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Lot 33
Hassan Soliman (Egypt, 1928-2008)Still life gouache and graphite on paper, framed signed 'Hassan Soliman' and dated '1991' in english and arabic (lower right), executed in 1991 52.5 x 71cm (20 11/16 x 27 15/16in).Footnotes:Provenance:Property from a private collection, LebanonThis 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
Lot 50
Manoucher Yektai (Iran, born 1922)Newspaper and Brushes oil on canvas, framedsigned 'Yektai' and dated '56' (lower middle), executed in 1956128 x 136cm (50 3/8 x 53 9/16in).Footnotes:Provenance:Property from a private collection, Los AngelesAcquired from Poindexter Gallery, New York City, 1957Exhibited:Poindexter Gallery, Manoucher Yektai, New York City, 1957A MONUMENTAL PAINTING OF A STILL LIFE BY MANOUCHER YEKTAI 'Yektai wanted to render us conscious of our existence from second to second, of the joy of breathing, of the rapid changes of things' – John Ashberry'Around the mid 1950's, Yektai entered his present phase, a period of immense bravura, lyricism, power, directness and of a determined abstract commitment' – Robert Pincus-Witten'His style, overrun by thick, torrential impastos as elegant as they are volatile, barely respects the shapes and edges of things. 'nature' here suggests a movement that attracts the gestural propensities of the artist. ...there are so many exciting passages - particularly in the several tomato plants in which form and movement are as engaged as in his figures. Yektai continues to grow.' - Clement GreenbergBonhams have the rare honour of presenting one of the most formidable examples of Manoucher Yektai's inimitable and striking expressionist still life compositions rendered in a rare and magnificent cobalt blue palette Monumental, powerful and enigmatic, 'Still Life' exhibits all the lyrical intensity of Yektai's dramatic technique; an artist at the creative high point of his career, Yektai's 1950's work is exemplified by exhilarating lyric flurries of paint, thick rapier like strokes, and a virtuoso handling of impasto.Unlike his later, more sombre, paired down still life compositions, like other works from the 1950's, the present work is imbued with a palpable sense of density and dynamism. Here we may notice the influence of action painting on Yektai's style with its powerful, energetic technique evident in the torrent of lush decisive strokes. This painterly looseness, however, is channelled within a well-contained, tight composition – the unlikely harmony of freedom and discipline writ large in paint.Born in Tehran, Yektai is considered one of the unsung founders of the New York School of Abstract Expressionism. After an early encounter with Iranian painter Mehdi Vishkaei, Yektai decided almost overnight to become an artist, failing to show up for his school exams one morning and proclaiming that he was destined to be a painter.Renowned for shunning easel painting, Yektai's habit of working his canvases from the floor stem from a painting session in the outskirts of Tehran in the 1930's, where he found himself unable to work with his canvas propped against a tree due to the wind, ending up finishing the composition on the ground, a method that would stay with him for his whole career, and one to which he attributes much of his dynamism and artistic freedom.Between 1945 and 1947, he studied with Amédée Ozenfant in Paris, France, and later in New York City. In 1951 and 1952 Leo Castelli brought some friends, including early Abstract-Expressionist painters, to see Yektai's New York exhibitions shows. Castelli introduced him to the 9th Street Club in 1951 and he soon became a friend of Rothko,Tobey, Guston, and others. In the mid-1950S he was included in classic group exhibitions of early Abstract-Expressionism at the Stable Gallery and elsewhere, with older generation artists such as DeKooning, Pollock, Newman, and Kline. From 1957 till 1965 he showed at Poindexter. With this background it would be easy to regard Yektai as a key member of the New York School.In composition and technique, 'Still Life, Framed' is a unique blend of the artists dramatic gestural style and the influence of the still life genre, and in particular the palette and textural quality of post-impressionists like Cezanne and Toulouse Lautrec. An artist that was a key member of one of the defining movements of twentieth century art, Yektai nevertheless demonstrated an artistic freedom and originality which set him apart from his peersThis 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
Lot 15
