi Art Gallery, 2011, p. 41 (illustrated).Anne Macklin (ed.), S H Raza, Catalogue Raisonné, Volume II (1972-1989), Vadehra Art Gallery & The Raza Foundation, New Delhi, 2022, p. TBC.ExhibitionContinuum: Progressive Artists Group, Delhi Art Gallery, New Delhi, 19th January 2011-8th March 2011. Formlessness in its metaphysical aspect also ascribes abstract value to the great life force. Born a Muslim, and married to a Christian, Raza would be familiar with the value ascribed to the unknown: thereby eliciting an epiphany and wonderment in the act of painting. The small work 'Untitled' which comes in the beginning of the decade of the 70s, close in time to works like La Source (1972) and Tarangh (1975) still bears signs of the struggle with darkness—a metaphor for fear as much as for incomprehension, even desire. With this small painting, the artist allows himself some relief. The mood is chilled, even wintry, the rising plant like forms that seem to burst through black hardened surface are seemingly frosted over. And yet they survive, faintly illuminated by the promise of a dawn, breaking just over the horizon. Even in the winter chill, there is the promise of vitality and new life. Perhaps the artist was poised for the rise of the blazing Bindu, like the subcontinental sun, that would continually unfold its significance to him, over the next few decades. - Gayatri Sinha, September 2022.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Laxma Goud (India, B.1940)Untitled (Man and Woman) signed and dated 1975 lower rightetching on paper, framed25.1 x 34.3cm (9 7/8 x 13 1/2in).Footnotes:Note: This is AP 1/25.Laxma Goud was born in Nizampur, Hyderabad and grew up surrounded by rural tradition and craft. He studied drawing and painting at the Government College of Fine Arts and Architecture, Hyderabad and subsequently studied Mural Painting at Maharaja Sayajirao University, Baroda under K.G. Subramanyan. His works are an amalgamation of memories, poetry, fantasy and erotica and often feature tribal men and women in their milieu, as is the case with the etching on offer in this auction. He has exhibited widely throughout his career. Some notable exhibitions include the São Paulo Biennale, Brazil, 1977; Contemporary Indian Painting, Festival of India, Royal Academy of Art, London, 1982; Contemporary Art of India, The Herwitz Collection, USA, 1986 and the National Gallery of Modern Art, New Delhi, 1993 to name a few. His works are held in the collections of the Glenbarra Museum, Japan, the National Gallery of Modern Art, New Delhi and the Peabody Essex Museum, Salem Massachusetts. In 2016, the Government of India bestowed him with the Padma Shri.For similar works sold at Sotheby's see Indian Art, New York, 19th September 2006, lots 111 and 112.For further information on this lot please visit Bonhams.com

Abani Sen (Indian, 1904-1974)Untitled (Animals in a Landscape) pencil and watercolour on paper56 x 75.9cm (22 1/16 x 29 7/8in).Footnotes:ProvenanceAcquired at the artist's solo exhibition in Calgary, Canada in the early 1970s;Thence by descent.Abani Sen is regarded as one of the masters of modern Indian painting as he bridged the gap between the Bengal School of Art and the Bombay Progressives. Educated at the Government School of Art, Kolkata, he was part of the Art Rebel Centre which was poised as a counter-point to the Neo-Bengal school. They rejected both the romanticism of the Bengal School, and the academic realism of the the art school and gravitated towards adopting the contemporary visual language of European modern art movements. The two works in this auction are examples of this style.Sen is most well known for his depiction of animals and was particularly fond of painting cheetah's, bulls, horses, vultures and kites, either true to life, or romanticised. He employed a wide range of mediums including pencil, charcoal, conté crayons, pen, ink, watercolours, pastels and oils. His works were exhibited globally both during his lifetime and posthumously. Some exhibitions include the ones in Canada in 1970-71, where the two works in this auction were acquired, at his solo exhibitions in Lucknow (1943), New Delhi (1949 and 1951), Cairo, Istanbul, Ankara and Baghdad (1952) and Cuba and New York (1961). His retrospective was held in New Delhi in 1961, as well as in 1976 and 1978 in Canada. He was the recipient of numerous awards some of which included the 1945, 1946 and 1947 Annual Exhibition prize from the Bombay Art Society and the 1949 Governor Generals Plaque Award, 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

Abdul Wassai Hamdard (Afghanistani, B.unknown)Untitled (Three faces) two signed and dated W. Hamdard '99 lower left, one signed and dated W. Hamdard '99 lower rightoil on paper, framed30 x 23.1cm (11 13/16 x 9 1/8in).Footnotes:ProvenanceAcquired from the artist in Islamabad, Pakistan in the late 1990s.Abdul Wassai Hamdard fled Afghanistan alongside millions of Afghans in 1996 when the Taliban took over. He went to Pakistan, where he lived and worked until late 2001, after which he returned to Kabul, Afghanistan then in his late 30s. During his time in Pakistan, he painted daily from 9pm until dawn, and produced over 10,000 canvases, both oils and watercolours and established himself as one of Afghanistan's most promising and successful artists. It was during this time that the present lot was painted. With its strong Afghan identity and use of a palette knife, which he favoured over the brush, it is unsurprising to learn that upon his return to Kabul, his works were procured by Kabul's galleries and went on to sell well. He taught at Kabul University and also founded the Afghan Contemporary Art Prize alongside Tamim Samee and Jemima Montagu in 2008. His works were exhibited at the Norwegian, American and Indian Embassies.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Shanti Panchal (Indian, B. 1951)Untitled (Puja Scene) watercolour on paper, framed60.8 x 83cm (23 15/16 x 32 11/16in).Footnotes:For a similar work sold in these rooms see Modern and Contemporary South Asian Art, London, 24th May 2022, lot 102.For further information on this lot please visit Bonhams.com

