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William Roberts R.A. (British, 1895-1980)Swan Upping signed 'Roberts.' (lower centre)watercolour and pencil, squared for transfer27.6 x 22 cm. (10 7/8 x 8 5/8 in.) (sheet); 24 x 19 (9 3/8 x 7 1.2 in.) (image)Executed circa 1919Footnotes:ProvenanceSale; Christie's, London, 4 March 1983, lot 142Sale; Sotheby's, London, 7 March 1990, lot 353With Albemarle Gallery, LondonPrivate Collection, U.K.ExhibitedLondon, Spink & Son, Annual Exhibition of Modern British Art, 23 June-23 July 1993, cat.no.10 (col.ill)London, Michael Parkin Gallery, The Friday Club, 1905-1922, 24 April-17 May 1996, cat.no.53We are grateful to David Cleall and Bob Davenport for information provided about this lot.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

Laurence Stephen Lowry R.A. (British, 1887-1976)Street Scene signed and dated 'L.S.LOWRY 1941' (lower right)oil on canvas30.5 x 41 cm. (12 x 16 1/8 in.)Footnotes:ProvenanceProbably with Lefevre Gallery, LondonH. J. DunsmuirHis sale; Christie's, London, 10 March 1967, lot 140 (as Industrial Street Scene), where acquired byMr DennisWith Crane Kalman, London, 20 January 1970, where acquired byR. LyonSale; Christie's, London, 4 March 1977, lot 96, where acquired by the father of the present ownerPrivate Collection, U.K.ExhibitedLondon, Crane Kalman, Modern British Paintings, 28 November 1969-17 January 1970, cat.no.20 (ill.b&w)'An industrial set without people is an empty shell. A street is not a street without people, it is as dead as mutton. It had to be a combination of the two – the mills and the people'. (L.S. Lowry) It is for his paintings of people and the industrialised north that Lowry is best known, and it is easy to see through paintings such as Street Scene how the artist gained a unique place in the conscience of British collectors. Having been born in Manchester, a focal point of industrial Britain, Lowry's exposure to a deeply urban landscape was guaranteed. A career as a rent-collector ensured that he would regularly wander the streets surrounded by the mills and factories of the great metropolis and the life brimming within it. His genius was the ability to create his own unique artistic vision from the environment that engulfed him and had become imbued in his mind and sub-conscious. According to Lowry, the preoccupation with his surroundings began when he missed a train from Pendlebury, the suburb his family had moved to in 1909. Lowry was to recollect '...as I got to the top of the station steps I saw the Acme Spinning Company's mill, the huge black framework of rows of yellow-lit windows stood up against the sad, damp-charged afternoon sky...I watched this scene – which I'd looked at many times without seeing – with rapture' (Judith Sandling and Mike Leber, Lowry's City, A Painter and His Locale, Lowry Press, Salford, 2000, p.17). At this moment, an already apparent obsession with art became more focused and the foundations were laid for the prolific body of work that have endeared Lowry to the nation's hearts ever since.Dating from 1941, the present work hails from what is traditionally considered Lowry's finest period and bears all the qualities of his most desirable work. The street runs through the centre of the busy composition giving a strong sense of perspective, order and space. The terraced housing, shops and movement of the people in the foreground creates an almost tranquil atmosphere as the street winds down towards the central gates, symbolic of the industry and work that lies beyond to support this community. Factory chimneys, a church spire and mill are all present and complete a series of rich iconography.By cutting off the buildings at the canvas edges, Lowry reinforces a sense of space and continuity, as well as placing himself and us the viewer as close as possible to the street. This is purely for visual impact as Lowry, an intensely private man and quiet observer, was not inclined to mingle with the crowd or participate in the daily routine. The artist conveys so much with so little. Using just five colours – flake white, vermilion, Prussian blue, black and yellow ochre, he memorably evokes the bustling atmosphere of a street and its surroundings.The setting for Street Scene is, typically, unidentifiable. It has been well documented how Lowry's paintings were often fantastical constructions, taking various elements such as factories, streets, bridges, chimneys from different places (including, sometimes, his imagination) and bringing them together on canvas to produce a purely fictional and idealised view of a town or city. As in the case of Street Scene, this gave Lowry the freedom to manipulate a composition to his liking for added visual impact. Whilst indisputably a Manchester man, Lowry found time to travel to smaller towns around the country such as Berwick. The seemingly calm and arguably provincial nature of the street in this picture may well relate to his experience of such locations.The present work showcases Lowry's artistic range and is an exceptional portrayal of his most beloved subject. Street Scene embodies Sir Herbert Read's singular statement that 'Lowry is original, and even revolutionary in his vision. No one else to my knowledge has been so sensitively aware of the poetry of the English industrial landscape'.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

Eileen Agar (British, 1899-1991)Phoenix signed 'AGAR' (lower right)oil on canvas46.2 x 56 cm. (18 1/8 x 22 in.)Footnotes:ProvenanceWith the New Art Centre, London, where acquired by the family of the present ownerPrivate Collection, U.K.'Life's meaning is lost without the spirit of play.'(Eileen Agar)Eileen Agar (1899-91) was born in Buenos Aires to a wealthy family but moved to England for her education and in 1921 she joined the Slade School for Art before travelling to Paris at the end of the decade. It was here that she met Max Ernst (1891-1976), Joan Miró (1893-1983), and André Breton (1896-1966), among others and discovered the Surrealist movement, as well as being trained in Cubism. She was drawn by the sensuality and irrationality of Surrealism, as well as the idealism and logic of Cubism but did not subscribe to the radical politics of her European counterparts and disliked how the group behaved towards women.Stylistically, Phoenix may be dated to circa 1932, a pivotal time of change for the artist and one that set her on her course to later widespread acclaim. The artist commented of this time 'I started to show my work, and in 1932 exhibited with the National Society of Painters, Sculptors, Engravers and Potters, at the Royal Institute Galleries in Piccadilly. My first press cuttings are from this show, and I was at once ambitious for more. My work was changing and beginning to assume a more lyrical and imaginative presence of its own. As I grew in confidence I was impatient to have my work seen by a larger public'. (Eileen Agar, A Look at My Life, Methuen, London, 1988, p.102). In the present example, this imaginative presence takes the form of the mythological Phoenix, an immortal bird, heavily abstracted and rising triumphantly in an explosion of colour and form.In 1936, Agar was invited by Herbert Read and Roland Penrose to exhibit work at the International Surrealist Exhibition at the New Burlington Galleries, London. The notoriety of the exhibition raised her public profile considerably and, in 1937, she was one of the few artists asked to submit work for the Fantastic Art, Dada and Surrealism exhibition held at the Museum of Modern Art, New York.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

