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

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

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

Jamini Roy (Indian, 1887-1972)Untitled (Jesus with Mary & Magdalene) initials lower rightoil on paper44.6 x 34.1cm (17 9/16 x 13 7/16in).Footnotes:ProvenanceGifted to Professor Ahmed Ali by the artist in 1947-48 before Ahmed Ali left for the National University in China as the British Council's visiting professor; Inherited from the above by the vendor.FOR THE FRONT PAGE OF THIS COLLECTION The Collection of Orooj Ahmed Ali Orooj Ahmed Ali, is a collector, dealer, consultant, curator and promoter of art, both locally and abroad. Featured twice in Nigaah magazine, first in 2012 as an art collector and then in 2016 as one of the 50 Most influential people in Pakistani Art, it is unsurprising to learn that he has been immersed in the world of art since his childhood. His mother, Bilquis Jehan Begum (1926-1985) was a musician, writer, and artist, who painted figures, abstract, and surreal subjects, in a vibrant and Impressionist style whilst his father, Professor Ahmed Ali, was a novelist, poet, critic, and diplomat, who was deeply involved in the cultural scene of pre and post partition India and Pakistan, and befriended writers and artists, including, E. M. Forster, Virginia Woolf, George Orwell, Edward Thomson, from the Bloomsbury Group, Han Su Yin, Jamini Roy and Zainul Abedin. Sadequain had great regard for him; and Qi Bai Shi, the Chinese master painter, also knew him during his second stay in China (1950-52).Despite being surrounded by antiques and antiquities, it was only in 2004 that Orooj began to collect and deal in art professionally, having spent the early part of his life working as an exporter and manufacturer of terry fabrics, and representing Pakistan at the Frankfurt Book Fair in 1987 and 1990 as a literary agent and publisher. Since then, he has successfully helped clients sell their collections, which included works by artists such as Sadequain, Shakir Ali, Zubeda Agha, Bashir Mirza, Ahmed Parvez, Gulgee, Anna Molka, Jamil Naqsh, Hamidur Rehman, and S M Sultan, to name but a few. The works being offered from Orooj's collection include works by some of Pakistan's, India's, and Bangladesh's finest artists, and Bonhams is honoured to have this opportunity to present them. AHMED ALI (1st July 1910-14th January 1994)Novelist, poet, critic, diplomat, distinguished scholar and co-founder of the All India Progressive Writers' Movement, Ahmed Ali was born in Delhi in 1910. A pioneer of the modern Urdu short story, some of his notable works include: Angarey (Embers), 1932 Hamari Gali (Our Lane), 1940; Qaid Khana (The Prison House), 1942; and Maut Se Pehle (Before Death), 1945. Equally accomplished in English, he achieved international fame with his first English novel, Twilight in Delhi, published by the Hogarth Press, London, 1940, which describes the decline of the Muslim aristocracy with the advance of British colonialism in the early 20th century. He was educated at the universities of Aligarh and Lucknow and later taught at both, amongst other universities, including Presidency College, Calcutta, where he was the Head of the English department between 1932-1947. Between 1942-1945 he was also the BBC's representative and Director Listener Research in India, and was later appointed by the British Government of India as the British Council's Visiting Professor of English to the National Central University of China, Nanking (now Nanjing).Ahmed Ali moved to Pakistan from China in 1948. Joining the Pakistan Foreign Service, he established diplomatic relations with the People's Republic of China as Pakistan's first envoy to Peking (now Beijing), 1950-52, and later with the Kingdom of Morocco. A skilled translator from the Arabic, Indonesian, and Chinese, in addition to Urdu, he is also well known for his English translation of the Qur'an: Al-Qur'an, A Contemporary Translation, Princeton University Press, which is recognized by Islamic scholars as one of the best existing translations of the Qur'an. Influenced by his travels in China, he became a collector of Chinese porcelain & art, and part of his collection was auctioned at Christies in London on 25th July 1960, as Mrs B. Ali's collection. Professor Ahmed Ali is a Founding Father of the Pakistan Academy of Letters; he received Pakistan'sSitara-i-Imitiaz (Star of Excellence), 1980, and an Honorary Doctorate of Philosophy by the University of Karachi, 1993. The Pakistan Post issued a commemorative postage stamp to honour his contributions to Pakistan and Literature, 2005; to celebrate his birth centenary an international conference: Ahmed Ali, Progressive Writers, and Bilingual Creativity, was held by the Sahitya Akademi, Lucknow University, and the Association of Commonwealth Literature and Language Studies, at the Lucknow University in 2011.FOR THIS LOTIt was during the 1940s and 1950s that Roy reinterpreted iconic images in several of his paintings, as he believed that sacred art created the richest mythological traditions. His works were created for the community, and he turned his back on colonial culture, seeking to restore a simple goodness to art that had been lost to the elite of the colonial metropolis. In the two lots that form part of this collection, the first depicting Mary (left), Jesus (centre) and Mary Magdalene (right) and the second depicting Jesus we can see how Roy's intense concentration and ruthless ability to pair down the inessential details, leads to a remarkable modernist brevity, boldness and simplicity of expression, which was a vehicle for his deep and understated social commitment. (Partha Mitter, The Triumph of Modernism: India's artists and the avant-garde 1922-1947, 2007, pp.112-122)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

Hamidur Rahman (Bangladeshi, 1928-1988)Untitled signed and dated '63 upper rightoil on board35.5 x 57.3cm (14 x 22 9/16in).Footnotes:ProvenanceThe Collection of artist and ceramist, Masood A. Kohari, who was a friend and colleague of the artist when they taught together at the Arts Council Karachi;Acquired by the vendor from the above. Rahman is best known as the architect of the Shaheed Minar, a national monument in Dhaka, Bangladesh, established to commemorate those killed during the Bengali Language Movement demonstrations of 1952 in what was then East Pakistan. However, he was also an important figure in the modernist movement of Bangladesh. He received his art education from the following schools; the Bangladesh College of Arts and Crafts, Dhaka (1948-1950), Ecole des Beux Arts, Paris (1950-51) and the Central School of Art and Design, London (1956). His works ranged from the non-figurative to the figurative, the latter of which can be seen in the present lot. His works maintained close links with the aesthetic and pictorial traditions of the past, and yet interpreted them in modern ways. He was the recipient of various awards, some of which include the National Exhibition of Bangladeshi Painters (1972), the Commonwealth Painters Association award and the Ekushey Padak (1980).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Sheikh Mohammed Sultan (Bangladeshi, 1923-1994)Untitled (Farmer ploughing with bulls) signed and dated '88 lower leftoil on jute59.9 x 75cm (23 9/16 x 29 1/2in).Footnotes:ProvenanceAcquired from the artist by Ruqaiyya Bano, a family friend;Acquired by the vendor from the above.CompareFor a scene depicting similar muscular bodies, see Christie's, South Asian Modern & Contemporary Art, New York, 14th September 2016, lot 688.Sultan was born in Machimdia village, in what was then known as Jessore District, British India. He studied at the Government School of Art in Calcutta, where Mukul Dey, the pioneer of drypoint-etching in India was Principal. Under Dey's tutelage, students were encouraged to paint contemporary landscapes and portraits reflecting their own experiences, as opposed to copying the Old Masters and painting Indian allegorical, mythological and historical subjects. The current painting comes from Sultan's Bangladeshi period, after his 1969 solo exhibition at the Khulna Club, Khulna and the first group National Art Exhibition in Dhaka in 1975, where his works were transformed, and he started to paint and draw agricultural labourers engaged in everyday life, as can be seen in the present lot. These works are distinctive due to their exaggerated muscular physiques, which are metaphors for the hard working and sturdy peasants, who are the backbone of Bangladesh. Sultan is seen are one of the four pioneers of Bangladeshi modernism, along with Quamrul Hassan, Zainul Abedin and Safiuddin Ahmed. He exhibited globally during his career and some notable exhibitions included those in Lahore and Karachi in 1948 and 1949, where be forged friendships with Shakir Ali and Abdur Rehman Chughtai, at the Institute of International Education, New York in 1950 and at the German Cultural Centre, Dhaka in 1987.The Bangladeshi Shilpakala Academy, Bangladesh's principal state sponsored national cultural centre of Bangladesh introduced an award named after him, which is given out annually to a notable artist on Sultan's birth anniversary. He also received the Ekushey Padak in 1982, which is Bangladesh's highest civilian national award in the field of culture. His works form part of the collections of the National Art Gallery, Bangladesh; the Bangladesh National Museum, the Bengal Foundation and the SM. Sultan Memorial Museum.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Abdul Aziz Raiba (Indian, 1922-2016)Untitled (Villagers and buildings on a sea shore) signed and dated Raiba 10.4.93 lower left oil on jute81 x 106cm (31 7/8 x 41 3/4in).Footnotes:ProvenanceAcquired by the vendor's father in the 1990s. He worked for the Portuguese Embassy in India between the 1960s-1980s and continued to live in India after completing his term which is when he acquired this work.CompareFor a similar work sold in these rooms, see Modern and Contemporary South Asian Art, London, 25th October 2021, lot 20.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jamini Roy (Indian, 1887-1972)Untitled (Bride with two companions) signed lower rightgouache on cloth75 x 38cm (29 1/2 x 14 15/16in).Footnotes:ProvenanceAcquired in Calcutta between 1945 and 1954, when the current owner's uncle was employed in the freight department of the Kerr Steamship Company.Private UK collection, Leicestershire, UK.CompareFor a similar work sold at Sotheby's see Modern & Contemporary South Asian Art, London, 29th September 2020, lot 2.For further information on this lot please visit Bonhams.com

Ali Imam (Pakistani, 1924-2002)Untitled (Figure on a Horse) signed and dated '60 lower rightoil on canvas67 x 30.7cm (26 3/8 x 12 1/16in).Footnotes:ProvenancePrivate UK Collection.CompareFor a similar work dating from 1959, sold in these rooms, see Art of Pakistan, London, 24th May 2017, lot 26.Born in Madhya Pradesh in 1924, Ali Imam studied at the Nagpur School of Art in the early 1940s and then spent 2 years at the J.J School of Art in Bombay. Unlike his brother Sayed Haider Raza, Imam emigrated to Lahore after Partition and became well known in Pakistan as the doyen of the Pakistani modern art movement. He was one of the founders of the Lahore Art Circle, alongside Anwar Jalal Shemza, Mariam Habib, Ahmed Parvez, Shakir Ali, Moyene Najmi and Sheikh Safar and exhibited alongside Shemza and Parvez at Woodstock Gallery in London in 1958 at a show entitled 'Pakistan Group London: Five Modern Painters. Saifiuddin Ahmed and Murtaza Bashir completing the five. In 1970 he founded the Indus Gallery in Karachi, which remains to date one of the longest running galleries in Pakistan. He received the Pride of Performance Award in 1968, and in 2006 the Pakistan Postal Services issued a series of postage stamps as a posthumous tribute to 'ten Great Painters of Pakistan,' which included a stamp for Ali Imam.For further information on this lot please visit Bonhams.com