Sumaira Amin (Pakistani, B. 1968)Untitled (Peacock) signed and dated in Urdu lower leftgouache on wasli, framed30 x 20.5cm (11 13/16 x 8 1/16in).Footnotes:ProvenanceAcquired directly from the artist.Sumaira Amin completed her Bachelor of Fine Arts in Miniature painting and Sculpture from the National College of Arts in Lahore in 2006, and stayed on and obtained her Diploma in Calligraphy in 2007. A student of Ustad Khurshid Alam Gohar, whose works are also on offer in this auction, she is known for protecting and propagating the traditional methods and approaches to painting. Her works are intricate and she succeeds in marrying the traditional with the contemporary. Her works have been exhibited at the Miniatures Exhibition at the Nehru Centre in the UK in 2017, at the Calligraphy Exhibition in Canada in 2017, at the National Museum of Oriental Art in Italy in 2016, the Miniature Painting show in Turkey in 2014 and the Art Festival in Dubai in 2013.For further information on this lot please visit Bonhams.com

Ferguson (James) Lectures on select subjects in mechanics, hydrostatics, hydraulics, pneumatics, and optics. With The use of the Globes, The Art of Dialing..., 2 parts in 1, sixth edition, 36 folding engraved plates, lacking half-title, offsetting, some spotting or staining, contemporary tree calf, spine gilt and with red morocco label, upper joint split, but holding, rubbed, Printed for W. Strahan, J. Rivington and Sons [& others.], 1784 § Harris (Moses) The English lepidoptera: or, the Aurelian's pocket companion: containing a catalogue of upward of four hundred moths and butterflies, the food of their respective caterpillars..., hand-coloured engraved frontispiece, offsetting on to title, disbound, [Nissen ZBI 1836; Lisney 238], for J. Robson, 1775; and 6 others, 18th & 19th century Science & Natural History, v.s. (8)

[Arnauld (Antoine) and Pierre Nicole], Logic; Or, the Art of Thinking, second edition, 3 ff., with later ink annotations (K8, M8, P9), browning, light damp-stains, P10 onwards small worm hole to lower margin, final 10 ff. touching catch-words, modern half calf, spine gilt red morocco label, spine lightly sunned, [Wing A3724aA], for John Taylor, 1693 § Toland [John], Letters to Serena, light browning, title and a few other ff. lightly foxed, front free endpaper coming loose, nineteenth century half calf, spine gilt black morocco label, upper joint broken at head, for Bernard Lintot, 1704 § Beattie (James) An Essay on the Nature and Immutability of Truth, in opposition to Sophistry and Scepticism, sixth edition, portrait frontispiece, early ink ownership inscription to title, contemporary calf, spine gilt red morocco label, Edinburgh, for Denham & Dick, 1805; and a single vol. of The Gentleman's Magazine (1738) as well as another 18th century, 8vo (5)

Menestrier (Claude François) L´Art Des Emblemes, first edition, woodcut printer's device on title, engraved additional title and 9 plates, engraved vignette illustrations, some light foxing, armorial bookplate of Robert Eden to front pastedown, contemporary speckled calf, lacking spine label, spine rubbed, upper joint cracked, 8vo, Lyon, Benoist Coral, 1662.

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), CLYDE FERRY oil on board image size 40cm x 40cm, overall size 58cm x 58cm Framed. Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

* SHEILA MACMILLAN DA PAI (SCOTTISH 1928 - 2018), COLOUR IN THE HILLS, SPAIN oil on board image size 41cm x 46cm, overall size 57cm x 62cm Framed and under glass. Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).

* GERARD BURNS (SCOTTISH b. 1961), STILL LIFE OF FRUIT IN A SILVER BOWL oil on canvas, signed image size 50cm x 50cm, overall size 70cm x 70cm Framed. Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.

* ALFRED ALLAN (SCOTTISH b. 1944), ELIE BEACH oil on canvas, signed image size 50cm x 75cm, overall size 65cm x 91cm Framed. Note: Alfred Allan also paints under the name Allan Nelson. He is a well-known artist living in Fife and he paints the surrounding areas. Recent sales of Alfred Allan's paintings in The Scottish Contemporary Art Auctions have included hammer prices of £1100, £850, £800, £750, £700 & £650.