Roger Hilton (British, 1911-1975)December '63 signed and titled 'HILTON/DEC '63' (verso)oil and charcoal on canvas127 x 114 cm. (50 x 44 7/8 in.)Footnotes:ProvenanceWith Waddington Galleries, LondonMr and Mrs W. MortonSale; Sotheby's, London, 4 July 2001, lot 173 (as Composition 1963)With Godson & Coles, London, 2002, where acquired by the family of the present ownersPrivate Collection, U.K.The 1960s ushered in a period of growing critical and commercial acclaim for Hilton. May 1960 saw Hilton's first solo exhibition at Waddington's, with institutional purchases gathering pace: the British Council acquired the first of eleven paintings that they were to buy of his work, with paintings also sold to the Tate, the Arts Council, the Gulbenkian Foundation and the Ferens Art Gallery in Hull. Abroad, travelling exhibitions featured his work, including in the British Council-organised British Painting 1700-1960, which was shown in Moscow and Leningrad, while European Art Today: 35 Painters and Sculptors, organized by the Minneapolis Institute of Arts, travelled to Los Angeles, San Francisco and New York. Clement Greenberg, the most influential art critic of the 20th Century who shaped the reception of modern art in America, was to see this exhibition and write to Hilton praising the 'real character' shown in his paintings, which was quite an accolade from this notoriously hard-to-impress critic (Clement Greenberg quoted in Andrew Lambirth, Roger Hilton: The Figured Language of Thought, Thames & Hudson, London, 2007, p.139). Alan Bowness was a key supporter and not only wrote catalogue introductions which gave serious weight to Hilton's work, but also recommended the purchase of his paintings by public bodies, including the Contemporary Art Society. In November 1963, Hilton was to win first prize in the prestigious John Moores Exhibition in Liverpool, for the painting March 1963. The present lot, December '63, was painted the month after he won this most fêted prize, and it exhibits all the richness and exuberance that characterises Hilton's best work. With glowing ochre and bold blues, the vibrant colours of this work marks out the painting as particularly special. While these strong hues may be the first to catch the viewer's eye, Hilton's careful handling of a complex but measured palette shows his flair and mastery of the abstract medium at this time which had been so lauded by the critics, and rightly so. The painting is bordered by delicate, warm peach tones, while white and off-white paint is applied with varying techniques to provide contrasting intensities of colour, and a painted surface which intrigues. While the central area has a thin, sparing layer of off-white paint, the half-circle along the lower edge has been created first with a palette knife, the upper sliver then finished with swirling impasto strokes. A mist of hazy charcoal is smoothed over the central area of paint lending a grainy, subtle, shadowed surface to the work, inviting closer inspection and fading off towards the top edges. Bold brushstrokes luxuriate in the application of the deep royal blue and cobalt tones, catching the light and showing Hilton's delight in the slick, smooth application of these rich paints. While painting provides the form of the present work, Hilton's ever-present concern with drawing shapes it, contains it, encircles it, defines it. His characteristic charcoal line provides the organic sweep that curves through the centre of the work, reminiscent perhaps of bodily shapes, but often intangible or so far removed from the original source, that one can only see a suggestion or trace of this. As Andrew Lambirth has noted, for Hilton, incorporating charcoal into a painting was his own unique development, integral to many of his most successful abstract works: 'Visible charcoal lines in a painting usually suggest under-drawing, the artist's preliminary ideas. Hilton turned this preconception on its head, for in his pictures the charcoal was of crucial importance, as important as the paint' (ibid., p.111). In fact, Hilton often applied the charcoal last, not first, raising the drawn line to equal status as the traditionally exalted paint. As Lambirth has so succinctly put it: 'in a very real way, the drawing is as important as the painting' (ibid., p.155).In the present lot, we have a supreme example of Hilton's best work from a decade when critical and commercial appreciation began to really recognise his achievements. A master of the medium, this is a painter at the height of his powers. In an abstract language that suggests, but is not defined by, its references to the outside world, be that figural muse or airy Cornish landscape, Hilton created a style which combines the painterly gesture and drawn line which is uniquely his own.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

Christopher Wood (British, 1901-1930)Flowers in a Blue Vase oil on canvas35.9 x 30.1 cm. (14 1/8 x 11 7/8 in.)Painted in 1922Footnotes:ProvenanceJack BeddingtonHans & Elsbeth JudaTheir sale; Sotheby's, London, 26 April 1972, lot 132, where acquired by the father of the present ownerPrivate Collection, U.K.ExhibitedSheffield, Graves Art Gallery, In Our View: Some Paintings and Sculpture bought by Hans & Elsbeth Juda between 1931-1967, May-June 1967, cat.no.160LiteratureEric Newton, Christopher Wood, Redfern Gallery, London, 1938, cat.no.9Exh.Cat., Robert Melville, In Our View: Some Paintings and Sculpture bought by Hans & Elsbeth Juda between 1931-1967, Graves Art Gallery, Sheffield, 1967, n.p., cat.no.160 (ill.b&w)For Christopher Wood the year 1922, his twenty-first, was to be the year his artistic aspirations accelerated at a profound rate. In January he wrote to his mother stating 'My ambition as I said is to be a great painter and as I am learning now I shall stand every chance of becoming one' (quoted in Richard Ingleby, Christopher Wood, An English Painter, Allison & Busby, London, 1995 p.52). By early summer his sights were set much higher. In June he would again write to his mother declaring 'I have decided to try and be the greatest painter that has ever lived' (Ibid p.59). Wood's charismatic bravado is by no means unique among young artists, however as the following years were to prove his assuredness was quite merited. Throughout the 1920s, Wood led a fascinating and fabled existence, connecting with many great artists including Picasso, Cocteau and Lhote on the continent, and the Nicholsons, Morris and John in Britain. He exhibited successfully, including as a member of The Seven and Five Society, and developed an idiosyncratic painterly vocabulary which joyfully fused post-impressionism and primitivism. The meteoric rise of his star was tragically cut short by suicide just a decade into his career. Despite his short years, it is generally accepted that without Wood's contributions and connections, the history of modern British painting could have taken a different course entirely.The present painting is a rare example dating to the year in which Wood's ambition was at its peak, and his artistry was enlivened by a rich array of influences. With minimal formal training to date, his talent and charm had already attracted the attention of a wealthy collector named Alphonse Kahn. Kahn's renowned collection of modern paintings afforded Wood close access to works by Cézanne, Matisse and the Old Masters, and his sponsorship enabled Wood to study in Paris at the Académie Julian, whilst living in Montmartre. There Wood became acquainted with the Chilean diplomat José Antonio de Gandarillas, with whom he would travel extensively. In February of 1922 Wood and Gandarillas toured Northern Europe, including Brussels, Ghent and the Netherlands. Spring would take them to the South of France and the casinos of Monte Carlo, before crossing the Mediterranean to Tunis and on to Sicily, Malta and Greece. In August they set sail from Athens to Constantinople, before weaving through central Europe back to London in autumn. Throughout he painted a small number of still-lifes, such as the present work and Lemons in a Blue Basket (Pallant House, Chichester). These paintings display Wood's early prowess as a colourist, and as noted by Katy Norris reveal that Wood 'seemed to understand that the creation of emotional narrative was related to the sensuous qualities of the objects and the manner in which they were held together within the space' (Katy Norris, exh.cat., Christopher Wood, Lund Humphries, London, 2016, p.33). Such works are informed in part by Cézanne, especially in composition, but also by Van Gogh, whose letters Wood discovered in 1922 and whom he would develop an adoration of. Specifically, it is Wood's flower paintings which can be considered the fruit of this idolisation. As Katy Norris highlights 'Wood observed a perfect synergy between the simplicity of Van Gogh's paintings and his modest rural existence that was to have a determining impact on the young artist's own approach to art and life' (Ibid. p.46). The present work was formerly in the collection of Hans and Elsbeth Juda. Hans Juda (1904-1975) founded The Ambassador export journal for textiles and fashion, and Elsbeth Juda (1911-2014) was a pioneering fashion and art photographer whose subjects included Henry Moore, John Piper, Kenneth Armitage, Peter Blake, and Graham Sutherland, whom she photographed in 1954 on the occasion of Winston Churchill's final sitting for Sutherland's famously ill-fated portrait of the statesman.We are grateful to Robert Upstone for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