Krishna Hawlaji Ara (Indian, 1914-1985)Untitled (Still Life) signed 'Ara' lower rightwatercolour and gouache on paper61.8 x 46.5cm (24 5/16 x 18 5/16in).Footnotes:ProvenancePrivate Collection, India; Acquired from the artist's family member.CompareFor a similarly styled vase and painting technique see Christie's, South Asian Art, Mumbai, 19th December 2013, lot 13.It was around the late 1940s and all through the 1950s that Ara turned towards painting Still Life. His Still Life's have a deliberate roughness in both drawing and painting as can be seen in the present lot, and this is perhaps the most striking aspect of his paintings. The pink flowers drawn with minimal attention to detail, help distinguish his work from other artists and seeks to encapsulate what Ara wished to achieve in his works, which was the honest expression of form. Although Ara worked primarily in watercolours, his techniques evolved so that it looked as though his works were made using oil paints, as one might deduce when looking at the current lot. He achieved this by applying his colours straight from the tube and then spreading it in a dry impasto method. Ara's achievement perhaps lies in his abilities to combine sensuality with a calculated structuring that elevated and distinguished him from his contemporaries.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 16
Krishna Hawlaji Ara (Indian, 1914-1985)Youth signed 'Ara' lower rightoil on canvas59 x 44cm (23 1/4 x 17 5/16in).Footnotes:ProvenanceRudi von Leyden and thence by descent;Sotheby's, Modern & Contemporary South Asian Art - Including Indian Miniature Paintings, London, 8th June 2012, lot 32; Acquired by the vendor from the above. ExhibitedInternational Contemporary Art Exhibition, New DelhiThere is a label on the back, titled International Contemporary Art Exhibition, New Delhi(India) with the title of the picture: Youth, competition No: 1, medium: oil colour, Price: Rs. 450/Four Hundred and..., Name and address of the artist: K.H. Ara... The price and address is not decipherable. Ara was a self-taught artist who was born in Bolarum, Secunderabad into poverty as the son of a chauffeur, and ran away from home aged 7 to Mumbai following his mother's demise and his father's remarriage. He supported himself in Mumbai by cleaning cars and then working as a houseboy. He was imprisoned for five months following his participation in the Salt Satyagraha during the Civil Disobedience Movement. Despite his economic plight and the challenges he faced, he was devoted to the pursuit of art, and carried on with his practice. It was after the success of his first solo show, organised by Kekoo Gandhy at the Chetana Restaurant in Bombay in 1942, that Ara founded the Progressive Artist's Group, where he had opportunity to interact with several critics of the time. The present lot traces it origins to one of those critics, Rudi von Leyden from the Times of India. Von Leyden was a staunch supporter of Ara, and provided him with a stipend in order to hone his craft. Although Ara started painting landscapes and still life paintings, he later moved to painting female nudes and portraits, as evidenced in the present lot. His medium of choice to paint also changed, from gouaches and watercolours to oil paints. He now favoured precision in his paintings over the jagged and brash strokes used to execute his earlier works. His art appears to be spontaneous and intuitive, and although there is no apparent nudity in the present lot, the lower half of this painting was obscured and unvarnished when it was exhibited at the International Contemporary Art exhibition in New Delhi, owing to the artistic practise at the time of depicting brazen nudity.He exhibited widely during the early part of his career, and one notable exhibition includes the inaugural show of the Pundole Art Gallery in 1963. He was the recipient of the annual prizes of the Bombay Art Society, and was the founder and secretary of the Artists' Aid Centre and trutee of the Jehangir Art Gallery in Bombay. He was also a fellow and general council member of the Lalit Kala Akademi, New Delhi.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 41
Iqbal Hussain (Pakistani, B. 1950)Untitled (Woman in a burqa) signed lower rightoil on canvas91.8 x 60.3cm (36 1/8 x 23 3/4in).Footnotes:ProvenanceAcquired by the vendor from a Pakistani Art Gallery.CompareFor another work depicting women, sold at auction, see Sotheby's, Contemporary Indian and South Asian Paintings, London, 17th June 1998, lot 11.Although Hussain is most well known for his portraits of women, he is equally adept at painting landscapes and still life's as can be seen in the other lot in this collection. Husain is often termed a controversial painter as the models for his works are the prostitutes and dancing girls of Lahore. His women, as seen in the present lot are depicted as they appear in real life, fully clothed and sitting, and often with a resigned look in their eyes. The black background heightens the darkness and despair, and its almost as though the woman is receding into the background. Hussain's works have been exhibited in various shows, some of which include the 1983 Asian Biennial Dacca, Bangladesh, the 1986 International Exhibition in Seoul, London, Paris and Brussels and the 2003 show at World Bank Building, Islamabad, Pakistan. A retrospective was held for his works in 2018, at Tanzara Gallery in Pakistan, where the collection of the former World Bank Pakistan country director, John Wall was displayed; Wall is a patron of the artist.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 6