‡ PAIR STUART DEVLIN SILVER & SILVER-GILT CANDLESTICKS, London 1973, each with removable cylindrical cagework shade and polished textured stem and plain circular foot, tot appr wt 28ozt (2) Dimensions: 34cms highProvenance:private collection Monmouthshire, by descent, consigned via our Cardiff officeAuctioneer's Note:STUART DEVLIN AO CMG (1931-2018) ranks as one of the greatest contemporary gold and silversmiths and has been acclaimed by the Worshipful Company of Goldsmiths as the designer with 'the Midas touch'.Stuart Devlin was born in Geelong, Australia in 1931. He trained at the Royal Melbourne Institute of Technology and, in 1958, won a number of scholarships including one to study silversmithing under Professor Robert Goodden at the Royal College of Art, London. After spending a two year fellowship at Columbia University in America in 1962, he returned to Australia to teach and rose to become an inspector of art schools. In 1964, Stuart Devlin won a competition to design Australia's first decimal coinage. Devlin went on to be an accomplished coin designer, designing coins for over 36 countries worldwide and many more medallions, including the medals for the founding awards of the Australian honours system in 1975.On his return to London, in January 1965, Devlin set up a small workshop in Clerkenwell and the following year he employed his first craftsman. Devlin created new techniques and produced a wide variety of textures, filigree forms and gilding to create his distinctive style. Devlin aimed to design pieces that added 'delight, surprise, intrigue, and even amusement', this especially can be seen in his commercially successful limited edition novelty eggs and boxes.In 1972 Devlin transferred his retail gallery to the ground floor of his St. John Street workshop in Clerkenwell. After a sell-out collection at Asprey, Collingwoods of Conduit Street (in London's West End) set aside an entire floor exclusively for his work, in order to hold regular exhibitions. Between 1979 and 1985, in partnership with the Duke of Westminster, he set up a prestigious showroom in Conduit Street almost opposite Collingwoods. Devlin closed his London showroom in 1987.Devlin was made a freeman of the Goldsmiths' Company by special grant in 1966 and elected a liveryman in 1972. In 1980 he was made a Companion of the Order of St Michael and St George 'for services to the art of design' and in 1982 was granted the Royal Warrant of Appointment as Goldsmith and Jeweller to Queen Elizabeth II. He was Prime Warden of the Goldsmiths Company 1996 – 1997.The Goldsmiths' Centre situated in Clerkenwell, was developed from a discussion in 2006 between Stuart Devlin, Hector Miller and Grant Macdonald. They proposed the visionary idea of establishing a creative institute for the goldsmith's craft. Devlin's initiative also had the additional aspect of managed workshops and facilities for exhibitions, corporate hospitality and catering.Stuart Devlin was Postgraduate Programme Director at the Goldsmiths' Centre, and while there passed on his inspiration, skills and ethic to enrich the way people live and work. The torch for the 2012 London Olympics was designed as a tribute to Stuart Devlin's retro style and British craftsmanship by Edward Barber and Jay Osgerby, and won the Design Museum's Design of the Year Award.In 2011 his wife Carole and sister-in-law Victoria Kate Simkin started to assemble his archive. It became the basis for a book which was published in 2018 shortly before Stuart Devlin died - Stuart Devlin: Designer Goldsmith Silversmith, published by ACC Art Books Ltd, 2018.Condition Report:excellent

‡ IVOR DAVIES MBE oil on canvas - still life, entitled verso on Bruton Gallery label 'Anemones', signed and dated '94Dimensions: 28 x 28cmsProvenance:private collection Carmarthenshire, consigned via our Carmarthen officeAuctioneer's Note:Ivor Davies was awarded the National Eisteddfod Gold Medal for Fine Art in 2002, and the retrospective of his work in the National Museum, Cardiff in 2015 was the largest exhibition of the work of a contemporary artist in Wales.Condition Report:framed, no problems

Danielle O'Connor Akiyama (Contemporary) Canadian"Posterity II"Signed and numbered 48/195, glazed boxed canvas, 76cm by 38cmSold together with the DeMontfort Fine Art certificate of authenticity

Lars Tunebo (Contemporary)"The Main Attraction"Signed and numbered 14/20 A/P, giclee print, 58.5cm by 58.5cmSold together with the DeMontfort Fine Art certificate of authenticityOdd minor scratch/scuff to the frame. Otherwise in good condition. Glazed, not examined out of the frame.

Christian Hook (Contemporary)"Mar De Poiniente"Signed and numbered, 38/195, giclee print on board, 39.5cm by 39.5cmSold together with the DeMontfort Fine Art certificate of authenticityOdd minor scuff to frame. Otherwise in good overall condition.

Christian Hook (Contemporary)"Pasos"Signed and numbered 13/195, giclee print on board, 39cm by 38.5cmSold together with the DeMontfort Fine Art certificate of authenticityOdd minor chip to frame. Otherwise in good overall condition.

Patrick Bremer (Contemporary)"Break"Signed and numbered 13/44, giclee print on board, 66cm by 100.5cmSold together with the DeMontfort Fine Art certificate of authenticity

Henderson Cisz (Contemporary) Brazilian"Heart of Manhattan"Signed and numbered, 96/195, giclee print on board, 35.5cm by 48cm (unframed)Sold together with the DeMontfort Fine Art certificate of authenticity

Doug Hyde (Contemporary)"Is it a Bird? Is it a Plane?"Signed and numbered 40/95, cold cast porcelain, 26.5cm highSold together with the DeMontfort Fine Art certificate of authenticity and original box

Doug Hyde (Contemporary)"Thank you"Signed and numbered AP 98/100, cold cast porcelain, 22cm highSold together with the DeMontfort Fine Art Certificate of Authenticity and original boxNo C of A

April Shepherd (Contemporary)"Paying Attention"Numbered 63/295, cold cast porcelain, 31cm highSold together with the DeMontfort Fine Art certificate of authenticity and original box

A contemporary art glass vase of tapered ovoid form, decorated with applied black and white pulled threads over the clear crystal ground, unmarked, height 45cm.