Sunil Das (Indian, 1939-2015)Untitled (Bull) signed and dated 2001 centre rightcharcoal on paper70.1 x 55.3cm (27 5/8 x 21 3/4in).Footnotes:ProvenancePrivate Collection, India;Acquired from the artist by the vendor's father in 2003.'F.N.Souza once said of the artist: 'His paintings are often about death and horror...[He is] a master of the horrific in art.' Das's images of the bulls were inspired by his observations during a trip to Spain. The whiplash tails of his raging bulls held high. - Delhi Art Gallery, India Modern: Narratives from 20th Century Indian Art, March 2015. pg. 134.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

Anwar Jalal Shemza (British Pakistani, 1928-1985)Blue Vase signed and dated 'A Shemza 55, lower left oil on canvas on board61 x 48.2cm (24 x 19in).Footnotes:ProvenanceAcquired from the artist by Mr Ejaz Batalvi and lent by him to the artist's 1956 Exhibition. Mr Batalvi is credited in the 1956 exhibition catalogue which is included in this lot;Acquired by the vendor from Mr Batalvi's son in December 2019.ExhibitedA. J Shemza, Exhibition of Paintings, List of paintings: Number 6, June 1956, (illustrated, unpaginated.)PublishedA. J Shemza, Department of Fine Arts University of the Panjab, Monograph Number Five, 1956, pg. 32-33A. J Shemza, Exhibition of Paintings, List of paintings: Number 6, June 1956, (illustrated, unpaginated.)'In twentieth century Abstract Art, the artists' expressions are arrived at through their appreciation and analysis of still life, landscape and figure reduced to the significance of still life.'(Anna Molka, 1956)The Blue Vase (Oil on canvas, 19 in. x 24 in.) is an early example of Anwar Jalal Shemza's modernist artwork from the 1950s and represents one of his first departures from the Bengal School Style. The painting was part of Shemza's first solo shows at the Department of Fine Arts, University of the Punjab, and at Karachi Arts Council in 1956. The title bewilders the viewer as the centrally placed vase is richly painted in hues of yellow, green, and black. The four stems of varying lengths that the vase holds bear orange flowers. Another stem that lies horizontally in front of the vase, balances the colours of the flowers in the vase. The background and the foreground are painted in shades of dark brownish-black that help the vase and the flowers stand out. The white outline of the vase not only delineates the shape and its unusual angle, but also alludes to the material reality of the central object – most probably glass. This interpretation gains traction from the fact that the entire 'roundness' of the base has been made 'visible' by the artist. The vase is placed on an elliptical concave woven tapestry that mimics the shape of its base. The richness of the painted tapestry is like a woven carpet – an industry to which Shemza's family belonged. The composition is design-intensive and bears witness to Shemza's training as a graphic designer from the Mayo School of Arts, Lahore (now, National College of Arts or NCA). The form of the vase can be seen as a body that holds the flowers, and it is neither Eastern nor Western – suspended between observation and stylization. This is indicative of Shemza's intention to create not the study of still life, but rather to experiment with the new syntax of abstraction that had been introduced in post-colonial Pakistan through the works of Zubeida Agha (1922-1997) and Shakir Ali (1916-1975). Anna Molka, an artist and art educator, writing on Shemza's work states:By exploring new potentialities, these experimental artists had veered towards abstract art. Their concentration upon a semi-scientific method of indicating instantaneous light on form caused them to break the representational tradition of the West. Shemza's The Blue Vase does not conform strictly to cubism. It carries the characteristic aesthetics of traditional Indian painting – to deny the illusion and uphold the two-dimensional aspect of painting, hence showing multiple perspectives. Perhaps the in-betweenness of this painting can be understood in the context of the fact that at this time, Shemza, along with his young cohorts (members of Lahore Art Circle or LAC – a small artists' collective based in Lahore and functional from 1952-1958), was experimenting with the syntax of modern abstract art. He desired to move the art practices of the nascent country away from prevalent painting practices of traditional Indian painting and European academic style towards more avant-garde practices in order to begin engagement with the global art world. Anwar Jalal Shemza was a painter, a designer, a writer and a teacher, commonly known by his pen name Shemza. He was one of the eight founding members of LAC which became the harbinger of modern art in Pakistan. Shemza's contribution to the art history of Pakistan and Britain came to attention posthumously in 2009 with two ground-breaking shows sponsored by Green Cardamom, London. The first show, curated by Iftikhar Dadi, was entitled Anwar Jalal Shemza: Calligraphic Abstraction, while the second, curated by Rachel Garfield was titled Anwar Jalal Shemza: The British Landscape. Shemza was born in Shimla, India in 1929 to a Kashmiri family who owned a carpet business in Ludhiana. He received a diploma in Commercial Arts from the Mayo School of Art (now The National College of Arts, Lahore). Shemza inherited his love for reading and writing from his father who was a poet, and after migrating to Lahore, Pakistan, he started to mingle with Urdu writers through the literary circle called, Halqa-e Ahbab-e Zouq. Shemza himself was a talented writer and wrote several plays for Radio Pakistan, and various short stories and novels as well. His active engagement with the literary circle in Lahore enriched his critical thinking and enabled him to embrace modern trends that were visible both in visual arts and literary fields of study. While he was creating experimental paintings as part of LAC, Shemza was also changing the way of telling traditional folktales, by rewriting them with a modern twist. In 1956, Shemza was awarded a scholarship by the British Council to attend The Slade School of Fine Art, London, where he received a diploma in 1959. In Britain, the trajectory of Shemza's work once again shifted towards experimenting with the abstract nature of Islamic calligraphy and exploring the relationship between visual and textual practice. His interest lay in understanding the form of Islamic letters and various processes of deconstructing the structure of the shapes of alphabets, which proved to be his passion for next twenty-six years. Shemza continued to teach at various educational institutes in Pakistan and the UK throughout his life. He was a prolific painter, who also dabbled into other mediums such as ceramics, printmaking, and drawing. During his life, Shemza exhibited in London, Tokyo, France, and Pakistan. His work is in the collection of several private collectors and art museums around the world including: Ashmolean Museum, Oxford and Tate Modern, London in the UK; Metropolitan Museum of New York and Minneapolis Institute of Art, in the US; the Guggenheim Museum, and Sharjah Art Foundation in UAE, and at the Lahore Museum in Pakistan. References: Dadi, Iftikhar. 'Anwar Jalal Shemza and Calligraphic Abstraction'.Perspectives London: Green Cardamom, 2009.Dadi, Iftikhar. Anwar Jalal Shemza. London: Ridinghouse, 2015.Garfield, Rachel. 'Anwar Jalal Shemza, The British Landscape', Perspectives 2. London: Green Cardamom, 2009.Iqbal, Samina, 'Modern Art of Pakistan: Lahore Art Circle 1947-1957', PhD. dissertation, Virginia Commonwealth University, 2016. Iqbal, Samina, Willie Simone and Iftikhar Dadi. Naya Daur: Shakir Ali and Lahore Art Circle. Lahore: Sang-e Meel Publications, 2017.Moheyuddin Zia. http://jang.com.pk/thenews/may2012-weekly/nos-06-052012/manto/abovenormal.asp. Pakistan. Accessed Jan 22, 2016.Molka, Anna. 'Anwar Jalal Shemza: Catalogue of the Exhibition'. Lahore: Punjab University Press, 1956.For further information on this lot please visit Bonhams.com

Seema Kohli (Indian, B. 1960)Untitled (The Golden Womb - 'Who I am') signed and dated in Devanagiri and English 05' lower rightmixed media on canvas121.2 x 91.1cm (47 11/16 x 35 7/8in).Footnotes:ProvenancePrivate UK Collection;Acquired from a Delhi Gallery in 2006.Note: The work is unframed but on a stretcher. Kohli is a multidisciplinary artist whose works explore the themes of spirituality, femininity and beauty. The present lot is a quintessential example of this, with its ethereal scene. Kohli has employed mixed media and imbued the work with multiple stories, myths and fables derived from Indian mythology, such as the Upanishads and rooted in philosophy. This is unsurprising given that she received a degree in Philosophy from Miranda House, and followed that up by obtaining a Diploma in Applied Arts from South Delhi Polytechnic. She has exhibited widely in her career thus far, and some notable exhibitions and fair participations include the recently concluded 2022 exhibition, The Lyrical Impulse, which ran from the February 14th - March 5th presented by Art Heritage in New Delhi, the 2019 solo exhibition at the Museum of Sacred Art in Brussels and the Biennale's of Venice, Shanghai and India. Her works are featured in the private and public collections of the Bill and Melinda Gates Foundation, Kochi Museum of Arts, Rubin Museum of Art in New York and the National Gallery of Modern Art in Bangalore.For further information on this lot please visit Bonhams.com

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

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

Anupam Sud (Indian, B. 1944)Untitled (Seated woman) signed and dated 2009 lower rightoil on canvas76 x 61cm (29 15/16 x 24in).Footnotes:ProvenanceArt Bull, The Spring, New Delhi, 20th April 2012, lot 70;Acquired by the vendor from the above.Anupam Sud was born in Hoshiarpur in Punjab in 1944 and spent her youth in Shimla in Himachal Pradesh. She studied at the Delhi College of Art between 1962-1967 and was one of the founding members of 'Group 8;' established in 1968 to promote print making as an independent art form. She subsequently studied printmaking at the Slade School of Fine Art in London, from 1971-1972, and is today recognised as one of India's finest printmakers. In addition to printmaking and the works she produces using intaglio, lithography and screen printing, she is also known for her drawings and paintings, the latter of which is an example of the present lot. The work in this lot addresses the themes Sud has explored since the 1970s; issues pertaining to female sexuality, centring on the naked body and devoid of all adornment. The downcast look on the subject's face is almost introspective and fatalistic which is a recurring theme in Sud's works. Apart from the influences of her mother and father, Sud was greatly influenced by Somnath Hore, whose work she could relate to. She has won numerous awards, two of which include those from the Lalit Kala Academy and the Egyptian International Print Biennale. She has been featured in solo and group exhibitions in India, Bangladesh, the USA, Korea and Japan and her works are included in the collections of the the National Gallery of Modern Art, New Delhi; Peabody Museum, Massachusetts; The Victoria and Albert Museum in London; the Jehangir Nicholson Foundation in Mumbai; Glenbarra Art Musuem, Japan; Fukuoka Museum, Japan to name a few. She has most recently been featured in the 2022 group show of Delhi Art Gallery (DAG), A Place in the Sun: Women Artists from 20th Century India, which runs from the 15th March - 10th June 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