Patrick Heron (British, 1920-1999)White and Green Upright : August 1956 signed and titled 'Patrick Heron/White + Green Upright/August 1956' (on the stretcher)oil on canvas91.4 x 50.8 cm. (36 x 20 in.)Footnotes:ProvenanceWith Waddington, Galleries, LondonPrivate Collection, U.K.ExhibitedSt Ives, Tate Gallery,Patrick Heron: Early and Late Garden Paintings, 20 March-3 June 2001LiteratureAndrew Wilson,Patrick Heron: Early and Late Garden Paintings, Tate Publishing, London, 2001, p.27 (ill.)Mel Gooding,Patrick Heron, Phaidon Press, London, 2002, p.106 (col.ill.) White and Green Upright: August 1956 is a painting that belongs to a key moment in both Patrick Heron's life and the development of British art. In April 1956, just a few months before the present work was painted, the artist and his family settled at Eagle's Nest, the home he purchased from Mark Arnold-Forster. It was here, in close proximity to his friend and fellow artist Bryan Wynter and five miles west of the artists' colony of St Ives, amongst the hills overlooking the Cornish village of Zennor, that Heron found his idyll. This corner of west Penwith had captivated numerous people before, including D.H. Lawrence who wrote 'When I looked down at Zennor, I knew it was the Promised Land, and that a new heaven and a new earth would take place' (James T. Boulton (ed.), The Selected Letters of D.H. Lawrence, Cambridge, 1997, p.123).In January 1956 Modern Art in the United States arrived on British shores and caused a sensation at the Tate. Heron reviewed the exhibition, which included Jackson Pollock, Mark Rothko, Robert Motherwell and Willem de Kooning amongst others, for Arts and there can be little doubt it had a revelatory impact on both him and his peers. The scale of the works and the confidence with which they were composed meant he was 'instantly elated by the size, originality, economy and inventive daring of many of the paintings'. However, as an accomplished artist himself, Heron was confident enough to stress his view that there was a lack of resonance in their colour. This is perhaps not surprising given his grounding in European art, shaped by the formalist criticism of Roger Fry alongside the work of great Cubists and Fauves, their canvases imbued with vivid hues. He was also a keen admirer of another American artist, Sam Francis, who as a Tachiste alongside the likes of Hans Hartung and Pierre Soulages advocated gestural painting of a softer kind than Abstract Expressionism. The arrival at Eagle's Nest in 1956 marked a move away from figuration and the embracement of abstraction as Heron saw it. The property had been described as a 'painter's garden' owing to the spectacular planting undertaken by Arnold-Forster during his prior ownership and Heron clearly felt this to be the case with much of his work from the period drawing on the rich outdoor landscape and his own reference to 'Tachiste Garden Paintings'. White and Green Upright: August 1956 predominantly incorporates the colour scheme of its title in vertical planes across the surface with subtle tones and variations of red, yellow and black also introduced to give layered complexity. We may consider the ocean to also be at play here with Heron describing how it acted as a gigantic mirror around the property, 'brilliantly silver, and reflecting white light upwards. To have the rocks and the bushes illuminated from below, from a glittering reflector which is over 600 feet beneath one, and many miles wide – is a special experience' (Patrick Heron quoted in Michael McNay, Patrick Heron, Tate Publishing, London, 2002, p.38).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