Andreas Schelfhout (1787-1870), Figures on the ice near a windmill, a town in the distance, oil on panel, 30x41 cm, Exhibited:-The Hague, Kunsthandel Pieter A. Scheen, 'Summer exhibition', 1976, no. 27. Literature:-Willem Laanstra, 'Andreas Schelfhout 1787-1870', Amsterdam 1995, ill. p. 147, no. WO 30-2. Provenance:-Auction, Christie's, London, 14 June 1974, lot 254.-Auction, Christie's, Laren, 13 June 1975, lot 276.-With Kunsthandel Pieter A. Scheen, The Hague, 1976, where acquired by the family of the present owners. Lots 56-83: A Distinguished Collection, signed 'A. Schelfhout f' (lower left), The Claude Lorrain of winter scenes The name Schelfhout can almost be considered a synonym for “winter landscape”, and with this in mind, it is remarkable that he was initially reluctant to send in his winter scenes for the yearly Exhibition of Living Masters. This was probably not because he lacked confidence in his own skills, but because winter scenes were just not that popular at the time, and seen chiefly as just obligatory companions to summer pieces. However, Schelfhout’s winter scenes were of such high quality that they were soon earning much appreciation, both in the Netherlands and abroad. When Schelfhout realized the growing popularity of his winter scenes, he gradually increased his focus on this particular subject matter. He might even be considered to be the one who introduced a whole new speciality and, with this, a new important market. Although Schelfhout never confined himself completely to the genre - his considerable output also contains, for instance, high quality landscapes, forest scenes, and dune landscapes - he nevertheless became the epitome of the nineteenth century winter landscape painter. His contemporary art critics even provided him with the pet name “the Claude Lorrain of winter scenes.” Being a true nineteenth century romantic artist, and thus an admirer of the Golden Age painters, we see Schelfhout’s inspiration stemming from Meindert Hobbema, Jacob van Ruisdael and Jan van Goyen, as far as composition is concerned. For subject matter, Hendrick Avercamp was influential. However, Schelfhout stayed clear from downright imitation and made every single painting very much his own. To illustrate this: Avercamp puts more emphasis on the figures than on the surrounding scene, whereas Schelfhout makes his figures subordinate to the grandeur of the landscape. Andreas Schelfhout would live long enough to establish a rich legacy, both with his own outstanding oeuvre and through his many students, among whom Charles Leickert, Johan Barthold Jongkind and Wijnand Nuyen, all remarkable artists in their own right. His extraordinary gift for snow and ice scenes in which picturesque skaters and windmills are rendered with great technical skill in naturalistic colours, make his winter scenes still the most sought after of his subjects. But what exactly is Schelfhout’s secret? Why, when looking at his winter scenes, do we immediately want to put on our skates and join the crowd on the frozen river? The answer lies both in Schelfhout’s exceptional mastery of the brush, and in his well-developed sense of composition and atmosphere. It is all there in the present lot: Via the deep black reflecting ice in the foreground, the eye is drawn towards the white and blueish background where the fun is. A couple in the foreground is happily doing their tour, passing the labourers who are filling up the horse-cart with bags. The whole scene is suggestive of a situation in which ‘all is well’. Yes, it is winter and, yes, it is cold, but, so the prominent position of the solid windmill tells us, at least normal life continues. Labourers get on with their job, and we even have spare time to spend some leisurely hours skating. There might be some cracks, but have no fear, the ice is thick and solid enough, it can even hold a horse and cart. No one is falling down, and the koek-en-zopie tent (suggested by a tiny fresh white stroke of the brush) is waiting with hot drinks. In this time of global warming it is hard to imagine that Schelfhout lived in the last phase of what is often called the small ice age, a time with gruelling cold winters. By offering his comforting, idealistic winter scenes Schelfhout answered to the need of his buyers to counterbalance the often hard reality of these long and cold Dutch winters. Or, as an art critic described it in 1842: “Alleen zoo als Schelfhout den Winter voorstelt, in het witte gewaad en met de bonte menigte van schaatsenrijders, vinden wij er iets aanlokkelijks in …” (“And only by the way Schelfhout renders Winter, in its white cloak and with the colourful crowd of ice skaters, do we find it a bit more attractive…”). Especially in the reality of a harsh cold winter, so he explains, do we need these beautiful and uplifting landscapes, to offer solace, and an outlook on a better future. And who would be better to supply the public with just that than Schelfhout? Schelfhout has materialized the very heart of Dutch winter, and as such winters become rare, it might be a good idea to secure one. This one will not melt. Sources:-Willem Laanstra, ‘Andreas Schelfhout: 1787-1870’, Amsterdam 1995.-Michiel Plomp, ‘Van Jacob van Strij tot Jan Mankes, Het Winterlandschap in de Nederlandse Kunst van de negentiende eeuw’, in: ‘Echte Winters: Het winterlandschap in de negentiende eeuw’, Haarlem 2016.-Kunstkronijk 1842, p. 43.