MIXED, selection , inc. silks (150), ATC Butterflies, Flags, Wix Flowers, Phillips Old Masters, Regimental Crests, Ceramic Art etc., loose mounted in three acetate albums; large, complete (8), Wills Racehorses & Jockeys, Players Famous Beauties & Naval Prints, modern (5) (each corhner mounted in 3/d albums), FR to EX, 390*

15th century A.D. A gold flat-section annular band inscribed in black letter script '+ IE MY TIEN' for 'I Stand By Him', stylised flowers and sprigs between each word. Cf. The British Museum, museum number 1960,1103.1, for a similar ring; cf. Evans, J., English Posies and Posy Rings, Oxford, 1931, p.9, for similar inscription. 1.62 grams, 16.84 mm overall, 15.69 mm internal diameter (approximate size British H 1/2, USA 4, Europe 6.81, Japan 6) (5/8 in). Acquired on the UK antiques market between 1974-1985. Albert Ward collection (part 3), Essex, UK. Accompanied by an old handwritten title card. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11149-187367. According to Dr. Malcolm Jones, the inscription reads 'ie my tien', the tien is for 1st person singular present tense form of the verb tenir. In modern French, this would be written je m’y tiens, meaning “I stand by him/her/ it” (It’s a sort of medieval ‘Stand by your man’ inscription). The y of the inscription can mean ‘him’, ‘her’, or ‘it’, so we can’t be sure exactly what was intended by the commissioner of the inscription. It could, for example, mean 'I stand by it' i.e. the vow I made, or simply 'I stand by him/her' i.e. my beloved. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Very fine condition.

15th century A.D. A gold ring with slender arms and facetted shoulders, facetted trumpet-shaped bezel ornamented with granules and set with a polished emerald cabochon. Cf. Scarisbrick, D. & Henig, M., Finger Rings from Ancient to Modern, Oxford, 2003, item 495, for type. 2.83 grams, 30.29 mm overall, 19.16 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15) (1 1/8 in). English collection formed in the 1990s. UK art market. Property of an Essex gentleman. [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

1460-1531 A.D. A substantial carved wooden panel with figures in high-relief against a field of vegetation; recumbent Christ with his head supported in the lap of Mary assisted by a standing John the Evangelist while long-haired Saint Mary Magdalen advances with a vessel of balm for anointing the Corpus Christi; from the workshop of Tilman Riemenschneider (1460-1531 A.D.); the panel has been provided with a moulded wood plinth of modern date at the base. PUBLISHED:Dr. Bier, J., Tilmann Riemenschneider Die Reifen Werke, G.M.B.H., Augsburg, 1930, p.155.LITERATURE:See Maidbronn, in Von Freeden, M.H., Tilman Riemenschneider: Die Beweinung in Maidbronn. Eine Einführung, Berlin, 1947 (Stuttgart 1956); Tönnies, E., Leben und Werke des Würzburger Bildschnitzers Tilman Riemenschneider, 1468-1531, Strassburg, 1900; Bier, J., Tilman Riemenschneider: His life and Work, Lexington, 1982, fig.46A. Dr. Bier, J., Tilmann Riemenschneider Die Reifen Werke, G.M.B.H., Augsburg, 1930, p.155.  6 kg, 62.3 cm high (24 1/2 in."). Private collection of Von Hertlein, Munich, Germany, before 1930. Private collection of Von Hertlein, Munich, Germany, before 1930. Swiss private collection, Zurich. Inherited from her grandmother who owned it for at least 40 years. Accompanied by a copy of the relevant Tilmann Riemenschneider Die Reifen Werke, book pages where it was published in 1930. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11239-189576. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website] Fine condition.

Modern Diecast Vehicles, a boxed/packaged collection in various scales of vintage and modern private and commercial vehicles includes Harry Potter Corgi Hogwarts Express (2) and The Knight Bus, Corgi Barnstormers Bi Planes (2), ERTL Thomas & Friends (4), Postman Pat (1), John Deere tractor 1939 (1), Siku 1:64 scale construction (2), John Deere 1:87 scale by Noch (3), Base Toys 1:76 scale (2), Cararama 1:76 scale (6), JCB by Motor Art (1), Richmond Toys police helicopter, 1:18 scale Chrono Triumph Spitfire (loose in box), magazine issue 1:100 scale Spitfire, Chinese diesel locomotive (dreams come true friction drive) and four others, F-E, Packaging F-E, (30+)

Collection of 1920s tennis related books,comprising Lawn Tennis Simplified by Godfree, Kathleen, hardback with d/j, Thornton Butterworth Limited, 1929; The Lawn Tennis Masters Unveiled by Hart, B.H Liddell, hardback, Arrowsmith, 1926; Tennis, by Wills, Helen, hardback with d/j, Charles Scribner's Sons, 1929; Lawn Tennis a method of acquiring proficiency by Rendall, Major JCS, blue hardback, Cassell & Company Ltd., 1926; Forty Years of First Class Lawn Tennis by Hillyard, GW, hardback, Williams & Norgate Ltd., 1925; The Art of Lawn Tennis by Tilden, William T., Methuen & Co. Ltd, green hardback, 1921; Tennis Shoes by Streatfrild, Noel, Random House, hardback; Lawn Tennis the game of nations by Lenglen, Suzanne, hardback, George G Harrap & Company Ltd, 1925, (2); First Steps to Lawn Tennis by Beamish, A.E., hardback, Mills & Boon Limited, 1922; Listening to Lacoste by Pollock, John, hardback, Mills & Boon Limited, 1926; Lawn Tennis by Hierons, Charles, hardback with d/j, Ward, Lock & Co. Limited, revised and enlarged edition; Lawn Tennis Up-to-Date by Blackmore, S. Powell, hardback with d/j, Methuen & Co. Ltd., 1921; The Lawn Tennis Tip Book by Beamish A.E., hardback, Mills & Boon Limited, 1923; Lawn Tennis by Burrow F.R., green hardback, Hodder & Stoughton; Lawn Tennis of to-day by Burrow, F.R., hardback, C. Arthur Pearson Ltd., 1924, (2); The All England Series Lawn Tennis by Wilberforge, HWW., canvas cover, G. Bell & Sons Ltd, 1920; Lawn tennis by Fry, Joan and Doust, SN., green hardback, W. Foulsham & Co. Ltd; Fifty Years of Lawn Tennis by Oyler TH., hardback, South Eastern Gazette, 1925; Fifty Years of Wimbledon by Myers, A. Wallis, hardback, Hudson & Kearns Ltd; Romance of Wimbledon by Olliff, John, hardback with d/j, Hutchinson & Co.; Lacoste Tennis by Lacoste Rene, hardback, Dunlop Sports Company, 1928; Gordon Lowe on Lawn tennis by Lowe, Gordon, greenish hardback, Hutchinson & Co.; Modern Lawn Tennis by Alvarex, Lili de., red hardback, John Lane The Bodley, 1927; Lawn Tennis by Crawley, AE., hardback with d/j, Metheun & Co. Ltd., 1921; Learning Lawn Tennis by Nutthall, Betty, blue hardback, Herbert Jenkins Limited, 1928; Lawn Tennis for Public Courts Players, by Aitken AJ, green hardback, Methuen & Co Ltd, 1924; Lawn Tennis fr young palyers, by Tilden, William T., green hardback, Methuen & Co Ltd, 1924; Daily News Cricket & Tennis annual 1923, (poor conditon with cellotape on cover);  Tennis Tactics by Little, Raymond D, green hardback, Macmillan Company, 1923; (qty)

Collection of 1930s and 1940s Tennis, Squash and Badminton books,comprising Lawn Tennis it's principles & practicce by Myers, A. Wallis., hardback with d/j, Seeley, Service & Co. Ltd., 1930;Beyond the game by Jacobs, Helen Hull, red hardback, Sampson Low, Marston & Co., Ltd.; Badminton by Thomas, Sir George, hardback with d/j, Seeley, Service & Co. Ltd., 1993; The Aldin Series Squash Rackets by Barker, Arthur, hardback, Eyre & Spottiswoode, 1936, (2); Lawn Tennis the modern game by Ritchie MJG, paperback, Athletic publications Ltd.; Text Book of Lawn Tennis by Ritchie, MJG, red hardback, Health & Strength Ltd.; The Art of tennis, by Cochet, Henri, green hardback, Jarrods Publishers London; Perry on tennis by Perry, Fred J., green hardback, Hutchinson; Lawn Tennis by Tuckey CRD, hardback with d/j, Blackie's Sports Series, 1937; Lawn Tennis by Hardwick Mary., hardback with d/j, Blackie's Sports Series; The Art of Lawn tennis by Tilden, William T., Methuen & Co. Ltd., 1935; Lawn Tennis for Teachers & Players by Moss, Major T, hardback with d/j, George Allen & Unwin Ltd, 1949; The complete lawn tennis player by Patterson, Norman H., hardback with d/j, Adam & Charles Black, 1948; Lawn Tennis hints on umpiring by Pearce, Dr. F.H., hardback, Shakespeare Head Press, 1936; Perry Wins by Perry, Fred, hardback, Hutchinson & Co.; Improve your tennis by Foster, Denis, paperback, Findon publication; A handbook on modern Croquet; Tennis Parade by Menzel Roderich, paperback, 1936; Lawn Tennis by Budge, Lloyd, hardback with d/j; winning Tennis by Kramer, Jack, hardback with d/j; and further publications, (qty)

Henry Bright (1810-1873)/Windmill on the Scheldt/oil on canvas, 35cm x 49.5cm/Provenance: Hahn Fine Art, 29th June 1970 CONDITION REPORT: Relined and cleaned. This appears to be in very good condition. The modern plaster gilt frame is also in good condition. Ready to hang.