Keith Vaughan (British, 1912-1977)The Garden at Ashton Gifford signed and dated 'Keith Vaughan/44' (lower right) and titled and dated again 'The Garden at Ashton Gifford 1944' (on a label attached to the backboard)gouache, pastel, pen and ink25.2 x 21.9 cm. (9 7/8 x 8 5/8 in.)Footnotes:ProvenanceWith The Redfern Gallery, London, 23 March 1974, where acquired byMichael BestallWith Alan Wheatley Art, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedEdinburgh, Scottish National Gallery of Modern Art, British Drawings 1939-49, June 1969 (catalogue untraced)In 1940 Greenways Preparatory School was evacuated from Bognor Regis in Sussex to Ashton Gifford House, a three-story Neo-Classical building nestled in the heart of overgrown woodland. Over the summer of 1942, while stationed at Codford in Wiltshire, Vaughan's Pioneer Corps company were employed to clear the grounds. The romantic, overgrown setting inspired several paintings over the course of the next few years, including The Working Party, 1942, Tree Felling at Ashton Gifford, 1942–43 and The Garden at Ashton Gifford, 1944. Vaughan wrote in his journal: I live with as much purpose and enthusiasm as a cow. A belly-filling existence. Driven and chivvied all day by NCOs we have no idea of the beginning or the end of a job or what its purpose is. This, more than the labour itself, is what makes it exhausting. Day follows day with no more change than the date on the calendar. (Keith Vaughan, unpublished journal entry, July 1942)The clearing of the woodland not only offered the soldiers worthwhile community service but also provided much-needed fuel for the army in the form of wood. Dozens of trees had to be felled using little more than chopping axes and then cut up into regulation-sized logs with handsaws. Sometimes the school children and evacuees assisted the soldiers during school breaks.Vaughan made dozens of sketches of his company's activities, usually in pen and ink and sometimes in pencil. He seems to have been particularly thorough in his preparations for the paintings he made which were some of his most ambitious wartime images. He filled several sketchbooks with rapidly executed figures studies and related material. Some were drawn at great speed and capture the dynamism of figures breaking the tree boughs and splitting and hauling branches. Others depict his comrades chopping and sawing, dragging enormous boughs and logs, loading lorries and, occasionally, taking well-earned breaks. Vaughan was drawn to certain aesthetic qualities in his surroundings, enough to write about them to his friend, the painter Norman Towne: ...white and ochre branches plunging down into the oceanic surging of tangled nettles. People walking through the waist-high grass, through the aqueous leaf-green shadow, arms full of dead wood...and the wall running as an indefatigable horizontal, losing and finding itself in the jungle of weed and ivy...I wanted to capture this in lassoes of line and nets of colour, but it's more difficult than writing about it. (Keith Vaughan, letter to Norman Towne, 12 October 1942) Sometime in the late 1960s, Vaughan returned to some of these wartime drawings and set about reworking them with gouache and coloured wax pastels, to obliterate many of the overworked pen and ink details and balance out the compositions more effectively. The present work is a good example of the artist's early Neo-Romantic, pen and ink style combined with his later, more simplified approach to picture-making. The foreground figures and forms are worked in detail with pen and ink, while the background wall is depicted in pale, textured washes, supplying the necessary geometrical stability from which he could hang his revised composition. Green patches of oil pastel are used to suggest distant tree boughs and create a formalized sense of spatial recession, in keeping with his work of the 1960s. We are grateful to Gerard Hastings, who is currently working on his new book Keith Vaughan: The Graphic Art, to be published by Pagham Press, for compiling this catalogue entry.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

Peter Lanyon (British, 1918-1964)Still Air signed and dated 'Lanyon 61' (lower left); further signed, titled and dated again 'STILL AIR/Lanyon Sept 61' (verso)oil on canvas91.1 x 122 cm. (35 7/8 x 48 in.)Footnotes:ProvenanceJonathan LanyonSale; Sotheby's, London, 27 June 1979, lot 211 Professor BallWith Bernard Jacobson Gallery, LondonPrivate Collection, U.K.ExhibitedNew York, Catherine Viviano Gallery, Lanyon, 30 January-17 February 1962, cat.no.13San Antonio, Marion Koogler McNay Art Institute, Paintings by Peter Lanyon, 24 February-March 1963London, Tate Gallery, Peter Lanyon, organised by the Arts Council of Great Britain, 30 May-30 June 1968, cat.no.70London, Archer Gallery, Two by Seven: Bryan Wynter, William Scott, Peter Lanyon, Josef Herman, Heinz Henghes, Paul Feiler, Ralph Brown, 8 November-1 December 1972, cat.no.5London, Bernard Jacobson Gallery, Peter Lanyon: Landscapes 1946-1964, 2-27 April 1991, cat.no.21LiteratureAndrew Causey, Peter Lanyon: His Painting, Aidan Ellis Publishing, Henley-on-Thames, 1971, p.64, cat.no.170Toby Treves, Peter Lanyon, Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.505, cat.no.489 (col.ill.)Peter Lanyon's gliding paintings are a body of work which represent the pinnacle of his achievements as a painter. Lanyon was a master at corralling his experience of the elements and transposing these onto canvas, in a way that can transport the viewer to his native Cornwall almost instantly. He joined the Cornish Gliding Club at Perranporth Airfield in June of 1959, and was tragically to die in 1964, aged only forty-six, as a result of an accident while gliding, but it was this past-time that was to provide the impetus for so many of his most successful paintings. Still Air is one such painting.The present lot, with its expanses of grey-white paint and streaks of deep blue and ochre, is unusual in Lanyon's output both for the sparing use of paint and the capacious expanse which Lanyon conjures on the canvas. As Lanyon was to comment, he was preoccupied with depicting space itself, and Still Air is a particularly successful example of this endeavour. He noted that: 'A painter's business is to understand space – the ambient thing around us. I don't mean the old approach to landscape – sitting in one place and taking the view, as you get in traditional painting. What I'm concerned with is moving around in this space and trying to describe it. That's one reason I go in for fast motor-racing, cliff-climbing and gliding – gliding particularly: I like using actual air currents; I feel I'm getting to the root of the matter.' (Peter Lanyon quoted in Toby Treves, Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.30).In Still Air, Lanyon has succeeded in translating this quest for depicting the elements in the most truthful way. A mass of pale grey-white covers most of the surface, which feels almost thick and foggy in its obfuscating opacity, and in the way whispers of blue paint blend into it, emerge from it, or seem suspended in its midst. For Lanyon, the way in which the paint was applied to the canvas carries huge feeling and meaning: as Toby Treves has written, for Lanyon 'the gestural brushstroke was invested with physical and emotional qualities: movement and by extension time were intrinsic; the mark could be light or heavy, fast or slow, strong or feeble, confident or hesitant, angry or calm, violent or tender'. He goes on to comment that: 'The range of sensations and moods that he was able to convey in those works, which are perhaps his supreme achievement, is a measure of his mastery of the manner' (Ibid., p.18).The present work is no exception. A deep blue with a hint of teal is swept across the canvas, marking out what could be jagged rocks or rushing sea, while golden ochre gives the suggestion of fields of golden corn, ready for harvest, which would have been timely considering the painting was executed in September 1961. The finesse and feeling which Lanyon imbues in each stroke shows his command of the medium. The ochre appears to be brushed on rapidly, while there is an almost calligraphic élan to the singular strokes of deep blue in the lower left corner of the work, while the smudging and subtlety to the hints of blue paint elsewhere are particularly unusual. As Toby Treves has observed, 'the extent to which the colours and forms are softly blurred is unique within the oeuvre', an effect which has been achieved by using paint which has been thinly diluted, and brushed carefully over the under-painting (Ibid., p.504). This expressive use of paint has lent Still Air a particularly meditative calm: it is easy to imagine him floating through the sky, looking down on a patchwork landscape below, partly obscured by fog or mist.Lanyon's titles are particularly atmospheric and descriptive, and it is easy to get lost in the lyrical tribute that each work pays to the landscape that he flew through. Still Air is just one of so many paintings which capture his experiences: Gusting, Cliff Wind, Soaring Flight, Spring Rain, Weathering, Strange Coast – these titles could almost read as a short poem themselves, so descriptive yet enigmatic are they. The very month that Still Air was completed, Lanyon was elected Bard of Cornish Gorsedd for his services to Cornish Art, on 2nd September 1961. Considering the title of this painting and the others mentioned above, his Bardic name - Marghak an Gwyns (Rider of the Wind) – is particularly fitting.Lanyon wrote that 'art is a communication of life to the living' (Peter Lanyon, letter to Terry Frost, quoted in Ibid., p.21), and Still Air is a particularly fitting example of this. Toby Treves has summed up this transfiguration of paint to feeling in Lanyon's work incredibly succinctly: 'We do not need to be Cornish or to go to Penwith or to be Peter Lanyon to know what it feels like to carry a landscape inside ourselves; we just need to go to that place, wherever it is, that occupies us, as Penwith did him. We do not need to read science or philosophy to accept that we are in a condition and a system of permanent change or to know that our sensate bodies are the source of much of our experience of being in the world; we just need to take a walk. The weather is not an elite phenomenon, and nor is the air. And most of us are acquainted with the great human emotions, or will be soon. Lanyon painted about these things to share them, to let us know that he had been where we are.' (Ibid., p.22). Still Air is a masterful translation of this ordinary but universally uplifting feeling: it transports us into the elements, to where we can feel the cool breath of autumnal air on our skin, enjoy the whip of wind as it blurs our vision, and experience the landscape as he saw it.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