EGON SCHIELE (1890-1918)Sitzende Frau signed and dated 'Egon Schiele 1917' (lower right)black pencil on paper46.1 x 29.6cm (18 1/8 x 11 5/8in).Executed in 1917Footnotes:ProvenancePrivate collection, Vienna and London (possibly acquired directly from the artist).Liesl Bunzl Collection, Vienna and London (by descent from the above).Thence by descent to the present owners.LiteratureJ. Kallir, Egon Schiele: The Complete Works, 1998, no. 1999 (illustrated p. 582).'He had always been a demon draftsman [...] and his line, by 1917, had acquired an unprecedented degree of precision [...] Schiele's drawing technique – the armature upon which all his painted forms rested – had acquired an almost classical purity [...] Schiele's hand had never been surer, more capable of grasping, in a single breath-taking sweep, the complete contour of a figure. This extreme dexterity invited mannerism; when his subject was not particularly exciting, drawing was just too easy for him. And yet, when he was inspired, his execution was flawless; he had found, in the best of his late work, the perfect line' (J. Kallir, Egon Schiele, Life and Work, New York, 2003, pp. 223 & 230).Expressionism was characterised by a deep exploration of identity, of individual inward analysis and questioning, and an unwavering scrutinization of a rapidly modernising world. In Austria, Egon Schiele was by far the movement's foremost exponent, swiftly leading him to become Austria's leading artist of the time before his untimely death on 31st October 1918, at the age of just 28. This astronomical rise to critical acclaim within his short lifetime goes some way to illustrate the utmost quality of his ability and the deep resonance his work found in contemporary society, though it was not without its trials. Generally unappreciated for many years after his death, we look back at Egon Schiele as one of the twentieth century's most prolific, confrontational, and challenging artists.As the youngest student enrolled at the Viennese Akademie der Bildenden Künste in 1906, it was not long before Schiele broke away to carve his own path through the streets of the capital, documenting his rampant adolescent sexual energy, together with the unceasing hypocrisies of 'civilised' Viennese society to which he belonged. Thus began one of art canon's finest examinations into the vulnerability of the human figure through an unabashed examination of the vagrants and prostitutes of Vienna, and of the artist himself.Schiele's works from the 1910-1911 period are known for their unforgiving frankness and provocative imagery as the artist focused intensely on questions concerning identity and the individual, sexuality, spirituality and death. This is often presented through the gazing youthful eyes of Vienna's street urchins, the explicit representation of prostitutes, or through the stark, emaciated nude figure of Schiele himself, contorted into varying positions and selves: 'Schiele the effeminate, the elegant, the dandy; Schiele the fearful, the anguished, the uncertain; Schiele the stoic, the angry; Schiele beautiful and Schiele hideous' (J. Kallir, Egon Schiele: The Complete Works, New York, 1998, p. 68).This period defined his public character as the rebellious maverick who sought to question, probe and shock, intending to expose people for how they really were, and the works somewhat echo the grotesque faces by Leonardo Da Vinci in their gruesome exaggeration. This shock factor certainly helped garner awareness for Schiele at the time but also had a profound effect on his rediscovery later in the twentieth century as longstanding rigid social structures were questioned and confronted more vigorously.This brazen approach to human depiction did however eventually result in the artist's brief incarceration following a string of incidents in rural Austria-Hungary in 1911-1912. Accused of kidnap, rape, and public immorality, he was ultimately only charged with the latter on account of his open display of erotic drawings in his studio home and served a month of jail time. This imprisonment, albeit brief, had a profound effect on the young artist and it was a major catalyst for his renewed approach, it 'checked the wayward slide of his adolescent impulses, shocking him back to reality so that he could complete the process of socialization and take his place in the adult world [...]. He had learned the hard way that his special artistic mission did not, after all, grant him immunity from society's strictures. If he wanted to protect the former, he would, in the future, have to obey the latter' (Kallir, op. cit., p. 127). Nevertheless, controversy can be of huge benefit to the up-and-coming artist, infamously the melancholic Expressionist Edvard Munch became a sensation overnight following national outcry over his works at the Verein Berliner Künstler in November 1892 – an event that ultimately birthed the German avant-garde. Ultimately, Schiele was alert to the profound commercial benefit of this scandal, with his name murmured across the lips of the art-conscious elite.'I want to start anew [...]. It seems to me that until now I have just been preparing the tools' (Schiele quoted in a letter to Anton Peschka in C. Nebehay, Egon Schiele, 1890-1918: Leben, Briefe, Gedichte, Salzburg & Vienna, 1979, p. 209).As Schiele matured emotionally, so he did artistically and by 1917-1918 his output had developed considerably, the period marked with a renewed creative vitality. His works, whilst still focused on the human disposition, comprised a more confident line displaying greater precision and fluidity as he sculpted his sitters with a series of simple loose black lines. Female sitters challengingly confront the viewer with a boldness and unflinching gaze illuminated through their simplified pictoral construction. The faceless doll-like figures of the 1914-1915 period are gone, replaced with a defiant realism. Schiele now appears to shift towards a voyeuristic separation from the model, allowing them ownership of the space, though the raw sensuality of his sitters is by no means diminished by his maturation of style. On the contrary, they themselves are presented with a new confidence and owned eroticism, unseen in previous years, the sexually explicit exchanged for a more tantalisingly suggestive experience.As Jane Kallir commented: 'Schiele's women are, by 1917-18, thoroughly modern. Like most modern women, they own their sexuality. The nude and semi-nude models take pride in their seductive bodies and are empowered by their allure [...]. Nor are they projections of the artist's ego. They combine the mystery and the specificity of complete, independent human beings' (J. Kallir, Egon Schiele's Women, Munich, 2012, p. 266).Indeed, of the present works, Sitzende Frau and Sitzende Frau mit Hut both illustrate this prowess openly, but also via minor subtleties. Found in the catalogue raisonné amongst a series of very similar works of a woman in the chronological stages of undress - some identified as Adele Harms - Sitzende Frau pulls us directly into a modelling session in Schiele's Heitzinger Hauptstraße studio. The model has begun to seductively remove her stocking from a cocked knee, her intimate undergarments hanging suggestively from her shoulders and her hair loosely bound, on the precipice of cascading freely – each element rendered with a minimal line, but successfully conveying the tangibility of a finished painting. Unlike the earlier models, she lacks a vulnerability, instead emanating a proud and defiant confidence, as well as perhaps a more illicit relationship with the artist. Sitzende Frau mit Hut alludes to a separate, more personal relationship, as she gazes directly outwards with a far more intimate and suggestive view. Ev... For further information on this lot please visit Bonhams.com