BOOKS, eight boxes containing approximately 210 miscellaneous titles, mainly in hardback format, subjects include gardenining, cookery, art and antiques, encyclopaedic and lexical works, children's annuals and novels together with a small box of modern stamps

A pair of modern French limited edition monochrome prints, 64 x 48cm, a Gallery Art Studio print, 'Lost for Words' and an M.C. Escher print

Andreas MAHL (1945)UntitledPolaroid signed on the back8 x 7,5 cmGerman photographer. Since the end of the 70's, he has been making his annual greeting card in the form of a self-portrait. Since 1989 he has been working with the only 50x60 Polaroid camera in Europe. In 1993 a retrospective exhibition of his 20 years in Paris was organized at the Maison Européenne de la Photographie. His work is present in the collections of the BNF, the George Pompidou Center and the Museum of Modern Art in Paris.

acrylic on masonite Signed lower left and on the back. Maria Leonardi Pennisi was born in 1920 in Acireale; He has always shown aptitudes for the figurative arts. He graduated from the "Ripetta" Art School in Rome and specialized in engraving by attending study of the master Nino Mustica and international courses of "Engraving Technique". Masonite, mastered the woodcut that recall the late nineteenth-century revival of this technique already dear to Durer. The language used by Pennisi is inspired by Northern European Expressionism; The subjects rigorously synthesize emotion and thought. His works are present in various Italian museums including the Museum of Modern Art of Gibellina and the Museum of Villa Croce in Genoa. Personal and Group Exhibitions Milan - November 1971 - Exhibition at the “Filodrammatici” Theater by D'Alma Folco Zambelli. Turin - October 1973 - Exhibition at “Sala Bolaffi” Livorno - 1982 Biennial of engraving and graphics Genoa 1988 - Museum of contemporary art of Villa Croce "First Italian Xilon Triennial" curated by Guido Giubbini and TranquilloMarangoni. Pisa March 1989 - National Triennial of art- PalazzoLanfranchi- FIDAPA Turin May 1989- International Competition and of Ex-Libris, Book Fair, Turin. 1990-91-92 - 1st / 2nd / 3rd Kochi International TriennalExhibition of Prints Kochi, Japan. Trento December 1996 - “Caproni” Aeronautical Museum by M. Fede. in frame h 92.5x76.5 cm; without h 80x63.8 cm

acrylic on masonite Signature on the bottom left and on the back. Maria Leonardi Pennisi was born in 1920 in Acireale; He has always shown aptitudes for the figurative arts. He graduated from the "Ripetta" Art School in Rome and specialized in engraving by attending study of the master Nino Mustica and international courses of "Engraving Technique". Masonite, mastered the woodcut that recall the late nineteenth-century revival of this technique already dear to Durer. The language used by Pennisi is inspired by Northern European Expressionism; The subjects rigorously synthesize emotion and thought. His works are present in various Italian museums including the Museum of Modern Art of Gibellina and the Museum of Villa Croce in Genoa. Personal and Group Exhibitions Milan - November 1971 - Exhibition at the “Filodrammatici” Theater by D'Alma Folco Zambelli. Turin - October 1973 - Exhibition at “Sala Bolaffi” Livorno - 1982 Biennial of engraving and graphics Genoa 1988 - Museum of contemporary art of Villa Croce "First Italian Xilon Triennial" curated by Guido Giubbini and TranquilloMarangoni. Pisa March 1989 - National Triennial of art- PalazzoLanfranchi- FIDAPA Turin May 1989- International Competition and of Ex-Libris, Book Fair, Turin. 1990-91-92 - 1st / 2nd / 3rd Kochi International TriennalExhibition of Prints Kochi, Japan. Trento December 1996 - “Caproni” Aeronautical Museum by M. Fede. in frame h 93x78 cm; without h 80x64.8 cm

acrylic on masonite Signed lower left. Maria Leonardi Pennisi was born in 1920 in Acireale; He has always shown aptitudes for the figurative arts. He graduated from the "Ripetta" Art School in Rome and specialized in engraving by attending study of the master Nino Mustica and international courses of "Engraving Technique". Masonite, mastered the woodcut that recall the late nineteenth-century revival of this technique already dear to Durer. The language used by Pennisi is inspired by Northern European Expressionism; The subjects rigorously synthesize emotion and thought. His works are present in various Italian museums including the Museum of Modern Art of Gibellina and the Museum of Villa Croce in Genoa. Personal and Group Exhibitions Milan - November 1971 - Exhibition at the “Filodrammatici” Theater by D'Alma Folco Zambelli. Turin - October 1973 - Exhibition at “Sala Bolaffi” Livorno - 1982 Biennial of engraving and graphics Genoa 1988 - Museum of contemporary art of Villa Croce "First Italian Xilon Triennial" curated by Guido Giubbini and TranquilloMarangoni. Pisa March 1989 - National Triennial of art- PalazzoLanfranchi- FIDAPA Turin May 1989- International Competition and of Ex-Libris, Book Fair, Turin. 1990-91-92 - 1st / 2nd / 3rd Kochi International TriennalExhibition of Prints Kochi, Japan. Trento December 1996 - “Caproni” Aeronautical Museum by M. Fede. in frame h 83x67 cm: without h 70x55 cm

Two boxes of art books to include; Canaletto, Bosch, Gauguin, Story of Modern Art, etc.

A group of watches, comprising two silver pocket watches, both boxed, and ten wristwatches, including an Art Deco gentleman's watch, a/f, and more modern examples including Seiko, Sekonda and Philip Mercier. (12)

FOLK ART INTEREST - ANTIQUE DECOY PIGEONS late 19thc/early 20thc, a pair of wooden and painted decoy pigeons, with more modern wooden stands. 34cms long. (2)

FOLK ART INTEREST - DECOY PIGEON late 19thc/early 20thc, a wooden and painted decoy pigeon mounted on a more modern wooden stand. Decoy 36cms long

A collection of photograph frames, to include silver and cutleryThe frames are mainly modern and are hallmarked silver and usable, with some light marks. Two modern silver frames to take an image 17 x 12cm. Another 8 x 6cm. Another 4 x 6cm. Another 14 x 9cm. Another 8 x 6cm. Arched frame 9 x 6cm. Art Nouveau style 10 x 7cm. Older frame 13 x 8cm, but quite dented. Double frame each 4 x 3cm. PAir of salad servers are plated with glass handles.  Three smaller items are all hallmarked silver. Salt is Indian stamoped 900.

Barthélémy Toguo (Cameroun, né en 1967)Mozart - Four saisons, 2003 - 2010 chaque signé, daté et titré en bas à droite 'B. Toguo/ 2003/2010 MOZART - Four Saisons'gouache sur papiereach signed, dated and titled 'B. Toguo/ 2003/2010 MOZART - Four Saisons' to the lower rightgouache on paperChaque: 17 x 17cm.Each: 6 11/16 x 6 11/16in. Exécuté entre 2003 et 2010.Executed between 2003 and 2010.(4)Footnotes:ProvenanceGalerie Lelong, ParisCollection Gervanne + Matthias Leridon, FranceLa musique est un thème récurrent dans l'œuvre de Barthélémy Toguo. Lors de sa première exposition en 2014 avec Stevenson au Cap, il présente une installation immersive qui mettait en scène une série de ses petits dessins placés au sommet de 35 pupitres à musique. Réfléchissant au titre de l'exposition, Célébrations, Toguo expliquait : ' c'est un concert de 'Célébrations' de la vie avec tous ses sentiments : la beauté côtoie la laideur, le plaisir au milieu de la guerre, la sexualité avec la violence, la joie et la mort '. Comme dans la présente œuvre, la musique devient pour lui un véhicule pour l'exploration artistique de la vie. Dans l'œuvre présentée, Barthélémy Toguo illustre les quatre saisons à travers un langage visuel libre et abstrait. Sur quatre pages de calendrier, il articule une série de formes organiques arrondies dans des gouaches de couleurs différentes. Sous l'application dynamique de la couleur, chaque page est structurée par une forme quadrillée qui délimite le passage des jours inhérents au changement des saisons. Le choix des matériaux de Toguo fait ainsi écho au projet conceptuel de l'œuvre, qui est une méditation sur la nature cyclique du temps.Né au Cameroun en 1967, Barthélémy Toguo connait un succès international, travaillant à la fois avec le dessin, la sculpture, la photographie, la performance et l'installation. Le monde naturel sert de métaphore durable à l'intérêt de l'artiste pour les thèmes du changement, du déplacement, des frontières et de l'exil. Il note: ' En observant notre société contemporaine, j'ai l'impression d'être un courant d'eau, d'être le vent, d'être un oiseau migrateur, d'être ici, là et partout ' (cité dans Chris Spring, 2008 : p. 310).Les œuvres de Toguo font partie d'importantes collections publiques internationales, dont la Tate Modern de Londres, le Centre Pompidou de Paris, le Studio Museum Harlem et le MoMA, tous deux à New York. En 2011, il est élu chevalier de l'Ordre des Arts et des Lettres en France pour les services qu'il a rendus au paysage culturel du pays. En 2016, il a été présélectionné pour le prestigieux Prix Marcel Duchamp, le prix d'art le plus prestigieux de France. Reflétant sa grande influence et sa conviction dans le potentiel éthique de la création artistique, Toguo a été nommé artiste de l'UNESCO pour la paix en 2021.'En tant qu'artiste, mon rôle est de présenter une nouvelle réalité, de donner envie aux jeunes de s'intéresser à l'art et d'ouvrir leur esprit. Aussi, j'ai un devoir envers l'Afrique, je dois rendre au continent ce que je gagne de ma production artistique' - Barthélémy ToguoBibliographieChris Spring, Angaza Afrika: African Art Now (London, 2008)In the present work, Barthélémy Toguo depicts the four seasons in an abstracted visual language. Across four calendar pages, he articulates a series of organic rounded forms in coloured gouache. The title of the piece characterises the work as a visual interpretation of the musical expression of the four seasons – a concept perhaps most readily associated with Antonio Vivaldi's violin concertos, Le Quattro Stagioni (1712-1720), but here related to Wolfgang Amadeus Mozart's virtuosic musical output. Underneath the dynamic application of gouache, each page is structured by a gridded calendar form which references the passing of days inherent to the changing seasons. Toguo's selection of materials thus echoes the conceptual project of the artwork as a meditation on the cyclical nature of time.Music is a recurring theme in Toguo's oeuvre. In his 2014 debut exhibition with Stevenson in Cape Town, he presented an immersive installation which featured a series of his small drawings set atop 35 music stands. Reflecting on the title of the show, Célébrations, Toguo explained, 'it is a concert of 'Célébrations' of life with all its feelings: beauty stands alongside ugliness, pleasure amidst war, sexuality with violence, joy and death'. As in the present work, music becomes a vehicle for Togou's artistic exploration of life. Born in Cameroon in 1967, Barthélémy Toguo has garnered international success as a multimedia artist working with drawing, sculpture, photography, performance, and installation. Pursuing his artistic practice between Paris and his native Cameroon, the natural world serves as an enduring metaphor for the artist's interest in themes of change, displacement, borders, and exile. He notes, '[l]ooking at our contemporary society I feel like being a stream of water, being the wind, being a migrating bird, being here and there and everywhere' (quoted in Chris Spring, 2008: p. 310).Toguo's work is held in international public collections including the Tate Modern in London, the Centre Pompidou in Paris, and the Studio Museum Harlem and MoMA, both in New York. In 2011, he was made a Knight of the Order of Arts and Literature in France for his service to the country's cultural landscape, and in 2016 he was shortlisted for the prestigious Prix Marcel Duchamp, France's most high-profile art award. Reflecting his far-reaching influence and conviction in the ethical potential of artmaking, Toguo was appointed UNESCO Artist for Peace in 2021.'As an artist my role is to present a new reality, to make young people want to get involved in art and to open their minds. Also, I have a duty to Africa, I must give back what I gain from my artistic production to the continent' - Barthélémy ToguoBibliographyChris Spring, Angaza Afrika: African Art Now (London, 2008)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Gerard Sekoto (Afrique du Sud, 1913-1993)Sans titre, 1959 signé et daté en bas à droite 'G Sekoto 59'techniques mixtes sur cartonsigned and dated 'G Sekoto 59' to the lower rightmixed media on cardboard44 x 16cm.17 5/16 x 6 5/16in.Footnotes:ProvenanceCollection privée, ItalieGerard Sekoto, pionnier de l'art moderne sud-africain, a été l'un des premiers artistes noirs à être reconnu sur la scène internationale.Après avoir remporté le deuxième prix d'un concours d'art en 1938, il décide de poursuivre sa passion à plein temps en s'installant à Sophiatown à Johannesburg.Après avoir vécu à Cap Town et travaillé au sein du bouillonnant district 6, Sekoto déménage à Paris en 1947. Un voyage qui s'avère plus pénible que prévu, additionnant problèmes financiers et difficultés à vivre des recettes de son art.Les années 1950 marquent le début d'une vie plus sédentaire, notamment lorsqu'un hébergement lui est arrangé rue des Grands-Augustins, par son galeriste monsieur de Carbonne, dans l'appartement de Marthe Baillon qui deviendra l'amour de sa vie. Cette période est celle d'une profonde recherche esthétique, où Sekoto développe un style propre et unique.Il s'acclimate peu à peu à son nouvel environnement et intègre la scène jazz parisienne. Il y joue du piano et chante du negro spiritual, mais aussi des chansons françaises populaires de l'époque. Bien qu'il ne soit jamais retourné en Afrique du Sud, il a continué à peindre les scènes de sa vie passée à Sophiatown et Eastwood jusqu'à sa mort en 1993, à Paris. Ses œuvres tardives sont mélancoliques et différentes des peintures qu'il réalise in situ au début des années 1940.L'oeuvre ici présentée est une des nombreuses études que Gérard Sekoto réalise en souvenir de son pays natal, réunissant souvenirs d'enfance et réinventions nostalgiques.Gerard Sekoto, a key pioneer of modern South African art, was one of the first black artists to receive international recognition. Sekoto discovered his aptitude for drawing while training as a teacher. After winning second prize in an art competition in 1938, he decided to pursue his passion for artmaking fulltime and moved to Sophiatown in the suburbs of Johannesburg. Here he began working with oil paint and undertook bold experimentations with painterly mediums. Sekoto settled in Paris in 1947 after almost a decade moving around South Africa. His first years in the French capital were hard. The 1950s marked the beginning of a more stable existence, especially once his gallerist, Monsieur de Carbonne, had arranged for him to live in an apartment belonging to Marthe Baillon – the woman who would later become the love of his life. This period was one of profound artistic development during which time Sekoto strove to further develop his own distinctive style.Following his move to France, Sekoto gradually acclimated to his new environment, engaging particularly with the Parisian jazz scene. Although he never returned to South Africa, he continued to paint scenes from his life in Sophiatown and Eastwood until his death in 1993. In contrast to the paintings he made in situ in the 1940s, these later works created during his self-imposed exile in Paris are deeply nostalgic in nature.The present work is one of these many scenes that Gerard Sekoto made in remembrance of his native country, reinterpreting his memories as a young man in South Africa through his nostalgic reinventions.For further information on this lot please visit Bonhams.com