Anwar Jalal Shemza (British Pakistani, 1928-1985)Blue Vase signed and dated 'A Shemza 55, lower left oil on canvas on board61 x 48.2cm (24 x 19in).Footnotes:ProvenanceAcquired from the artist by Mr Ejaz Batalvi and lent by him to the artist's 1956 Exhibition. Mr Batalvi is credited in the 1956 exhibition catalogue which is included in this lot;Acquired by the vendor from Mr Batalvi's son in December 2019.ExhibitedA. J Shemza, Exhibition of Paintings, List of paintings: Number 6, June 1956, (illustrated, unpaginated.)PublishedA. J Shemza, Department of Fine Arts University of the Panjab, Monograph Number Five, 1956, pg. 32-33A. J Shemza, Exhibition of Paintings, List of paintings: Number 6, June 1956, (illustrated, unpaginated.)'In twentieth century Abstract Art, the artists' expressions are arrived at through their appreciation and analysis of still life, landscape and figure reduced to the significance of still life.'(Anna Molka, 1956)The Blue Vase (Oil on canvas, 19 in. x 24 in.) is an early example of Anwar Jalal Shemza's modernist artwork from the 1950s and represents one of his first departures from the Bengal School Style. The painting was part of Shemza's first solo shows at the Department of Fine Arts, University of the Punjab, and at Karachi Arts Council in 1956. The title bewilders the viewer as the centrally placed vase is richly painted in hues of yellow, green, and black. The four stems of varying lengths that the vase holds bear orange flowers. Another stem that lies horizontally in front of the vase, balances the colours of the flowers in the vase. The background and the foreground are painted in shades of dark brownish-black that help the vase and the flowers stand out. The white outline of the vase not only delineates the shape and its unusual angle, but also alludes to the material reality of the central object – most probably glass. This interpretation gains traction from the fact that the entire 'roundness' of the base has been made 'visible' by the artist. The vase is placed on an elliptical concave woven tapestry that mimics the shape of its base. The richness of the painted tapestry is like a woven carpet – an industry to which Shemza's family belonged. The composition is design-intensive and bears witness to Shemza's training as a graphic designer from the Mayo School of Arts, Lahore (now, National College of Arts or NCA). The form of the vase can be seen as a body that holds the flowers, and it is neither Eastern nor Western – suspended between observation and stylization. This is indicative of Shemza's intention to create not the study of still life, but rather to experiment with the new syntax of abstraction that had been introduced in post-colonial Pakistan through the works of Zubeida Agha (1922-1997) and Shakir Ali (1916-1975). Anna Molka, an artist and art educator, writing on Shemza's work states:By exploring new potentialities, these experimental artists had veered towards abstract art. Their concentration upon a semi-scientific method of indicating instantaneous light on form caused them to break the representational tradition of the West. Shemza's The Blue Vase does not conform strictly to cubism. It carries the characteristic aesthetics of traditional Indian painting – to deny the illusion and uphold the two-dimensional aspect of painting, hence showing multiple perspectives. Perhaps the in-betweenness of this painting can be understood in the context of the fact that at this time, Shemza, along with his young cohorts (members of Lahore Art Circle or LAC – a small artists' collective based in Lahore and functional from 1952-1958), was experimenting with the syntax of modern abstract art. He desired to move the art practices of the nascent country away from prevalent painting practices of traditional Indian painting and European academic style towards more avant-garde practices in order to begin engagement with the global art world. Anwar Jalal Shemza was a painter, a designer, a writer and a teacher, commonly known by his pen name Shemza. He was one of the eight founding members of LAC which became the harbinger of modern art in Pakistan. Shemza's contribution to the art history of Pakistan and Britain came to attention posthumously in 2009 with two ground-breaking shows sponsored by Green Cardamom, London. The first show, curated by Iftikhar Dadi, was entitled Anwar Jalal Shemza: Calligraphic Abstraction, while the second, curated by Rachel Garfield was titled Anwar Jalal Shemza: The