Henry O'Neill (1798 - 1880)  'View of St. Brigid’s Cathedral, Kildare, prior to its restoration c. 1835,'  watercolour on paper, Signed (bottom lower left), in contemporary gilt frame, 26cms x 36cms (10 1/2" x 14"). Depicting the Cathedral of St. Brigid in Kildare, this watercolour by Henry O’Neill, painted around 1835, is a valuable record of the building prior to its restoration four decades later. Not far from the cathedral stands the round tower, and beside the tower a broken high cross—all elements of this medieval Christian site that survive today. By the time O’Neill depicted the cathedral, the building was roofless and essentially a ruin. In 1875, under the supervision of architect George Edmund Street, restoration work began. The work included a new roof, north transept, chancel and west wall. The square tower at the crossing of nave and aisles was also rebuilt. O’Neill’s watercolour shows the cathedral as it appeared prior to 1875, with its roofless nave and south transept. The viewpoint is from the south, and shows the south wall of the nave with six lancet windows. During Street’s restoration, these windows were recessed within new Gothic arches, built to link and reinforce the wall buttresses visible in the watercolour. There is no sign of the west gable in his view, although it does appear in a late eighteenth-century watercolour in the Beranger Collection in UCD, where it can be seen to be in an advanced state of collapse. In George Petrie’s view of Kildare Cathedral, published in 1820 in Thomas Cromwell’s Excursions in Ireland, the gable wall has completely collapsed. Like Petrie, O’Neill produced illustrations for William Frederick Wakeman’s 1835 guidebook Picturesque sketches of . . scenery of Ireland, and also for his Fourteen Views of the County of Wicklow, published that same year. As well as being an artist, O’Neill was a teacher; his manual for art students was published by George Rowney in 1846. He was also an antiquarian, and in 1857 published his most important work, illustrating the ancient high crosses of Ireland. A controversialist, his 1863 his Fine Arts of Ancient Ireland, illustrated by G. Hanlon, set out to refute conclusions reached by Petrie in the latter’s Ecclesiastical Architecture of Ireland. While Petrie established, after careful scientific study, that the round towers of Ireland were built during the Christian era, many antiquarians, including Henry O’Brien, Charles Vallencey and O’Neill, preferred to believe they were older buildings, built for fire worship or as Zoroastrian temples. *We would like to acknowledge the assistance of Dr. Peter Murray in cataloguing this lot.

After George Morland, British 1763-1804- A winter landscape with figures skating; oil on canvas, 70.6 x 90.4 cm. Provenance: Private Collection, UK. Note: The present work is a near contemporary copy after the original oil painting, of similar dimensions, currently held in the collection of the Guildhall Art Gallery in London [no.1298]. It is of high quality and was recently offered at Bonhams, London, as 'Attributed to' the artist. Please refer to department for condition report

Gabriel Metsu,Dutch 1629-1667-The drinker;oil on canvas laid down on panel, bears traces of initials ‘G M’ (upper right), bears old inscribed label on the reverse, 17.7 x 13 cm.Provenance: Collection of M. le Chevalier V. de Stuers, Directeur General des Beaux-Arts, The Hague.; Collection of Mrs W. E. Gatacre Jonkvrouwe de Stuers, Kasteel de Wiersse, Vorden, Holland; with Alfred Brod Gallery, London.; Private Collection, UK, since 1966.; By descent.Literature: Catalogue of the Collection of M. le Chevalier V. de Stuers, Directeur General des Beaux-Arts, The Hague, 1898.; Hofstede de Groot, ‘A Catalogue Raisonne of the Most Eminent Dutch Painters of the Seventeenth Century’, Vol. I, 1908, no.196.;  Victor de Stuers, ‘Manuscript Catalogue of his Collection’, 1915, no.303.; Franklin W. Robinson, ‘Gabriel Metsu (1629-1667), A Study of His Place in Dutch Genre Painting of the Golden Age’, New York, 1974, p.16, fig.2 (illustrated).; Arthur K. Wheelock Jr., ‘Review of Robinson 1974,’ Art Bulletin 58, 1976, p.457.; Adriaan Waiboer, ‘Gabriel Metsu’, New Haven and London, 2010, p.319, no.D-23 (illustrated).Note: Dr Adriaan Waiboer, to whom we are grateful, has confirmed the attribution of the present lot after first-hand inspection, and has suggested its dating to the mid-1650s. Having initially rejected the attribution on the basis of black and white photographs (see A. Waiboer ‘Gabriel Metsu’, 2010, no.D-23), he has revised his opinion.Metsu was one of the leading figures in the founding of the Leiden Guild of Saint Luke, of which he became a member in 1648. Between circa 1650-2, the guild records show that Metsu was absent, and he probably spent part of this time in Utrecht. By 1657 he was living permanently in Amsterdam where he died prematurely at the age of 39. It was in the years 1653-54 that Metsu began to distance himself from the influence of Nicolaus Knupfer (c.1603-1655/60), the Utrecht painter who specialised in biblical and mythological subjects, and began to seek inspiration from a wider variety of artists. The canvas, thematically unrelated to and much smaller than the Knupferian paintings he had executed in the early 1650s, is evidence of the artist’s change of direction, and belongs to a long tradition of Dutch and Flemish images of men drinking and smoking in a tavern — paintings commonly seen in collectors’ homes, the shops of art dealers, and the workshops of other painters. The tone is meditative, rather than didactic or narrative, and there is a new emphasis on the rendering of everyday objects – the exquisitely rendered earthenware jug, for example, and the pipe – which suggests Metsu’s imagination may have been captured by the still life works of Leiden artists, such as Jan Davidsz. de Heem (1606-1683/4) or Jan Lievens (1607-1674). Metsu's pictures were sought after by the urban elite in the cities where he worked, Leiden and Amsterdam. Yet he also had several noble patrons, including August II, King of Poland and Elector of Saxony, who owned an unidentified 'tobacco smoker' (A. Waiboer, p.119). In the 18th century, his fame continued to grow and his paintings were more desirable than those of his contemporary Johannes Vermeer (1632-1675), with whom he exchanged mutual influence (A. Waiboer, pp.29-51). For a comparable composition by the artist, though on copper, see his ‘Smoker seated at a table’, now in private hands, which was offered at Sotheby’s, London, 5 December 2007, lot 8 (see A. Waiboer, “Smoker Seated at a Table” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020).Please refer to department for condition report