Abdoulaye Diarrassouba 'Aboudia' (Côte d'Ivoire, né en 1983)Sans titre, 2014 techniques mixtes sur toilemixed media on canvas298 x 399cm.117 5/16 x 157 1/16in.Footnotes:ProvenanceGalerie Cécile Fakhoury, Abidjan, Côte d'IvoireCollection privée, FranceExpositionAbidjan, Nouchi City : Aboudia à la Galerie Cécile Fakhoury, du 26 septembre au 15 novembre 2014Né en 1983 en Côte d'Ivoire, Abdoulaye Diarrassouba entâme des études au Centre technique des arts appliqués de Bingerville à l'âge de 15 ans, et obtient le diplôme de l'Institut des arts d'Abidjan en 2005.Travaillant aujourd'hui entre son Abidjan natal et Brooklyn à New York, Aboudia reconnaît l'influence durable de l'imagerie visuelle qu'il a rencontrée en grandissant dans le centre urbain de la Côte d'Ivoire : « Les enfants dans la rue écrivaient leurs rêves avec des crayons de couleur, du sable, des pierres, des tuiles - tout ce qu'ils pouvaient trouver. Certains dessinaient des maisons et des voitures, d'autres des salles de classe, des jardins et des familles - maman et papa. Toutes les choses qui m'avaient manquées dans la vie. Et je me suis dit que j'allais emprunter les écrits - et je dis bien emprunter - ils appartiennent aux enfants de la rue. J'avais besoin de délivrer leur message dans les salles d'exposition pour sensibiliser le public à ces enfants errants de la rue» (cité dans Todd Bartell, 2017).Créée en 2014, la présente œuvre incarne l'interprétation idiosyncrasique d'Aboudia, nourrie d'images associées à la culture jeune d'Abidjan. Ainsi, des foules de figures enfantines se bousculent pour attirer l'attention au milieu de la circulation. Aboudia conçoit ces figures comme les représentations abstraites de la prochaine génération d'enfants ivoiriens, qu'il estime essentielle à la réussite future du pays. Les expressions des enfants sont ambiguës - quelque part entre un sourire et une grimace - témoignant des nombreuses difficultés qu'ont engendré les violences de la guerre civile en Côte d'Ivoire. Aboudia considère son utilisation de la couleur et du graphisme comme un antidote à ces défis : « Je veux que la vie soit belle, alors je traite la tristesse avec bonheur. Je parle de quelque chose de triste, mais cela vous rend heureux lorsque vous regardez le tableau. Boum ! Il y a de la lumière. Il y a de la couleur. J'utilise la couleur pour transformer la tristesse en bonheur ». (cité dans Todd Bartell, 2017).Monumentale par son échelle, la présente œuvre sur toile a été présentée lors de la première exposition personnelle d'Aboudia à Abidjan ; Nouchi City : Aboudia à la Galerie Cécile Fakhoury (26 septembre - 15 novembre 2014). Il explique que la taille de l'œuvre n'est pas uniquement motivée par le désir de créer une impression visuelle imposante. Il note plutôt que 'les peintures de grand format me permettent de penser aux rêves dans la grandeur et dans les mêmes couleurs que ces jeunes qui errent dans les rues, peignant sur les grands murs que nous trouvons tout autour de nous' (cité dans Orlando Reade, 2013).En effet, l'application spontanée de pigments et le format à grande échelle privilégiés par l'artiste rappellent à la fois les graffitis muraux d'Abidjan et les expérimentations avant-gardistes qui occupent une place centrale dans le canon occidental, tel que l'ont exprimé Cy Twombly et Jackson Pollock. Deux artistes dont Aboudia a beaucoup admiré les œuvres lors de sa visite de la collection permanente de la Tate Modern, à Londres. Reconnaissant cette présence de diverses références culturelles et artistiques dans son travail, Aboudia nomme son approche stylistique Nouchi - un terme plus typiquement utilisé pour décrire l'argot parlé dans les centres urbains de Côte d'Ivoire, qui fusionne les vocabulaires ivoirien et français.Aujourd'hui, les œuvres exubérantes d'Aboudia ont entraîné une série de résultats records aux enchères. Depuis 2007, Aboudia a été largement exposé dans le cadre d'expositions individuelles et collectives internationales. Ses œuvres font également partie de grandes collections, notamment celles de la Saatchi Gallery (Londres), du Nevada Museum of Art (États-Unis) et de la Collection Jean Pigozzi d'art africain. Au début de cette année, Aboudia a bénéficié de sa première exposition personnelle à Paris à la Galerie Cécile Fakhoury (19 février - 12 mars 2022), démontrant ainsi sa présence à l'avant-garde du paysage artistique européen.BibliographieTodd Bartel, 'Aboudia – Light & Dark', The Cambridge School of Weston, 3 September 2017, en ligneOrlando Reade, 'How to Paint Ghosts', Africa Is a Country, 4 October 2013, en ligneAbdoulaye Diarrassouba, widely known as Aboudia, has risen to the attention of the international artworld with his dynamic renderings of the street culture of his native Abidjan, Côte d'Ivoire. Born in 1983, Aboudia left home at the age of 15 to study at the Centre Technique des Arts Appliqués in Bingerville before graduating from the Abidjan Institut des Arts in 2005. Now working between his native Abidjan and Brooklyn, New York, Aboudia recognises the enduring influence of the visual imagery he encountered when growing up in the urban centre of the Côte d'Ivoire:'Kids in the street would write their dreams using crayons, sand, rocks, tiles – whatever they could find. Some drew houses and cars, others drew classrooms and gardens and families – mom and dad. All the things I had missed in life. And I said to myself that I would borrow the writings – and I mean borrow – it belongs to the kids in the street. I needed to deliver their message to exhibition halls to raise public awareness of these roaming children of the street' (quoted in Todd Bartell, 2017).Created in 2014, the present work epitomises Aboudia's idiosyncratic interpretation of these images associated with the youth culture of Abidjan. Crowds of childlike figures, outlined in vibrant oil stick, jostle for attention among traffic. The artist conceives of these figures as representative of the next generation of Ivorian children that he believes to be essential to the future success of the country. The children's expressions are ambiguous – somewhere between a smile and a grimace – to evidence the hardships faced by many following the violence that erupted in Côte d'Ivoire associated with the civil war. Aboudia sees his use of colour and graphic style as an antidote to these challenges: 'I want life to be good – so I treat sadness with happiness. I speak of something sad, but it makes you happy when you look at the painting. Boom! There's light. There's color. I use color to transform sadness into happiness' (quoted in Todd Bartell, 2017).Monumental in scale, the present work on canvas sat at the heart of Aboudia's first solo show in Abidjan; Nouchi City: Aboudia at Galerie Cécile Fakhoury (26 September – 15 November 2014). The artist explains that the size of the work is not solely motivated by the desire to create an imposing visual impression. Rather, he notes, '[l]arge format paintings allow me to think of dreams in the largeness and in the same colours of those youth who roam the streets, painting on the large walls we find ... For further information on this lot please visit Bonhams.com