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

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

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

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

Paresh Maity (Indian, B. 1965)Untitled (Workers) signed and dated Paresh '86 Das Nagar lower leftwatercolour and pencil on paper, framed48.6 x 63.8cm (19 1/8 x 25 1/8in).Footnotes:ProvenanceAcquired from an English Estate.Note: The work has been authenticated by the artist.TWO IMPORTANT EARLY WATERCOLOURSBoth works on offer in this auction are two rare and early works from Maity's oeuvre. He painted them to understand tonal gradation whilst he was a second year student at the Government College of Art & Craft. Maity has said that 'watercolours are his heart and soul' and these early examples are illustrative of the proficiency he has achieved over a career that has spanned four decades. He has held over 81 solo exhibitions and his works have been exhibited in galleries worldwide that include Australia, London, Singapore, USA, Hong Kong, France, Switzerland and Germany to name a few. He has been bestowed with numerous awards including the Padma Shri in 2014, India's forth highest civilian honour. His works are featured in several private and public collections, some of which include the British Museum, London, National Gallery of Modern Art, New Delhi and the Rubin Museum of Art, New York.'..the college was a stickler for tradition and insisted on a mastery over watercolour landscapes... It is a tradition...how they teach you compositions and outdoor studies at the Government Art College, 90-95 per cent of which is based on watercolours... we began with pencil drawings...and the college can prove exhausting for those who don't get a nuance exactly right - 'then graphite, followed by, watercolours.' Kishore Singh, Paresh Maity: World of watercolours , India, 2020, pg. 24-26.For further information on this lot please visit Bonhams.com

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

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

Jamini Roy (Indian, 1887-1972)Untitled (Durga and Ganesha) signed lower right, executed circa 1960stempera on card, framed44 x 54.5cm (17 5/16 x 21 7/16in).Footnotes:ProvenanceAcquired from Plate Loft Gallery, Sri Lanka in 2005.Roy studied at the Government College of Art, Kolkata and obtained his Diploma in Fine Art in 1908. He learnt how to paint in the prevailing academic tradition, drawing classical nudes, but realised that he ought to derive his inspiration from Bengali culture, and not from Western traditions. He found his inspiration in folk and tribal art which emphasised simplicity and bold sweeping brushstrokes. His goals were to give Indian art its own identity, to capture the essence embodied in the life of the folk people and to make art accessible to a wider selection of people. The four Jamini's in this auction are quintessential examples of the style and themes he came to be known for. In 'Durga and Ganesha' and 'Krishna and Cows,' he depicts mythological beings, in an almost child-like style, whilst in 'Three Women' and 'Mother and Child' for example, he portrays traditional women without artificial beauty, in complete contrast to the academic tradition of earlier works, including those of Raja Ravi Verma. The economy of colour, coupled with the bold style, renders subtle yet powerful emotions. His works are part of the collections of the Victoria and Albert Museum, London and the National Gallery of Modern Art, Delhi. In 1954, he was the recipient of the Padma Bhushan, the third highest civilian award.For a similar work sold at Sotheby's, see Indian Art, 22nd March 2007, lot 5.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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

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

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

George Keyt (Sri Lankan, 1901-1993)Untitled (Girl with Ball) signed and dated 'G Keyt 67' upper middleoil on canvas, framed83.8 x 51.1cm (33 x 20 1/8in).Footnotes:ProvenanceAcquired from Sotheby's, Indian and Southeast Asian Art, New York, 1st April 2005, lot 142.An Anglo-Dutch of Burgher origin, Keyt grew up in Sri Lanka and attended Trinity College, Kandy. He had a consuming passion for literature and poetry, specifically Shakespeare and also devoted time to drawing and art. For a short period Keyt worked for a firm of photographers, manually enhancing the negatives with a brush. It was here that his friend, photographer Lionel Wendt, and later the leader of the '43 Group, of which Keyt was a founding member, noticed Keyt's skill and encouraged him to pursue art. Aged 26 in 1927, Keyt devoted himself to art and undertook a course on painting with the painter George de Niese. Keyt was also influenced by C.F. Winzer, the Ceylon Government's inspector of art in schools who rejected the naturalistic styles of painting favoured by art teaching that emulated Western Victorian and Edwardian traditions.By the early 1930s, the Cubism that would forever alter the character of his paintings began to emerge in his work. He broke away from academic naturalism and embraced modernism with bold colourful fervour. Upon seeing the 1932 and 1933 issues of French art magazine Cahiers d'Art featuring Cezanne, Picasso and Braque his passion for modernism was cemented. In the two works on offer in this auction we can see how he married modern European practises with ancient South Asian fresco techniques found at Ajanta and Sirgirya and subject matter that was largely rooted in local tradition. His works depicted women, children, villagers, dancers, tradesmen and gods often drawn from Hindu and Buddhist mythology.Pablo Neruda perhaps best summed up Keyt in his 1930 review of the exhibition at Zwemmer Gallery in London, in which Keyt works were featured alongside Picasso and Braque,'Keyt, I think, is the living nucleus of a great painter. In all his work there is the moderation of maturity, the beautiful stability of achievement – qualities most precious in so young an artist. Magically though he places his colours, and carefully though he distributes his plastic volumes, Keyt's pictures nevertheless produce a dramatic effect, particularly in his paintings of Sinhalese people. These figures take on a strange expressive grandeur, and radiate an aura of intensely profound feeling.' (M. Russell, George Keyt, Marg Publications, Bombay, 1950)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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