Le Pitture Antiche D'Ercolano E Contorni Incise Con Qualche Spiegazione Tomo Primo, Napoli MDCCLVII, Nella regia stamperia. Vol. I, spine lettered 'Le Pittur Di Erc Tom I', 48.3 x 37.2 x 5.7 cm. (folio). (VAT charged on hammer price) Note: Volume one of an eight-volume series describing the antiquities of Herculaneum. The title-plate is drawn by Vega, with engraving overseen by Puteus. With an additional title-plate reading 'Le Antichità Di Ercolano Esposte'; and a frontispiece portrait of King Charles, captioned as of the King of the Two Sicilies, drawn by Camillus Paderni (c.1715-1781) and engraved by Philippus Morghen (1730-c.1807). The plates give a comprehensive account of Roman wall-painting of the 1st century, and had a significant impact on contemporary Neoclassical designers. See https://www.royalacademy.org.uk/art-artists/book/le-pitture-antiche-dercolano-e-contorni-incise-con-qualche-spiegazione-tomoPlease refer to department for condition report

Wing (John). Geodaetes Practicus Redivivus. The Art of Surveying, London: J. Matthews for Awnsham and J. Churchill, 1700, 7 engraved plates including 1 folding (closed tear repair to verso), final advertisement leaf present, some ink notes and pen trials, slightly browned, light water stain to upper half of last 20 leaves, minor marginal wormholes and trails, ownership inscription of Th[omas] Hickes on title-page dated 1742, later name inscriptions of Edward Rouse to flyleaf and William Oldland (1800) to pastedown, contemporary blind-stamped panelled calf, quatrefoil stamps in centre, two outlined in ink, inscription on upper cover 'G. H. 1783', repairs to both covers and spine ends, upper corner bumped, joints cracked, folio (305 x 190 mm) QTY: (1)NOTE:ESTC R221123. John Wing's updating of Vincent Wing's 1666 Art of Surveying, comprising 7 books containing geometry, trigonometry, mapping and arithmetic in order to survey land, including a section on logarithms and a separately paginated supplement entitled Scientia Stellarum: or, the Starry Science Exposed in the Calculation of the Planets Places, both in Longitude and Latitude, 1699.

Evelyn (John). Sculptura; or, the History and Art of Chalcography, and engraving in copper: with an ample enumeration of the most renowned masters and their works..., 2nd edition, London: J. Murray, 1769, etched portrait frontispiece by Thomas Worlidge, folding mezzotint portrait with a small area of skinned letterpress from facing page adhered to image, front free endpaper with armorial bookplate and signature of J.G. Spurgeon and ink name stamp of E.F. Acton, contemporary calf, upper board detached and lower joint split, extremities rubbed, 8vo, together with:Evelyn (John), The Miscellaneous Writings of John Evelyn... now first collected, with occasional notes, by William Upcott, London: Henry Colburn, 1825, engraved frontispiece, two engraved plates and one mezzotint portrait plate, frontispiece and title browned, scattered spotting throughout, later endpapers, contemporary calf, rebacked, board edges worn and showing, 4toQTY: (2)

Roscoe (William). The Life of Lorenzo de' Medici, 3 volumes, 4th edition, London: T. Cadell Jun. & W. Davies, 1800, half-titles, engraved portrait frontispiece to volume 1, titles with engraved vignettes, occasional spotting, front pastedowns with ownership label of Lt. Colonel Mercer, Third Guards, and front free endpapers bearing signature of 'Douglas Mercer 3rd Gds' and armorial bookplate of the Earl of Buckingham dated 1906, contemporary tree calf, elaborate gilt spines with red morocco title labels, joints lightly cracked, 8vo, together with:Melmouth (William), The Letters of Pliny the Consul, 2 volumes, new edition, London: J. Dodsley, 1777, half-titles, front blank with contemporary ownership signature Emilia Lawson, contemporary speckled calf, gilt decorated spines with contrasting morocco labels, 8vo,Pindar (Peter), The Works, 3 volumes, London: John Walker, 1794, engraved portrait frontispiece to volume 1, engraved titles to each, contemporary marbled calf, contrasting morocco labels to spines, joints cracked, 8vo, Clarendon (Edward, Earl of), The History of the Rebellion and Civil Wars in England, begun in the year 1644..., 3 volumes in six, Oxford: Printed at the Theatre, 1705, half-titles to three volumes, engraved portrait frontispieces to each, contemporary panelled calf, red morocco title labels to spines, joints cracked, 8vo, plus other 18th century antiquarian including Martin (Benjamin), The Young Gentleman and Lady's Philosophy, in a continued survey of the works of nature and art; by way of dialogue, 2nd edition, 1772; Stanhope (Philip), Letters written by the late honourable Philip Dormer Stanhope, Earl of Chesterfield, o his son, Philip Stanhope..., 4 volumes, 7th edition, 1776; Robertson (William), The history of the reign of the Emperor Charles V, 3 volumes, Dublin, 1788, etc.QTY: (51)NOTE:Colonel Douglas Mercer-Henderson CB (d.1854) was a British Army officer who fought during the Peninsular War and Waterloo Campaign.