British Landscape. Shemza was born in Shimla, India in 1929 to a Kashmiri family who owned a carpet business in Ludhiana. He received a diploma in Commercial Arts from the Mayo School of Art (now The National College of Arts, Lahore). Shemza inherited his love for reading and writing from his father who was a poet, and after migrating to Lahore, Pakistan, he started to mingle with Urdu writers through the literary circle called, Halqa-e Ahbab-e Zouq. Shemza himself was a talented writer and wrote several plays for Radio Pakistan, and various short stories and novels as well. His active engagement with the literary circle in Lahore enriched his critical thinking and enabled him to embrace modern trends that were visible both in visual arts and literary fields of study. While he was creating experimental paintings as part of LAC, Shemza was also changing the way of telling traditional folktales, by rewriting them with a modern twist. In 1956, Shemza was awarded a scholarship by the British Council to attend The Slade School of Fine Art, London, where he received a diploma in 1959. In Britain, the trajectory of Shemza's work once again shifted towards experimenting with the abstract nature of Islamic calligraphy and exploring the relationship between visual and textual practice. His interest lay in understanding the form of Islamic letters and various processes of deconstructing the structure of the shapes of alphabets, which proved to be his passion for next twenty-six years. Shemza continued to teach at various educational institutes in Pakistan and the UK throughout his life. He was a prolific painter, who also dabbled into other mediums such as ceramics, printmaking, and drawing. During his life, Shemza exhibited in London, Tokyo, France, and Pakistan. His work is in the collection of several private collectors and art museums around the world including: Ashmolean Museum, Oxford and Tate Modern, London in the UK; Metropolitan Museum of New York and Minneapolis Institute of Art, in the US; the Guggenheim Museum, and Sharjah Art Foundation in UAE, and at the Lahore Museum in Pakistan. References: Dadi, Iftikhar. 'Anwar Jalal Shemza and Calligraphic Abstraction'.Perspectives London: Green Cardamom, 2009.Dadi, Iftikhar. Anwar Jalal Shemza. London: Ridinghouse, 2015.Garfield, Rachel. 'Anwar Jalal Shemza, The British Landscape', Perspectives 2. London: Green Cardamom, 2009.Iqbal, Samina, 'Modern Art of Pakistan: Lahore Art Circle 1947-1957', PhD. dissertation, Virginia Commonwealth University, 2016. Iqbal, Samina, Willie Simone and Iftikhar Dadi. Naya Daur: Shakir Ali and Lahore Art Circle. Lahore: Sang-e Meel Publications, 2017.Moheyuddin Zia. http://jang.com.pk/thenews/may2012-weekly/nos-06-052012/manto/abovenormal.asp. Pakistan. Accessed Jan 22, 2016.Molka, Anna. 'Anwar Jalal Shemza: Catalogue of the Exhibition'. Lahore: Punjab University Press, 1956.For further information on this lot please visit Bonhams.com
Lot 1115
John William Juritz (1870-?)/SS Suevic/Table Mountain in the background/signed/watercolour, 25cm x 36.5cm and/Still Life with Basket of Flowers/signed Michel/oil on canvas, 21cm x 26cm and another by the same hand, 26cm x 21cm (3) CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 1140
After Meléndez/Still Life/a bowl of fruit and wine glass on a table/oil on canvas, 41cm x 50cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request, the absence of a condition report does not imply that a lot is without imperfection
Lot 758
W M Steiner/Still Life/newspaper and stoneware jug on a mantelpiece/oil on canvas, 60cm x 50cm/Provenance: Tidenham Manor CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 760
20th Century/Still Life/vase and flowers/oil on canvas, 60cm x 49cm and another similar/Provenance: Tidenham Manor CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 762
Still Life of Fruit/a pair, oval/oil on canvas, 40cm x 29cm/Provenance: Tidenham Manor CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
Lot 698
ONE BOX AND LOOSE ROYAL WORCESTER TEA SET, BOOKS AND SUNDRY ITEMS, to include a twenty eight piece Royal Worcester gold lustre tea set, twelve leather bound centennial edition volumes of the complete works of Charles Dickens, a framed still life oil on board, frame size 24cm x 19cm, and two brass caddies (Condition report: pieces appear in good condition, sd) (1 BOX + LOOSE)
Lot 746
PAINTINGS AND PRINTS ETC, to include four modern continental oils on canvas and board depicting villages and harbour scenes, all indistinctly signed, largest size approximately 33cm x 18cm, a still life study of roses signed A Dakin, oil on canvas, four nostalgic scene oils on board signed D Carrolan, largest size approximately 50cm x 75cm, an oil on canvas depicting Spitfires in flight, signed Frank Toogood 1983, together with assorted modern box canvas prints etc
Lot 748