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

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

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

Prabhakar Kolte (Indian, B. 1946) UntitledUntitled signed and dated 'Kolte 04' in Devanagiri upper rightoil on board, framed48 x 58.4cm (18 7/8 x 23in).Footnotes:ProvenanceAcquired from Art & Deal Gallery, India in 2006.Born in Nerur Par, Maharashtra in 1946, Kolte obtained his Diploma in Painting from Sir J.J. School of Art in 1968, where he later taught between 1972-1994. As an abstract artist, he is primarily concerned with the intangible, rejecting visual images and favouring colours and brushstrokes. Often referred to as the Indian Paul Klee, the Swiss born German artist known for his writings and works on colour theory, Kolte too uses a dominant colour in the background, such as red as seen in the present lot and blends it with lighter coloured geometric figures in austere blues, greys, greens and whites, which he subsequently covers up with splashes of more colour, to obscure any identifiable image whilst simultaneously lightning up the surface of the work. His style is best described in his own words when he says that his 'works reflect a state of vision that does not symbolise anything but itself. It is neither representative, interpretative, expressive nor illustrative.'For a similar work sold at Sotheby's see Indian Art Including Miniatures and Modern Paintings, New York, 22nd March 2007, lot 115.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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

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

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

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

Madhvi Parekh (Indian, B. 1942)Last Supper signed and dated in Devanagiri 'Madhvi 2011' lower right and edition 20/60reverse serigraph in 17 colours on acrylic, framed181 x 100cm (71 1/4 x 39 3/8in).image size (in) 40 x 72Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Often described as a 'folk' artist, Madhvi Parekh is recognised as a master and one of the most influential Modernist artists not only in South Asia, but also globally. Born in the village of Sanjaya, India in 1942, her journey in the art world began in the early 1960s, inspired by the work of her husband, Manu Parekh (B.1939), also a painter. The fact that she received her education during her first pregnancy deeply influenced her approach to the canvas. Her focus lies on the process of creation, rather than the result, which cannot be foreseen or known beforehand. Hence, her starting point is an idea, or better a feeling. She paints what she feels, without paying too much attention to critics and subsequent discussions of her work. Parekh creates art because she is drawn to it, regardless the external comments, the result, or the fame. It is the need to express herself, her story, and traditions.Undoubtedly, her personal background is visible in the subjects of her works, which often depicts the life in her village, festivities, and traditions, often through the perspective of a child. therefore, painting represents a sort of reminiscing and meditative process, where the artist's memories and the feelings she experienced during her childhood come to life. Her style represents the apparent simplicity of youth. Usually compared with Paul Klee (1879-1940) and Joan Miró (1893-1983), her technique consists of an instinctive and creative use of simple lines and shapes, such as triangles and squares. Parekh succeeds in combining flat surfaces, pictorial decorative elements of Indian art tradition together with a modern deconstruction of the forms and of the subject matter. Parekh unmistakable style jumps out of the canvas in her version of The Last Supper (2011). Her work represents an intelligent and original appropriation of Christianity most celebrated event, reinterpreted through a laic and modernist sensibility. Parekh's painting refers to Leonardo da Vinci (1452-1519) homonymous work painted between 1495-1498. The basic structure of da Vinci's work is maintained. Even the apostles appear in the same poses and order. The composition of the background is also preserved, with the three windows that open on a generic city landscape. However, the lack of perspective and the reduced pictorial depth, the flat surface, and the geometric forms of the figures typical of Parekh and modernist style debunk the divine aura of the subject. In fact, although the iconography of this subject matter is universally known and recognisable, it is not part of Parekh's tradition. The fact that the artist does not identify herself as a Christian, together with Parekh's style turns this classic and sacred motif into a secular tale of friendship and betrayal, themes that are shared in many myths and legends across the globe. In this work, the artist succeeds in synthesizing cultural differences, shared topics, and her own responses to da Vinci's work in primis, and to this alien tradition.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

Jyoti Bhatt (Indian, B.1934)Jal-Thal-Nabh signed and dated Jyoti Bhatt 2009 and edition 46/125 lower leftserigraph in 88 colours on paper, framed99.7 x 125cm (39 1/4 x 49 3/16in).Image size (in) 11.5 x 16.25Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Jyoti Bhatt studied at the Faculty of Fine Arts, Maharaja Sayajirao University, Baroda under N.S Bendre and K.G Subramanyan, and subsequently studied fresco and mural painting at Banasthali Vidyapith in Rajasthan. In the early 1960s he studied at both the Academia di Belle Arti in Italy and the Pratt Institute in New York. He is most well known for his modernist work in painting and printmaking, and his photographic documentation of rural Indian culture, as seen in one of the three lots on offer in this auction. A lot his works are playful and colourful and have elements of Pop Art, as seen in the other two lots on offer in this auction. He derives his inspiration from traditional Indian folk designs and symbols that include tribal and village designs, stylized Indian Gods and Goddesses, the peacock, parrot and the lotus. His works are held in numerous collections including the Museum of Modern Art, New York, The Smithsonian Institute, Washington, D.C, The British Museum, London and the Museum of Art & Photography, Bangalore. He is the recipient of the Padma Shri, 2019 and was elected as a Fellow of the Lalit Kala Akademi in 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