Gonçalo Mabunda (Mozambique, né en 1975)O trono em dois tempos, 2015 fer, armes démilitarisées et matériaux de récupération soudésiron, demilitarized weapons and welded scrap materials103 x 80 x 52cm.40 9/16 x 31 1/2 x 20 1/2in.Footnotes:ProvenanceVente : Bonhams, New York, Modern & Contemporary African art, 2 mai 2019, lot 10Collection privée, FranceNé au Mozambique en 1975, Gonçalo Mabunda puise dans la mémoire collective de son pays, encore marquée par les violences de la guerre civile. Il transforme des armes démilitarisées en œuvres d'art engagées et percutantes, qui portent à la fois une forte connotation politique et une réflexion sur le pouvoir de la résilience et la créativité du Mozambique.Gervanne et Matthias Leridon découvrent les œuvres de Gonçalo Mabunda lors de la formidable exposition Bang ! Bang ! organisée en 2006 à Saint Etienne. Très vite, ils décident de le rencontrer et de soutenir cet artiste iconoclaste. Pour eux, Gonçalo Mabunda est un magicien de la vie, un sourire éclatant, une volonté de vivre pour mieux façonner un monde où chaque vie doit compter.En 2011, ils imaginent pour lui un projet fou : proposer à Bill Clinton que les Clinton Awards remis chaque année par au cours de la Clinton Global Initiative à New York soient réalisés par Gonçalo. Depuis cette date, on peut admirer sur le bureau de Bill Clinton un globe signé... Mabunda!Gonçalo Mabunda est un artiste majeur qui plonge ses mains dans l'ombre de l'histoire pour façonner l'humanité de demain.Born in Mozambique in 1975, Gonçalo Mabunda is a significant artist represented within the Gervanne + Matthias Leridon Collection. He transforms the disarmed weapons of the country's civil war into powerful works of art. Gervanne and Matthias Leridon first discovered the artist's works at the compelling 2006 exhibition Bang! Bang! Guns, Gangs, Games et Oeuvres d'Armes at the musée d'Art et d'Industries in Saint-Étienne, France. Their admiration for the artist's practice prompted the couple to extend their support. Their first meeting flourished into a mutual friendship. For the couple, Mabunda embodies the desire to shape a better world in which the impact of each life is felt. He is an artist who has plunged his hands into the shadows of history to shape the humanity of tomorrow.Motivated by their great admiration for the social impact of Mabunda's artistic practice, Gervanne and Mattias Leridon devised an ambitious plan: to ask the ex-president of the United States Bill Clinton if Gonçalo Mabunda could design the awards given at the annual Clinton Global Citizen Awards to honour individuals who have made an outstanding impact in philanthropy, government, civil society, and the corporate sector. Their proposal was accepted, and one of the awards stands proudly on Bill Clinton's desk.For further information on this lot please visit Bonhams.com

George Lilanga di Nyama (Tanzanie, 1934-2005)Watu Wanakunywa Chai Hasubuhi signé en bas au centre 'lilanga'; titré 'Watu Wanakunywa Chai Hasubuhi' au reversacrylique sur panneau de boissigned 'lilanga' to the lower centre; titled 'Watu Wanakunywa Chai Hasubuhi' on the reverseacrylic on wooden pannel71 x 151cm.27 15/16 x 59 7/16in.Footnotes:ProvenanceVente: Millon, Paris, Art contemporain africain, 19 novembre 2014, lot 212Collection privée, FranceC'est dès son entrée au lycée que l'artiste tanzanien George Lilanga s'initie à la sculpture, faite de racines, de bois tendre et, plus tard, d'ébène, qu'il travaille dans la tradition Makondé. Il fonde en 1973, dans la région de Dar es Salaam la Maison des Arts, Nyumba ya Sanaa qui, jusqu'en 2010, promeut activement les artistes et artisans locaux. Il s'intéresse depuis lors à la sculpture et à la peinture de façons similaires et complémentaires. Comme d'autres artistes tanzaniens modernes, Lilanga a fréquenté les cercles artistiques de l'école Tingatinga, tout en concervant son propre style. Après 1972, il devient essentiellement un peintre, et certaines de ses œuvres sont présentées au Musée national de Dar es Salaam en 1974.Les personnages de Lilanga s'entremêlent dans des univers polychromes tourmentés, sur fonds de couleur rouge, bleu, jaune ou vert. La malice et l'expressivité présentes dans ses toiles donnent aux scènes de vie un air de caricatures. Ses œuvres dérivent de la culture Makondé. Les mashetani (shetani au singulier) que George Lilanga n'a de cesse de représenter sont des figures populaires, empreintes des mythologies et des croyances d'Afrique de l'Est, particulièrement appréciées en Tanzanie. 'Dans toute la culture africaine, la sorcellerie est très présente. Elle fait partie intégrante de notre façon de croire et de vivre. Mes personnages appartiennent au monde de la sorcellerie, ils vivent les histoires et les aventures qui m'ont été racontées par les sorciers quand j'étais enfant. Nos propres rêves concernent la sorcellerie et les sorciers. C'est pourquoi mes œuvres représentent presque exclusivement des sorcières et des démons.' (George Lilanga)Aux côtés d'autres artistes africains contemporains, ses œuvres ont été exposées dans des salons d'art internationaux, notamment Africa Remix 2004 ou African Art Now en 2005. Grâce à ces expositions et à l'intérêt que lui ont porté les critiques d'art et les collectionneurs d'art africain contemporain, Lilanga est devenu l'artiste tanzanien le plus renommé au niveau international.BibliographieGrimaldi Forum Monaco, Arts of Africa: la collection contemporaine de Jean Pigozzi (Milan, 2005), pp. 57-64.Tanzanian artist George Lilanga began carving wood – namely, roots, softwood and, later, ebony – in the Makonde tradition when he entered high school. In 1973, he founded the House of Arts, Nyumba ya Sanaa, in the Dar es Salaam region of Tanzania. The cultural centre actively promoted local artists and craftsmen until its closure in 2010. Since the 1970s, Lilanga has been interested in both sculpture and painting which serve as complementary aspects of his artistic practice. Like many other modern Tanzanian artists, Lilanga engaged with the art circles associated with the increasingly influential Tingatinga School, yet always maintained his own distinctive style. After 1972, he worked primarily as a painter, and presented some of his works at the National Museum in Dar es Salaam in 1974.Lilanga's painted characters are typically intertwined in tormented polychrome universes articulated against red, blue, yellow or green backgrounds. The mischievous expressiveness encapsulated in his paintings imbue a sense of caricature to the scenes depicted. The artist's works draw upon his Makonde culture. The mashetani (or shetani in the singular) that populate Lilianga's work are spirit figures imbued with the mythologies and belief systems of East Africa and are particularly prevalent in Tanzanian culture. The artist explains:'In all African culture, witchcraft is very present. It is an integral part of our way of believing and living. My characters belong to the world of witchcraft, they live the stories and adventures that were told to me by witch doctors when I was a child. Our own dreams are about witchcraft and wizards. That's why my work almost exclusively depicts witches and demons.'Alongside other contemporary African artists, Lilianga's work has been exhibited in international art fairs, including Africa Remix 2004 and African Art Now in 2005. Partly as a result of these exhibitions and the interest he has garnered from art critics and collectors of contemporary African art, Lilanga has become the most internationally renowned Tanzanian artist.BibliographyGrimaldi Forum Monaco, Arts of Africa: la collection contemporaine de Jean Pigozzi (Milan, 2005), pp. 57-64.For further information on this lot please visit Bonhams.com

Cookery.- Menon. The Professed Cook: or, the Modern Art of Cookery, Pastry, and Confectionary, 2 vol. bound in 1, second edition, translated by Bernard Clermont, spotting and staining, contemporary half-morocco, rebacked and recornered, 1749; and 2 others coookery, 8vo & 12mo (3)

Aeronautics.- [Pocock (George)] A Treatise on the Aeropleustic Art, or Navigation in the Air, by means of Kites, or Buoyant Sails; with a description of the Charvolant, or Kite Carriage, folding engraved aquatint frontispiece of the charvolant, 6 lithographed plates by Rose Gilbert after David Cox, Jun., bound without advertisement leaf at end, contemporary manuscript note to p.37, some spotting to plates, modern dark blue morocco, gilt, spine gilt, upper cover slightly splayed, 8vo, 1851.⁂ Intriguing work, first published in 1827 as The Aeropleustic Art, or, Navigation in the Air, by the use of Kites or Buoyant Sails. The delightful illustrations show use at sea and the charvolant on land. The author was the grandfather of W.G.Grace; fortunately for cricket his daughter Martha was unharmed during any of the experiments with his kites in which she and other family members partook. Library Hub lists 7 copies of this second edition.

Glass.- Holbach (Paul Henri Dietrich, Baron d', translator) Art de la Verrerie, de Neri, Merret et Kunckel, first edition, engraved frontispiece and 15 folding plates, contemporary ink initials "B.R.F." to head of title, several extensive pencil annotations/translations to text particularly sections with recipes and a couple of plates, occasional browning, final section 'Secret des Vraies Porcelaines de la Chine et de la Saxe' water-stained, contemporary mottled calf, rubbed, corners worn, rebacked, [Duveen 427; Ferguson II, 135], Paris, Durand & Pissot, 1752 § Delaval (Edward Hussey) Ricerche Sperimentali sopra le cause de'cambriamenti de'colori nelli Corpi Opachi, e Colorati..., first edition in Italian, with final imprimatur leaf, modern calf-backed marbled boards, Bologna, Tommaso d'Aquino, 1779; and another on glass-making, 4to & folio (3)⁂ The second work concerns the colours produced in glass by various metals.

Perfumery.- Piesse (G.W.Septimus) The Art of Perfumery, 24pp. catalogue at end, G7 & 8 torn and repaired, ink ownership inscriptions to half-title and front pastedown, original pictorial blue cloth, gilt, rubbed, upper joint repaired at head, new label, preserved in modern cloth slip-case, 1855 § Rimmel (Eugene) The Book of Perfumes, some light spotting, modern half calf, 1865, both first editions, with wood-engraved plates and illustrations; and another copy of the first, 8vo (3)

Two modern Art Deco style glass scent bottles of geometric form

Two modern Art Deco style scent bottles in black and clear glass of faceted geometric design

Stone (F.G. (Peter), 1900-1985). Art critic, travel writer and photographer. A neatly-presented photographic archive compiled chronologically in 22 albums, 1962-73, subjects include artists and their artworks, people and places across Europe, the Mediterranean and the Middle East, over 300 gelatin silver prints and colour photographs of various sizes, corner-mounted or pasted on to album leaves, various sizes, modern plastic photo albums with volume numbers sellotaped to spines, 4to (25 x 25 cm)QTY: (22)NOTE:F.G. Stone was born in Bristol, moving to London in his twenties where he became a journalist and art critic. By 1939 he was chief sub-editor of The Jewish Chronicle. After the Second World War he continued to work at The Jewish Chronicle, becoming their art critic. He took up photography fairly late in life, the medium becoming an essential tool in his role as an art critic. He was also a travel writer and photographer for Country Life magazine. At this time he adopted the name Peter Stone and ran his business from his home in St John's Wood, London.