PAINTINGS AND PRINTS ETC, to include a sunset oil on canvas depicting sailing boats at their moorings, signed L Alexis, approximate size 40cm x 50cm, an unsigned still life study of flowers in a ceramic vase, two Chinese watercolours depicting exotic birds, signed with chop marks, approximate sizes 27cm x 9cm, modern Edwin Landseer print 'Dignity and Impudence', together with assorted other prints (box and loose)
Lot 789
A SMALL COLLECTION OF PAINTINGS AND PRINTS ETC, to include an I J Wilkes maritime watercolour of a sailing ship in harbour at sunset, approximate size 24cm x 17cm, a John Thorne pen and wash sketch of Gas Street Basin in Birmingham, approximate size 13cm x 18cm, a still life study of wild flowers signed P M Sexton, Rosemary Lewis encaustic landscape picture together with assorted prints etc
Lot 796
NATALIE COLLETT (CONTEMPORARY) THREE SIGNED LIMITED EDITION PRINTS, comprising 'Sweethearts' nine love hearts in a grid 1/200, 'Spring Flowers' a still life of flowers in a vase 1/200 and 'Imperial Crimson' a still life of flowers in a vase 1/200, all signed, titled and numbered in pencil, mounted framed and glazed, approximate sizes 20cm x 19cm, good condition
Lot 14
Vallabhbhai Patel (1875-1950) – Letter - an important letter, handwritten in Gujerati by Patel which mentions Gandhi (Bapu), but also describes the conditions and life whilst imprisoned, presumably in the Yeravda Central Jail: Parawada Temple Date: 25 Dear Sister, I received your two letters, on of 14th and the second of 20th. Also I received the letter to the Bapu. Apart from that, I also got the letter on Mahadevbhai. The letter Bapu wrote to you is sent to the mail of Ashram but the mail of Bapu goes to the government and remains there still. And after many days it gets released from there and then comes here. After that it drops to mailbox from here. That is why when he writes letter to someone, it is not reaching on time. But the letters written to him are given him directly. So he receives them immediately. Therefore we have received your letter too immediately. You want to know our routine of life, but it can be described in brief. “Eat, Drink and [Illegible]”. Everything comes in this. In early morning at 4:00 am doing prayer and walking around for almost an hour and then reading, after that from 6 to 7 am, taking breakfast of milk and roti drinking tea. Then reading newspaper for an hour and we start spinning. Bathing at 10 am and then rest for half an hour. After that again reading. Again taking meal at 4 pm in which here they prepare Dal (pulse), Bhat (rice), Shak (vegetables) and roti – everything. And I am Mahadev eat the meal. I keep the routine like this. Then again walking around for an hour from 5.30 pm to 6.30 pm. Then again we read. Then at 7.30 we do prayer. Then reading for an hour and at nine o’clock we go to bed. In the early morning exactly at 3.40 we used to wake up. In reading recently I have started learning Sanskrit so I have to give a good amount of time in it. And I am also reading other miscellaneous subjects. If we study philosophy then we can get some new knowledge but. But it is the matter of internal looks and also it needs some culture of previous incarnations. But it is sure that we are fortunate that we got to live with Bapu so it is due to some good deeds cumulated from our previous birth. You need a share from me and you are going to demand it when I come back. It is true but you will get it if you get it from Vidyanand Maharaj or your devotion is by other way. And you will have to get a share from whatever you get, right? Why the doctor is not going to Mumbai and get a good doctor to make his tooth box. You should do it as Chhaganbhai did. Otherwise it will cause trouble. It can be done while you are out, after that it might not be possible. So you will only plan to go after the doctor’s health becomes well. What are the news about Lilavatiben? Now Haribhai must have get back to work. It is not good being a doctor he stays in bed at rest. Now, as Motilal Sheth has gone so where is the Katha of Vidyanandji Maharaj happens and at which place? And where he has given the stay? You also must be telling the Katha of Belgam to everyone. You should also write a book of your experiences then people will light a lamp near you and worship you believing you as a goddess. We all of the three became very happy reading your letter. Did anyone go to see to Diwan master? What is the news of him? We all the three are very happy and our health are good. The letter attached is for Maniben and Doctor, so give it to them. Yours, Vallabhbhai’s greetings Written in black ink to both sides of paper. Some folds and corrections. 