Anjolie Ela Menon (India, B.1940)Crow signed Anjolie Ela Menon '20 lower right and edition 24/100 lower leftserigraph in 12 colours on paper, framed33.6 x 26.4cm (13 1/4 x 10 3/8in).image size (in) 12 x 9.5Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Born in Burnpur, Bengal, Menon studied at the Sir JJ. School of Art in Bombay, obtained a degree in English literature from Delhi University, and subsequently went to Paris where she studied Frescos at the École des Beaux-Arts. Influenced by Modigliani, Husain and Shergil, she is known primarily for her figurative works, in which she developed the distinctive features of early Christian art, in particular that of the frontal perspective, the slight body elongation and the averted head, but focussed on the female nude as her protagonist. In her later works she features black crows, as in the present lot, hidden figures, empty chairs and windows. These symbols that she has come to be known for arise from the mundane rather than the heroic. The repetition of these motifs have elevated them to a symbolic status, and these every day objects or in this case bird, contextualised or used as an embellishment tells its on story, which is Menon's story. Her works have been exhibited worldwide are kept as part of the collections of the Peabody Essex Museum, Massachusetts, the Asian Art Museum, San Francisco and the National Gallery of Modern Art. Her most recent retrospective titled, Anjolie Ela Menon: A Retrospective was held in 2017 at Aicon Gallery. Prior to that the National Gallery of Modern Art, Mumbai held her retrospective in 2002 which then travelled to Bangalore, Chennai and Delhi. She is the recipient of the Padma Shree (2000), India's fourth highest civilian honour.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Balkrishna Vithaldas Doshi (Indian, B. 1927)Encounters signed 'Doshi 2014' lower right and edition 17/25 lower leftserigraph in 7 colours on paper, framed77.5 x 108cm (30 1/2 x 42 1/2in).Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Born in Pune, B.V Doshi OAL studied architecture at the Sir J.J School of Architecture in Mumbai. He worked under Le Corbusier and Louis Kahn, and is considered to be a pioneer of modernist and brutalist architecture in India. In a career spanning seven decades, he has completed over 100 projects. Some notable constructions include, the National Institute of Fashion technology, New Delhi, the Indian Institute of Management, Bangalore, Amdavad ni Gufa, Ahmedabad and the IFFCO township in Kalol, Gujarat. His drawings and paintings have been exhibited at museums worldwide, and in 2014, the National Gallery of Modern Art, New Delhi held a retrospective of his works, titled Celebrating Habitat: The Real, the Virtual and the Imaginary: Retrospective Exhibition on B.V. Doshi. He is the recipient of numerous awards some of which include the Padma Shri, 1976, the Officer of the Order of Arts and Letters; France, 2011, the Padma Bhushan, 2020 and recently, the Royal Gold Medal; UK, 2022.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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

Abani Sen (Indian, 1904-1974)Untitled (Animals in a Landscape) pencil and watercolour on paper56 x 75.9cm (22 1/16 x 29 7/8in).Footnotes:ProvenanceAcquired at the artist's solo exhibition in Calgary, Canada in the early 1970s;Thence by descent.Abani Sen is regarded as one of the masters of modern Indian painting as he bridged the gap between the Bengal School of Art and the Bombay Progressives. Educated at the Government School of Art, Kolkata, he was part of the Art Rebel Centre which was poised as a counter-point to the Neo-Bengal school. They rejected both the romanticism of the Bengal School, and the academic realism of the the art school and gravitated towards adopting the contemporary visual language of European modern art movements. The two works in this auction are examples of this style.Sen is most well known for his depiction of animals and was particularly fond of painting cheetah's, bulls, horses, vultures and kites, either true to life, or romanticised. He employed a wide range of mediums including pencil, charcoal, conté crayons, pen, ink, watercolours, pastels and oils. His works were exhibited globally both during his lifetime and posthumously. Some exhibitions include the ones in Canada in 1970-71, where the two works in this auction were acquired, at his solo exhibitions in Lucknow (1943), New Delhi (1949 and 1951), Cairo, Istanbul, Ankara and Baghdad (1952) and Cuba and New York (1961). His retrospective was held in New Delhi in 1961, as well as in 1976 and 1978 in Canada. He was the recipient of numerous awards some of which included the 1945, 1946 and 1947 Annual Exhibition prize from the Bombay Art Society and the 1949 Governor Generals Plaque Award, New Delhi.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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

Marcus Stone, RA (British, 1840-1921)'Sain et Sauf' (Safe and Sound) signed and dated 'MARCUS STONE/1875' (lower left)oil on panel26.3 x 39.4cm (10 3/8 x 15 1/2in).Footnotes:Marcus Stone was an historical genre painter and illustrator. A great friend of Dickens, he illustrated Our Mutual Friend and Great Expectations for the author in the 1860s. The present work is a meticulously scaled down version of his 1875 Royal Academy exhibit Sain et Sauf, later sold at Christie's New York on 19 April 2005, lot 71 for $160,000.The scene depicts the joyful moment when a French soldier returns home from battle to his beloved wife who is in bed after the birth of their child; hence both husband, wife and newborn are 'safe and sound'. Whilst he embraces his wife, his daughter points at her new sibling and the dog tries to get closer to his master. A copy of La Patrie lies on the bed symbolising the wife's patriotism and also indicating on a more human level her fruitless search for news of her husband. Although no specific battle or date is referred to this is most likely Stone's comment on the Franco-Prussian War of 1870. Many French artists such as James-Jacques-Joseph Tissot had fled the Paris Commune of 1871 and during the 1870s London had many French refugees to whom this picture would have appealed.When the painting was exhibited at the Royal Academy in 1875, it was well received and the critic for the Art Journal noted, '...There is wonderful life and vigour too, in Marcus Stone's Sain et Sauf (130), which is the name he gives to a young soldier's return to his wife and child.' (Art Journal, 1875, p. 217.)Alfred Lys Baldry, in Marcus Stone, His Life and Work wrote '...He touched, however, a lighter note next year in 'Sain et Sauf', using, instead of sorrowful regret, the joy of a moment of meeting between a husband and wife who had scarcely hoped to see one another again. The setting for his idea was found abroad, for it was the interior of a modern French cottage that he depicted, with a soldier returning safe and sound from the wars to take up again his home-life in the bosom of his family. The story had no lack of dramatic meaning, and vividness with which it was told was not a little helped by the complete manner in which every detail and every accessory of the mise-en-scene were studied and set down, and by the care with which subordinate interests were connected with the main plot.' (A. L. Baldry, 'The Life and Work of Marcus Stone, R.A.', The Art Annual, 1896, p. 20.)For further information on this lot please visit Bonhams.com

Food & Drink.- The Housekeeper's Assistant; Or, Whole Art of Cookery. Containing Receipts and Directions for Marketing, Frying, Broiling, Roasting, Hashing, Baking, Boiling, Stewing and Fricaseeing. Also for Making Puddings, Custards, Cheesecakes...and Conserves. And Instructions for Trussing All Sorts of Poultry, Game etc; With New and Infallible Rules for Pickling, Preserving, Brewing, and Making English Wines, ?lacking half-title, D2 with short closed marginal tear, E5-8 loose, some light staining, occasional spotting, lightly browned, original brown pictorial boards, catalogue of books printed by James Bourne to rear board, sympathetically rebacked, modern, but to style, printed paper label to spine, corners little worn, covers soiled and rubbed, 12mo, Bermesley, Printed for the booksellers by J[ames] Bourne, [c.1840].⁂ Unrecorded.