A collection of mainly contemporary art to include: a large pastel, 50 x 67cm; a  woodblock print of a farm scene, 36 x 38cm; a modern etching of a William Blake page - 'Behold now, Behemoth...'; two abstract  lino prints, 25 x 42cm; trio of etchings by Christine Packenham, each 13 x 15cm; Persian painting, 14cm diameter; abstract gouache by Lucien Cooper, 25cm sq; framed montage of silk cigarette packet tokens.

Prof. Walter Teutsch, Allegorie des Frühlingskleines nacktes Mädchen, sich mit der rechten Hand an einem blühenden Bäumchen festhaltend und Narzissen in der Linken haltend, vor weiter sonniger Frühlingslandschaft, gering pastose Malerei, Jugendstil, Öl auf Leinwand, rechts unten signiert und datiert "Teutsch 1918", rückseitig auf der Leinwand undeutlich gestempelt, auf dem Rahmen teils undeutliche Annotation "Walter Teutsch Kinderbildnis ...", original gerahmt, Falzmaße ca. 96 x 75,5 cm. Künstlerinfo: auch Walther Teutsch, sudetendt. Maler, Illustrator, Zeichner, Karikaturist und Graphiker (1883 Kronstadt/Siebenbürgen [Brașov] bis 1964 München), zunächst Finanzkaufmann und in der Sparkasse Kronstadt tätig, 1903 Hinwendung zur Kunst und kurzzeitig Ausbildung in Leipzig, ab 1903 Schüler am "Lehr- und Versuchs-Atelier für angewandte und freie Kunst [Debschitz-Schule]" bei Wilhelm von Debschitz und Hermann Obrist in München, anschließend Schüler der Heymannschule bei Moritz Heymann, studierte 1906-09 an der Akademie München bei Hugo von Habermann, 1912-14 in Trient, anschließend freischaffend in München und Mitarbeiter der Münchner Zeitschriften "Jugend" und "Simplicissimus", Mitglied der Neuen Secession München, 1922 naturalisiert und zeitweise in Murnau ansässig, 1923-39 Dozent und ab 1926 Professor an der Kunstgewerbeschule München, Mitglied im Deutschen Werkbund und im Reichsverband bildender Künstler Deutschlands, 1939 als "entartet" diffamiert, in den Ruhestand entlassen und mit Ausstellungsverbot belegt, 1946-52 Dozent für Malerei an der Münchner Akademie, Mitglied der Neuen Gruppe München, vertreten unter anderem im MoMA (Museum of Modern Art] New York, tätig in München, Quelle: Thieme-Becker, Vollmer, Saur "Bio-Bibliographisches Künstlerlexikon", Matrikel der Münchner Akademie, Dressler, Bruckmann "Münchner Maler des 19./20. Jh.", Ries und Internet.

A collection of eight vintage art and culture books. Including Paul Klee on Modern Art by Faber and Faber, David Bomberg by Richard Cork, Picasso-his-life-his art and other books.

Pablo Picasso (1881-1973)Femme, 1955 stamped Madoura Plein Feu/Edition Picasso (underneath)white earthenware ceramic pitcher painted in coloursHeight 33.6cm (13 1/4in).Conceived in 1955 and executed in an edition of 100Footnotes:ProvenanceChristie's, Impressionist & Modern Art Sale, London, 27 November 2005, Lot 147.Acquired from the above sale by the present owner.LiteratureAlain Ramié, Picasso, Catalogue of the Edited Ceramic Works, 1947-1971, Vallauris, 1988 (no. 297)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Pablo Picasso (1881-1973)Petit Cheval no.61, 1963 marked and numbered n° 61 / Madoura / 62/150 / Edition Picasso (underneath)white earthenware ceramic plate painted in colours, partially glazedDiameter 25.6cm (10 1/8in).Conceived in 1963 and executed in a numbered edition of 150Footnotes:ProvenanceChristie's, Impressionist & Modern Art Sale, London, 27 November 2005, Lot 145.LiteratureAlain Ramié, Picasso, Catalogue of the Edited Ceramic Works, 1947-1971, Vallauris, 1988 (no. 470)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

CHARLES EAMES (U.S., 1907 - 1978) & RAY EAMES (U.S., 1912 - 1988)."Lounge Chair, design 1956.Rosewood frame, with black leather upholstery and black polished aluminium base.Missing leather and legs.Measurements: 70 x 55 x 107 cm.The Lounge Chair is an iconic piece of modern design. Created by Charles and Ray Eames in the 1950s, it was designed with the aim of combining elegance and supreme comfort. Made of moulded wood, with leather upholstery, this model forms part of important collections such as that of the MOMA in New York. Initially marketed by the furniture manufacturer Herman Miller, both this company and Vitra have continued to produce the model using the same quality-assured manufacturing methods since the 1950s.Charles and Ray Ames, a married couple and artistic couple, worked in the fields of industrial and graphic design, fine art and film, and are responsible for numerous designs that have become twentieth-century classics. Charles Eames studied architecture for two years at the University of Washington, then began his career working in a studio on residential housing projects. In 1938 he moved to Cranbrook, Michigan, to continue studying architecture and design at the city's Academy of Art. He eventually became a teacher there, heading the industrial design department. Together with Eero Saarinen, the son of his teacher Eliel Saarinen, he designed the trophy for the Organic Design Prize, awarded by the Museum of Modern Art in New York. In 1941, after divorcing his first wife, he married his colleague at Cranbrook, Ray Kaiser. Together they settled in Los Angeles, where they remained for the rest of their lives. In the late 1940s, Ray and Charles designed their home together, known as the "Eames House", now considered a masterpiece of modern architecture. In the 1950s the couple continued to work in architecture and furniture design, pioneering the use of new techniques and materials such as fibreglass and plastic resin in the manufacture of chairs. They are currently represented in the Design Museum in London and the MoMA in New York, among many others.

Nikos Engonopoulos (Greek, 1907-1985)Dédale signé en grec et daté '49' (en bas à droite)tempera à l'œuf sur papier contrecollé sur toile 35 x 20.5cm (13 3/4 x 8 1/16in).Peint en 1949.signed in Greek and dated (lower right)egg tempera on paper laid on canvasFootnotes:ProvenanceThe artist's estate, Athens. Private collection, Athens.ExpositionsParis, Centre Georges Pompidou, Surréalistes Grecs, group exhibition, June 25 - September 23, 1991.Athens, Aenaon International Centre of Fine Arts, In Search of Greekness, the '1930s Generation', group exhibition, December 19, 1994 - January 31, 1995 (discussed, p. 19 and illustrated in the exhibition catalogue, p. 80).Athens, Astrolavos Gallery, N. Engonopoulos, Mythology, Byzantium, Revolution, March 16 - April 3, 1999, no. 35.Athens, Astrolavos Gallery, Nikos Engonopoulos, Surrealist Whispers, October 24 - November 29, 2002, no. 15.LittératureThe Greek Painters, vol. II, 20th Century, Melissa editions, Athens 1975, p. 262 (discussed), p. 269, fig. 13 (illustrated).N. Loizidi, Surrealism in Modern Greek Art, the Case of Nikos Engonopoulos, Nefeli editions, Athens 1984, p. 96 (mentioned), p. 196 (catalogued), p. 79, fig. 10 (illustrated).Techni kai Logos magazine, no. 3, December 1985, p. 18 (mentioned), p. 20 (discussed and illustrated).I. Galeridis, Mythological Representations by Modern Greek Painters of the Late 19th and Early 20th Centuries, doctoral dissertation, Athens 1990, pp. 71-72 (discussed).To Vima newspaper, December 18, 1994 (illustrated).Phasis academic journal, no. 2-3, 2000, p. 185 (mentioned).Nikos Engonopoulos, the Byzantine, Athens 2001, p. 12 (discussed), p. 57 (illustrated).D. Vlachodimos, Reading the Past in Engonopoulos, Indiktos editions, Athens 2006, pp. 227-228 (discussed), fig. 60 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Mythology, Ypsilon editions, Athens 2006, no. 50, p. 114 (discussed), p. 115 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 366, p. 148 (illustrated), p. 265 (illustrated), p. 432 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 264-265 (discussed), p. 966 (listed), p. 266, fig. 82 (illustrated). Nea Estia magazine, vol. 162, no. 1804, October 2007, pp. 708-709, fn. 36 (discussed).L. Filotas, Tradition and Renewal / The Survival of Byzantine Tradition in the Work of the Painters Agenor Asteriadis abd Nikos Engonopoulos, Democritus University of Thrace, Komotini 2011, p. 44, fig. 3 (illustrated).Kritiki Estia, per. IV, vol. 15 (2014-18), Chania 2018, pp. 261-262 (discussed), p. 262, fig. 19 (illustrated).http://www.eikastikon.gr/kritikesparousiaseis/zias.html (discussed).http://www.eikastikon.gr/zografiki/egonopoulos_3.html (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nikos Engonopoulos (Greek, 1907-1985)L' Archéologue signé en grec et daté '43' (en bas à droite)huile sur toile74.5 x 56.5cm (29 5/16 x 22 1/4in).Peint en 1943.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceThe artist's estate, Athens.ExpositionVenice, XXVII Esposizione Biennale Internationale d'Arte, Padiglione della Grecia, Nikos Engonopoulos, June 19 - October 17, 1954, no. 17 (listed in the exhibition catalogue, p. 295).LittératureArdin magazine, no. 57-58, December 2005 - February 2006, p. 27 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007, p. 47 (listed), p. 7 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 309, p. 64 (illustrated), p. 257 (illustrated), p. 424 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 665-666 (discussed), p. 977 (listed), p. 667, fig. 278 (illustrated).Painted in 1943, the year Engonopoulos wrote his emblematic Bolivar, L'archéologue is no less a masterpiece, introducing the viewer to a magical pictorial world of poetic metaphor. Merging symbols of different origin and character, and using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in miniature manuscripts and narthex decoration,2 Engonopoulos combines the ancient past with modern-day elements to subvert, in a typical surrealist fashion, the conventional ways with which rational thought perceives the world. Yet, as noted by theatre director and playwright Alexis Solomos, what is astonishing with him is the all prevailing spirit of Greece in his work. 'Everything Engonopoulos touches becomes Greek.'3 Here, set against a bright blue Greek sky interrupted by an ancient temple, a schematized tree and an unmistakably Engonopoulian travelling cloud, the visual act takes place in a shallow space reminiscent of a stage set that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to introduce the theatrical into his work, has once said that 'under the stage lights every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 At the centre of the composition, a standing figure in a green tunic, possibly the archaeologist himself, seems determined to gain control over this fascinating gathering of images and restore a sense of order. Captured both frontally and in profile by means of the late cubist pictorial convention of contraction, he is flanked by a phantom figure with a picassesque head and a dazzling red clamys, and a helmeted kouros-like warrior holding a walking stick and a topper hat. The three monumental figures are being stared at by a woman-like wig stand with voluptuous curves and daringly rendered nipples, while a host of details, including a Doric column drum juxtaposed to ionic volutes in the extreme foreground, a lamp (a distinct and recurring theme in Engonopoulos's work with symbolic overtones), a chequered tile, and the artist's signature red-and-white bathing suit partially shown on the right, undermine the accepted narrative cohesion of images to explore the uncharted trails of the mind. Although this unexpected staging of dream-like images and objects is a fascinating feature of the work, no less impressive is the handling of colour. Dazzling reds, blues, greens and oranges, applied side by side with minimal tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.L'archéologue was exhibited in the 1954 Venice Biennale6, where, for the first time, Greece was represented by one artist alone. As noted by K. Perpinioti-Agazir, who prepared the painter's catalogue raisonné, this was perhaps the most important milestone in Engonopoulos's career.7 In Venice, he showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'1 O. Elytis, Open Papers [in Greek], Asterias editions, Athens 1974, p. 294.2 See D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 228.3 J. Lehman ed., New Writing and Daylight, New Direction editions, England 1946, p. 126.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters-20th Century [in Greek], Melissa editions, Athens 1974, p. 261.6 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.7 See K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural [in Greek and French], exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 78.For further information on this lot please visit Bonhams.com