21cm x 13cm, approx. Upon the failure of the Round Table Conference in London, Gandhi and Patel were arrested in January 1932 when the struggle re-opened, and imprisoned in the Yeravda Central Jail. During this term of imprisonment, Patel and Gandhi grew close to each other, and the two developed a close bond of affection, trust, and frankness. Their mutual relationship could be described as that of an elder brother (Gandhi) and his younger brother (Patel). Despite having arguments with Gandhi, Patel respected his instincts and leadership. In prison, the two discussed national and social issues, read Hindu epics, and cracked jokes. Gandhi taught Patel Sanskrit. Gandhi's secretary, Mahadev Desai, kept detailed records of conversations between Gandhi and Patel. When Gandhi embarked on a fast-unto-death protesting the separate electorates allocated for untouchables, Patel looked after Gandhi closely and himself refrained from partaking of food. Patel was later moved to a jail in Nasik, and refused a British offer for a brief release to attend the cremation of his brother Vithalbhai, who had died in October 1933. He was finally released in July 1934 Vallabhbhai Jhaverbhai Patel (31 October 1875 – 15 December 1950), endeared as Sardar, was an Indian statesman. He served as the first Deputy Prime Minister of India from 1947 to 1950. He was a barrister and a senior leader of the Indian National Congress, who played a leading role in the country's struggle for independence, guiding its integration into a united, independent nation. He was one of the conservative members of the Indian National Congress. In India and elsewhere, he was often called Sardar, meaning "chief" in Hindi, Urdu, and Persian. He acted as the Home Minister during the political integration of India and the Indo-Pakistani War of 1947. One of Mahatma Gandhi's earliest political lieutenants, he organised peasants from Kheda, Borsad, and Bardoli in Gujarat in non-violent civil disobedience against the British Raj, becoming one of the most influential leaders in Gujarat. He was appointed as the 49th President of Indian National Congress, organising the party for elections in 1934 and 1937 while promoting the Quit India Movement.
Lot 51
Vallabhbhai Patel (1875-1950) – Letters - two handwritten letters in Gujerati, written whilst Patel was imprisoned in Yeravda Central Prison. Both written to one folded sheet. First letter: Yerwada Temple Date: 12.07.33 Dear Sister, How is your life going on? As the Chaturmas (four months of monsoon) started, there must be going on Katha Varta (Religious reading), Devdarshan (go to temples) and fasting. I received a letter from Maniben. Her health is good. She asks for the wellness of you all. I am going to write her a letter next Monday, so let me know if you want to send some message. My health is good. Nose pain is old, so do not worry about reading the news of going to hospital for X-ray in the newspaper. There is nothing to be panic. This kind of illness runs like this only. I had received a letter of Balubhai. But he may come here at the time of [illegible]. So I will be to write him later. Hope Jitu, Sumitra, Hansa etc. are well. Let me know if there is any news from Chandubhai. Mrudula is well. Ambalalbhai and Sarladevi would come here to meet her next week. Hope all are well in their family. Where is Prahlad? How is life is going? Where is that Anandi? What does he do? Hope your health is well. From, Salutations from Vallabhbhai. Second Letter: Yerwada Temple Date: 12.07.33 Dear Balvantray, Don’t be panic reading about the x-ray. I had a letter from Haribhai. I have replied him about the details. Yesterday Deshmukh and Damani came and checked up. The bone behind the left nose is increased slightly and so it has caused something like shell. Due to it the water and mucus that should come out is going in the throat and causes problem. Nothing else. It is [illegible] but there is nothing in sinus or central so nothing to worry. X-ray was taken to check the sinus and central. It is [illegible] candy, so they are taking good care, otherwise no one would have even asked. Is there any improvement in Lala uncle’s health or not? Is he still living in that Pol (a small society) or came out of it to relocate? It was a good that you met in the Vadilal Hospital. If that institution runs well, then it will honor the city. It seems that the doctors are so-so. Is Motilal doing work properly or not? What about that Ms. Saint? What about that son of the Baineela in the Ashram who was serious, to whom you was about to go for check-up? Did you go there, and what is happened to him? Had he recovered or still his health is worsening? Is your health well? From, Salutations from Vallabhbhai. Stamped to top 'Superintendent - Yeravda Central Jail (Poona)' with an official's signature in red pencil. Written in black ink to all sides of paper. Some folds and tape repairs. 