Brand (John). History and Antiquities of the town and county of the town of Newcastle upon Tyne, 1st edition, London: B. White & Son, 1789, engraved frontispieces, engraved titles, 31 engraved plates (some folding), lightly spotted, bookplate to front pastedown (partially torn with loss), 20th-century blindstamped calf gilt, some light marks, 4to, together with:Hartshorne (Charles Henry). Illustrations of Alnwick, Prudhoe and Warkworth, for Private Distribution, circa 1850, engraved frontispiece, full-page illustrations throughout (many engraved), bookplate of John Hunter to front pastedown, spotting, small light damp-stain to upper margin of some leaves, hinges tender, contemporary maroon half morocco gilt, all edges gilt, gilt armorial to front board, rubbed, 4to, withCollingwood (Bruce). A Descriptive Catalogue of Antiquities, chiefly British, at Alnwick Castle, Newcastle-upon-Tyne, 1880, vignette title, chromolithograph frontispiece, chromolithographs throughout, further black and white plates, some leaves damp-stained to upper margin (affecting images), contemporary maroon half morocco gilt, top edge gilt, rubbed, 4to, with 17 others relatedQTY: (21)NOTES:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.

Campbell (Colin). Vitruvius Britannicus, or the British Architect, Containing the Plans, Elevations, and Sections of the Regular Buildings both Publick and Private in Great Britain, volumes I & II, 1st edition, London: For the author, 1715-1717, subscribers list in volume I, 160 engraved plates, numbered to 200 including titles and dedication (complete), some double-page and folding, a few plates with repaired tears and reinforcements to verso, light toning to one or two plates, occasional light spotting, previous owner inscription of William Smith, Durham University, 1938, contemporary panelled calf gilt, spines rubbed with small splits and some worming, some edge wear, folio 44.5 x 27 cm QTY: (2)NOTE:Fowler 76; Harris 9; Millard 10. First edition of the first two volumes of the Palladian revival which set the pattern for English architectural design in the eighteenth century. Volume III was published in 1725 followed by volumes IV (1767) and V (1771).Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.

Chandler (Richard, Nicholas Revett & William Pars). Ionian Antiquities, published with permission of the Society of Dilettanti, volume I only (of 5), 1st edition, London: T. Spilsbury and W. Haskell, 1769, double-page engraved frontispiece of inscriptions, 28 full-page engraved plates and plans, engraved head and-tail pieces, occasional minor spotting contemporary previous owner signature of John Power to front endpaper verso, contemporary diced half calf, gilt-decorated spine, a little rubbed with some edge wear, folio 54.5 x 37 cmQTY: (1)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.Blackmer 1566; RIBA 3123. First edition, first issue of volume I without chapter IV, which contains a further five plates. The full work extended to five volumes, the last of which was published almost a century and a half later in 1915.

Creed (Cary). The Marble Antiquities, The Right Hon. the Earl of Pembroke... I have Drawn and Etch'd in Imitation of Perrier... They may be had of me Cary Creed at the Jarr between Cecil and Salisbury Streets in the Strand... Anno 1731, etched title, 60 etched plates only (of 70), small pale damp stain to last few plates, front endpaper detached, contemporary mottled calf gilt, upper cover detached, lower joint cracked, a little rubbed, 4toQTY: (1)NOTE:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.Blackmer 426 (for the fourth edition). Rare. The third edition. "The first edition, with b16 plates, and the second, with 40, appeared in 1730. The third edition, with 70 plates, appeared in 1731. The fourth edition, with 74 plates, appeared later the same year. Creed is known mainly as the engraver of these plates. This is the first description of the Wilton House Collection. In 1751 appeared Cowdrie's Description. The next illustrated edition was that of Kennedy in 1769, with plates by J.A. Gresse." (Blackmer).

[Fauchet, Claude, Sébastien-Roch-Nicolas de Chamfort, Pierre Louis Guingené, & Francois-Xavier Barges de Vixouse]. Collection Complète des Tableaux Historiques de la Révolution Française, 3 volumes, Paris: Chez Auber, éditeur, De l'Imprimerie de Pierre Didot l'Ainé, 1802, fine engraved plates, including portraits and battle scenes, by Duplessi-Bertaux, Girardot, Varbault and others, all edges gilt, contemporary uniform gilt-decorated full calf, rubbed and some marks, covers mostly detached, folioQTY: (3)NOTES:Provenance: Sir William Whitfield CBE (1920-2019), one of the most significant British architects of the second half of the 20th century, notable for his ground-breaking designs for major public projects including Glasgow University Library, the Hunterian Art Gallery (1960-1968), Richmond House in Whitehall (1982-1984), recently selected as one of London’s ten most iconic Postmodern Buildings, Hereford Cathedral’s Mappa Mundi Library (1996), and Hawksmoor’s Baroque masterpiece Christ Church Spitalfields, slowly and carefully restored over three decades from 1970 to 2000 under his direction. He was Surveyor of the Fabric of St Paul’s Cathedral between 1985 and 1990.