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

MIXED, complete (17), inc. Lambert & Butler Aviation, Ardath Famous Footballers, Gallaher Art Treasures of the World, Hill Views of Interest 4th; Wills (11), First Aid, DYK 1st-4th, Overseas Dominions etc., in modern album, G to EX, 800*

MIXED, complete (19), inc. Black Cat Sport Fish, Black Cat Vintage Cars, Wills Safety First, Players Miniatures; medium & large, Wills The Kings Art Treasures, Senior Britain From The Air, Mills Famous British Ships (1st & 2nd series) etc.in modern album, VG to EX, 791*

A collection of 1920’s and later costume jewellery, a rope necklace of amber coloured pressed glass graduated beads, 90cm; a rope necklace of yellow vaseline beads, 140cm; a child's 40cm necklace with pressed glass bird beads; reproduction paste set pendant, 60mm diameter; three row garnet glass bead bracelet with paste set clasp; three mother-of-pearl dress clips; a red stone chip necklace, 40cm; modern lace and simulated pearl choker necklace; paste set dress clip in vintage box; Art Deco green glass nickel necklace; chrome leaf dress clip, 60mm; another Deco design; a Hollywood necklace with three carved red glass panels; butterfly dress clip; duette dress clip in original Adderley & Co of Leicester box.Qty: 17

Pair of tall modern art glass vases, red, orange and brown internal colours, 40cm; and other decorative glassware including a Venetian glass bowl in lime green glass, set of six painted goblets, etc.

Regency-style portrait silhouettes, pair of Art Deco-style wooden bookends, modern mantel clock, pictures etc (one shelf).

Portuguese-style pottery wall charger, modern Chinese vase and cover, glass decanter, glasses, coloured and art glass etc (one shelf).

A collection of modern cookery books;'Mastering The Art of French Cooking',by Julia Child, Louisette Berthole and Simone Beck,Particular Books, 2011, two volumes and a slip case,'Cooking and Dining in Medieval England',by Peter Brears,Prospect Books, 2008, with dust jacket,'The Constance Spry Cookbook',Grub Street,'Irish Traditional Cooking',by Darina AllenKyle Books, 2012, with dust jacket'The Food of Spain',by Claudia Roden,Penguin Books, 2012, with dust jacket, andthree further works (qty.)Provenance: The Jan Finch CollectionCondition ReportGenerally good.Constance Spry still sealed and unused.

A box of jazz and blues 7inch singles and EPs by various artists including Jimmy Smith, Erroll Garner, Art Tatum, The Modern Jazz Quartet and many more.

An Art Deco modern glass vase, various other table glassware, twin handled tray

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

* DRYSDALE SCOTT (SCOTTISH b. 1963), THE GIFT OF GIVING oil on board image size 91cm x 102cm, overall size 112cm x 122cm Framed. Label verso: The Lemond Gallery, Glasgow; Drysdale Scott Solo Show July 2016 where acquired by the current vendor. Note: Trained at Glasgow School of Art 1983-1987 and pursued a career in teaching but in recent years his work has been in hot demand from astute collectors. Scott is a painter who specialises in figure compositions portraits and still life. He creates narrative images that are based on modern-day themes and events. Like many of the artists who have had an influence on his work, he has a great interest in “capturing a moment in time”. Composition, realism and strong draughtsmanship are of equal importance to him as is the narrative involved in creating his work. His main influences are – Velazquez, Titian, La Tour, Caravaggio, Hopper, Bacon and Freud.Condition is good overall.

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

* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003), SEA BLUSH (HARBOUR) oil on panel, signed verso, titled and dated 1995/6 label verso overall size 123cm x 53cm Unframed, as intended. Artist's labels verso. Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.

* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003), (SUM)MER BOX mixed media diorama, titled and dated 1968 label verso overall size 42cm x 42cm, 17cm deep Framed and under glass. Artist's label verso. Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thackeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield (Arbroath), The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Museums & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.

A modern Baccarat art glass figure study of a bunny rabbit 9cm tall approx signed and marked. good condition, nothing to note

A modern art glass Lalique study of a nude female seated titled Floreal in opalescent glass signed Lalique France 9cm tall very good order, nothing to note. 

A modern Lakeland studio crystal art glass footed bowl with imagery of the Langdales with motto etched to base. Come with original receipt.

A modern Lindean Mill art glass bowl having white body with Bristol blue rim and foot signed to base and dated 1985

CARVED & PAINTED JIGGING FIGURE, wearing cotton shirt and woollen britches tied with leather belt, mother of pearl buttons, metal pinned joints, mounted on modern doll stand, 40cms hProvenance:'The St John Perrott Stimson Collection of Treen & British Folk Art’ Please see This Autumn: Treen & British Folk Art — Rogers Jones Co (EN)Condition Report:one arm with loose elbow joint, paint worn, clothes with tears, holes, stains

An Art Deco Longines 9ct gold cushion cased wristwatch, circular white dial, Arabic numerals, recessed subsidiary seconds, luminous hands, 15 jewels movement, cal. 12.92, serial 5293067, Dennison case number 578363, Birmingham 1935, case 30mm, on a modern black leather strap, 31.5g gross.Notes: in working condition, winds and hands set well, runs across 1hr test, however Batemans cannot guarantee its continued operation.

An Art Deco Rolex chrome plated gentleman's tank wristwatch, rectangular dial with black Breguet style Arabic numerals and minute track, subsidiary seconds dial, blued steel hands, fifteen rubies 'Unicorn' movement, 'Snowite' case, numbered 514012 and 1233, dial 21 by 15mm, case 21mm, on a modern black leather strap.Notes: in working condition, winds and hands set, runs across 30min test, however Batemans cannot guarantee its continued operation.