20.5cm x 13cm, approx. Upon the failure of the Round Table Conference in London, Gandhi and Patel were arrested in January 1932 when the struggle re-opened, and imprisoned in the Yeravda Central Jail. During this term of imprisonment, Patel and Gandhi grew close to each other, and the two developed a close bond of affection, trust, and frankness. Their mutual relationship could be described as that of an elder brother (Gandhi) and his younger brother (Patel). Despite having arguments with Gandhi, Patel respected his instincts and leadership. In prison, the two discussed national and social issues, read Hindu epics, and cracked jokes. Gandhi taught Patel Sanskrit. Gandhi's secretary, Mahadev Desai, kept detailed records of conversations between Gandhi and Patel. When Gandhi embarked on a fast-unto-death protesting the separate electorates allocated for untouchables, Patel looked after Gandhi closely and himself refrained from partaking of food. Patel was later moved to a jail in Nasik, and refused a British offer for a brief release to attend the cremation of his brother Vithalbhai, who had died in October 1933. He was finally released in July 1934 Vallabhbhai Jhaverbhai Patel (31 October 1875 – 15 December 1950), endeared as Sardar, was an Indian statesman. He served as the first Deputy Prime Minister of India from 1947 to 1950. He was a barrister and a senior leader of the Indian National Congress, who played a leading role in the country's struggle for independence, guiding its integration into a united, independent nation. He was one of the conservative members of the Indian National Congress. In India and elsewhere, he was often called Sardar, meaning "chief" in Hindi, Urdu, and Persian. He acted as the Home Minister during the political integration of India and the Indo-Pakistani War of 1947. One of Mahatma Gandhi's earliest political lieutenants, he organised peasants from Kheda, Borsad, and Bardoli in Gujarat in non-violent civil disobedience against the British Raj, becoming one of the most influential leaders in Gujarat. He was appointed as the 49th President of Indian National Congress, organising the party for elections in 1934 and 1937 while promoting the Quit India Movement.
Lot 70
Mahatma Gandhi (1869-1948) - Diary - a c1930s ' Progress Diary ' used and owned by a woman staying in Gandhi Ashram who was a pupil of Gandhi. He would teach her vocabulary, spinning wheel, cookery and various other interpersonal skills and subjects in line with his 'Young India' vision of the time. The diary contains details about the daily routines and general life at The Ashram, sometimes in great detail - including praying, diet, and timings. As part of his teachings, Gandhi would periodically review the diary and add his own corrections or comments where needed. His markings and comments range in length, with some of the shorter ones reading 'There are many mistakes in your Gujarati language. Henceforth that shall not happen'. Other comments in other areas include; 'Scope for more Improvement,' and 'Has been read'. Longer paragraphs can also be found, including: 'If the dough of Indian flat bread (Roti) does not have clarified butter (Ghee/oil) then don’t roast on flame and eat it. Even, If its still prepared it doesn’t bother me. What is Prabhakar explaining to you?' Kindly seek permission from Chiman brother (Manager) before preparing separate meals for yourself in the kitchen (Other than usual meals for Ashram members). Don’t be impatient. Indira speaks to me There is nothing to feel bad about it. Chimanlal is an indispensable person (as Manager). He must be obeyed. Gandhi has signed at least two passages 'Bapu' The diary is largely written in Gujerati but the first few pages are in English. Gandhi's comments are written in Gujerati. The handwritten text fills sixteen pages of the diary, with Gandhi's remarks noted on at least eight of those pages. A previous translation of the diary (not supplied) had highlighted some interesting revelations from the woman, including a paranormal experience at night (Page 9, right side), a visit by Sardar Vallabhbhai Patel meeting Gandhi and another man and all three sharing a joke (Page 7, left side) and a celibate lady in the ashram having physical relations with a man also in the ashram (Page 8, right side). A unique item relating to Gandhi's Ashram and his teachings. The book measures 20cm x 16cm, and survives generally in very good condition albeit with some rusting of staples, and wear from age / use. Mohandas Karamchand Gandhi (2 October 1869 – 30 January 1948) was an Indian lawyer, anti-colonial nationalist and political ethicist who employed nonviolent resistance to lead the successful campaign for India's independence from British Rule, and in turn inspire movements for civil rights and freedom across the world. Gandhi's birthday, 2 October, is commemorated in India as Gandhi Jayanti, a national holiday, and worldwide as the International Day of Nonviolence. Gandhi is commonly, though not formally, considered the Father of the Nation in India, and was commonly called Bapu (Father).