Yiannis Moralis (Greek, 1916-2009)Pleine Lune I inscription en grec, signé et daté '1977' (en bas à droite); inscription, signé et daté 'Yannis MORALIS/ Athènes -Grèce/ 1977' (au revers)acrylique sur toile146 x 124cm (57 1/2 x 48 13/16in).signed and inscribed in Greek and dated (lower right); signed, dated and inscribed (on the reverse)acrylic on canvasFootnotes:ExpositionAthens, Zoumboulakis Gallery, Moralis, March 1978, no. 25 (illustrated in the exhibition catalogue).LittératureSima magazine, no. 22, no. 5, March 1979, p. 48 (illustrated).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1980, no. GR TITSpit f636_57, p. 4 (illustrated).Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 251, p. 255 (illustrated).To Tetarto magazine, no. 35, March 1988, p. 70 (shown with the artist in a photograph from his 1978 one man show at the Zoumboulakis Gallery, Athens).C. Christou, Moralis, Adam editions, Athens 1993, no. 176 (illustrated).Tenderly embraced by a soft glow of youthful radiance and enthralled by the poetry and eroticism of the curved line, Full moon I's graceful forms reflect the artist's long preoccupation not only with the schematised and suggestively rendered human figure, but also with the inner rhythm and musical resonance generated by the daring combination of varied types, shapes and colours. As aptly noted by Professor D.N. Maronitis, 'Moralis's paintings take us directly to the wondrous world of pure vision, which emerges, however, from the world of touch.1 Demonstrating solid structure, purity of form, poetic abstraction, disciplined rhythm, harmonious proportions, and ingenious interplay of gently flowing curves, Full Moon I achieves a striking balance between feeling and thought. The figures are broken down to their constituent parts and then reassembled; as a result the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. As noted by Nobel laureate O. Elytis 'by using a limited vocabulary of form, in which recurrent and opposing curves of ochres and blacks dominate, Moralis has succeeded—in a manner unprecedented in Greek art—to transform the language of the natural world into a purely optical phenomenon. Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision.'2 Reviewing the artist's work from the late 1970s, art history Professor C. Christou incisively noted that in these paintings 'we overhear an internal dialogue between warm and cool colours, active and passive themes, hard and soft forms, fluid and fixed lines, all of which contrive to create an astonishingly expressive effect. Moralis remains true to the human figure, notwithstanding that he portrays it in such a simplified and schematic manner that it takes on the appearance of a mere suggestion.'3 Likewise, K. Koutsomallis, Director of the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, noted: '1976 marks the beginning of a new period in his work devoted exclusively to geometric abstraction. Forms now become wholly immaterial, dissolving into pure schemata. Their monumental character does not reduce their sensuality. On the contrary, eroticism acquires its transcendental expression. In no way does this sensual robustness of form -vaguely reminiscent of nude human figures- take anything away from their graceful tenderness, lyrical quality and richness.'4 The evocative symbolism of the couple's loving embrace and the serene rhythm dictated by a sense of human scale, compose a universe of poetic images that echoes the timeless values of ancient Greek art. True to his Greek heritage and yet utilising a formal vocabulary informed by modern sensitivity, Moralis sought the realisation of a classical ideal, the discovery of a universal measure for logos and pathos. By focusing only on the essential, he expressed what is permanent and universal. 'In his fragmented and elliptical figures and in the wealth of his linear compositions and chromatic statements, he neither describes nor narrates but expresses and interprets the forces of creation.'51 D.N. Maronitis, 'The Gift of Vision' [in Greek], To Vima daily, 15.3.1992.2 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Galerie, Athens 1972.3 C. Christou, Moralis, Adam editions, Athens 1993, p. 33.4 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, pp. 18-19, 30.5 Christou, Moralis, pp. 20, 33, 34.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)Cabines abandonnées signé et daté 'Ghika 70' (en bas à droite)huile sur panneau70 x 58cm (27 9/16 x 22 13/16in).Peint en 1970.signed and dated (lower right)oil on panelFootnotes:LittératureK.C. Valkana, Nikos Hadjikyriakos-Ghika, His Painting Oeuvre, Benaki Museum edition, Athens 2011, no. 409, p. 304 (illustrated).Angular shapes, slanted lines and geometric planes imbued with the breath of the earth emerge like ancient ruins from the rugged terrain, while a wooden cabin in the distance seems to impose order on an elemental universe, recalling the artist's famous Kifissia at the National Gallery in Athens. As the schematic undulations of the landscape ascend in petrified waves, the horizontal tilts into the vertical, echoing the Byzantine backgrounds that tend to unfold upwards instead of receding in depth. As noted by Professor M. Michelis, 'Ghika's vision is akin to the Byzantine mosaics of the Chora Monastery.'1 Small patches of blue sky provide a sense of peace, while in the entire upper part, the subdued palette opens up to a soothing stretch of wonderful lavenders and lilacs. Starting off with a Cezannesque conception of the landscape's deeper geometrical structure, Ghika delves beyond the surface to capture something of its inner truth. According to the painter himself, the fragmentations and distortions of modern art allude to an enduring convention of Greek art: 'The character of the Greek schema, whether in antiquity, the Byzantine era or folk art, is by and large geometric.2 Here, the abandoned cabin in the background and the masonry stones on the left—which in a sense foreshadow the artist's body of work inspired by the restoration of an abandoned olive press on the island of Corfu in the mid-1970s— allude to the words of art historian M. Chatzidakis: 'Ghika's paintings are perfect architectural edifices where each element has an essential and irreplaceable function, while all parts are completely subservient to the whole.'3 1 M. Michelis, 'N. Hadjikyriakos-Ghika' [in Greek], Zygos magazine, no. 58, September 1960, p. 10.2 N. Hadjikyriakos-Ghika, 'On Greek Art' [in Greek], Neon Kratos journal, no. 5, January 1938. 3 See M. Chatzidakis in N. Hadjikyriakos-Ghika [in Greek], exhibition catalogue, Eirmos gallery, Thessaloniki 1994, p. 34.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Chryssa (Vardea) (Greek, 1933-2013)Les portes de Times Square, New York signé et daté 'Chryssa/1965' (sur l'étiquette en bas à droite)néons, plexiglas114.3 x 94 x 71.2cm (45 x 37 x 28 1/16in).signed and dated (on label on the right side)neon sculpture with timer in plexiglass boxred, yellow, green and blueFootnotes:ExpositionAthens, Stavros Mihalarias Art, Chryssa '60-'90, May-July, 1990, no. 30 (catalogued and illustrated in the exhibition catalogue).When Greek-born Chryssa first arrived in New York in 1954, she was immediately struck by the visual dynamics of this great urban environment. Times Square, a legendary NY landmark with fascinating signs, calligraphic letters, and flashing lights, seemed to her utterly beautiful and poetic, summoning recollections of her Greek heritage: 'In Times Square, the sky is like the gold of Byzantine mosaics or icons.'1 Responding to these age-old presences in contemporary American commercial symbols and guided by a European sense of style, Chryssa, the first artist working in America to use emitted electric light, produced neon sculptures with majestic forms and oscillating letter-like patterns. Here, tightly grouped in a repetitive sequence and encased in a smoky-grey Plexiglas container, the curved red, yellow, green and blue neon tubes heighten the abstract qualities of the calligraphic elements, capturing the romantic imagery and inherent poetry of the modern metropolis. 1 Chryssa: Urban Icons, exhibition catalogue, Albright-Knox Art Gallery, Buffalo, New York, 1982, p. 4.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Alecos Fassianos (Greek, 1935-2022)Cycliste fumant signé 'A. Fassianos' (en haut à gauche)huile sur toile62 x 52cm (24 7/16 x 20 1/2in).Peint en 1972.signed (upper left)oil on canvasFootnotes:ExpositionsRhodes, Municipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, S. G. Zachariades Collection, July 30 - November 13, 2009 (illustrated in the exhibition catalogue, 23, 42-43).Thessaloniki, Municipal Art Gallery, Alecos Fassianos, Unknown Works from the S.G. Zachariades Collection, February 25 - April 26, 2009 (illustrated in the exhibition catalogue, pp. 14, 38-39).LittératureMunicipality of Rhodes Modern Greek Art Museum, Fassianos, 45 Years of Creation, Educational Program, Rhodes 2009, p. 26 (illustrated).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Higgins (Bryan). Experiments and Observations made with the View of Improving the Art of Composing and Applying Calcareous Cements and of Preparing Quick-lime, 1st edition, London: T. Cadell, 1780. 8vo (212 x 125 mm), modern boards, half-title, together with 6 others, mainly science (not collated), including William Ramsay, The Gases of the Atmosphere, 1st edition, 1896 (original cloth), J. J. Thomson, Rays of Positive Electricity and their Application to Chemical Analyses, 1st edition, 1913 (original cloth), F. W. Aston, Isotopes, 1923 (original cloth), Memoirs of the Rev. Dr. Joseph Priestley, 1809, and similar (qty: 7)ESTC T53600 (Higgins).

A SMALL COLLECTION OF SOUTH AFRICAN TRIBAL ZULU ART BEADWORK AND SOME MODERN SHELL JEWELLERY