Lot 1600
SLEVOGT? (undeutlich signiert, Maler/in 19./20. Jh.), "Stillleben", Kaktus, Schale mit Früchten und Steinzeugkrug auf einem Tisch arrangiert, o.li signiert, Öl/Leinwand auf Hartfaser aufgezogen, HxB: ca. 51x43 cm (58x50 cm mit Rahmen). Alters- und Beriebspuren, Flecken, restauriert und retuschiert. Mit Rahmen.| SLEVOGT? (indistinctly signed, painter/in 19th/20th century), "Still life", cactus, bowl with fruit and stoneware jug arranged on a table, signed top left, oil/canvas mounted on hardboard, HxW: approx. 51x43 cm (58x50 cm with frame). Signs of age and wear, stains, restored and retouched. With frame.
Lot 137
1984 Land Rover Series III Transmission: manualMileage:109140Land Rovers were inspired by the US-built Willys Jeep immediately after the war and by 1992, Land Rover claimed that 70% of all the vehicles they had ever built were still in use. Before the war, Rover had produced luxury cars which ceased to be in demand in the immediate post-war period and raw materials were strictly rationed to those companies building construction or industrial equipment. Rover's original factory in Coventry had also been bombed, forcing the company to move into a huge factory it had built in Solihull to construct aircraft. The Series III is the most common vehicle, with 440,000 of the type built from 1971 to 1985. The headlights were moved to the wings and the traditional metal grille featured on its predecessor, was replaced with a plastic one. The production run for the Series III was from 1971 through to 1985 and during this cycle (1976) the 1,000,000th Land Rover rolled off the production line. The Series III saw many changes in the later part of its life as Land Rover updated the design to meet increased competition.This pleasant example of a British automotive classic has been recently owned and cherished by an enthusiast, ex-Land Rover employee. The practicality of these four-wheel drives from Solihull has never been in doubt and this model is no exception having spent its recent years working on a farm in Devon. Benefitting from a towbar and a new floor to the rear cabin as well as Land Rovers legendary four-wheel drive capability, this split-screen Series III petrol version looks well in blue with a contrasting white roof and bonnet mounted spare wheel, and has just passed an MoT test. Presented to auction with a V5C registration document and offered without reserve this Land Rover certainly deserves further consideration.
Lot 229
1994 Porsche 993 Carrera 2 Transmission: automaticMileage:86100The Porsche 993 was introduced in 1994 as a replacement for the 964 generation of the iconic 911 models and was built until 1998. Regarded by many as the best generation of 911's ever produced from Stuttgart, this car was the last to use the air cooled flat six engine that had powered 911's for the previous thirty years. The 993 was offered in a number of guises and specifications during its production life including two and four-wheel drive trains, known as Carrera and Carrera 4 respectively.Registered new on 23rd May 1994 this wonderful UK supplied example is offered in Iris Blue metallic coachwork over a Marble Grey leather interior. Supplied new with various desirable options including 17-inch Carrera Cup 2 Alloys, sports seats, air conditioning, and an electric sunroof. The coachwork and interior are both in very good order showing little sign of age and the alloy wheels present well shod with a set of matching Michelin tyres. The 993 comes complete with an extensive history including a service book detailing 11 services undertaken by Porsche specialists, the last service of which completed by Nine Excellence Porsche Specialist in January 2022. Also included is a Certificate of Authenticity supplied by Lancaster Cambridge, owners book pack, tool roll and spare wheel, various old MoT records, sundry invoices, the UK registration document, and a valid MoT test certificate. Maintained regardless of cost this wonderful example still displays all its original factory labels! Ready to be enjoyed immediately by its new custodian.
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