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Click here to subscribeEd Baynard (American, 1940-2016). Watercolor on canvas painting titled "Classic Still Life" depicting eight colorful vases on two shelves, 2004. Signed, titled, and dated along the verso.Height: 24 in x width: 36 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Barton S. Hays (American, 1826-1914). Group of two oil on canvas paintings of children. One oval portrait and one square. Both portray B.S. Hays' granddaughter, Alice Hinshaw; one on the day of her baptism.Provenance: From the private collection of B.S. Hays, passed down through his family.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Oval painting; height: 17 in x width: 14 in. Square painting; height: 15 in x width: 13 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Barton S. Hays (American, 1826-1914). Group of two oil on canvas portrait paintings. One depicts a youth wearing a red scarf with a white top. This is Ida Mae, B.S. Hays' granddaughter, who died at age 11. The other depicts a figure wearing a black dress decorated with white lace. This is B.S. Hays' second wife, Amy Woodmansee Elliot.Provenance: From the private collection of B.S. Hays, passed down through his family.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Youth; height: 22 in x width: 18 in. Woman; sight; height: 19 in x width: 15 in. Framed; height: 23 in x width: 19 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Barton S. Hays (American, 1826-1914). Group of three oil on canvas portrait painting including: one depicting a youth in a light blue dress with a white collar, one depicting a feminine figure in a black dress against brown background, and one profile portrait depicting a feminine figure in dark colored dress. The young boy is B.S. Hays' grandson, Barton D. Hinshaw. The other two paintings depict B.S. Hays' second wife, Amy.Provenance: From the private collection of B.S. Hays, passed down through his family.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Height ranges from 9 3/4 in to 18 in; width ranges from 7 3/4 in to 14 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Barton S. Hays (American, 1826-1914). Oil on board landscape painting depicting an outskirt farm scene with cows peacefully grazing in the meadow.Provenance: From the private collection of B.S. Hays, passed down through his family.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Height: 12 in x width: 18 1/2 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Barton S. Hays (American, 1826-1914). Oil on canvas painting depicting a peaceful farm landscape.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Height: 18 1/4 in x width: 26 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Barton S. Hays (American, 1826-1914). Oil on canvas landscape painting with sheep relaxing in a pasture. The blue sky in the background adds a peaceful narrative to the scene.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Height: 20 in x width: 30 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Odon Morinyi "Edmund Pick-Morino" (Hungarian, 1877-1958). Oil on canvas still life painting depicting vegetables on a table, 1912. Signed and dated along the upper right corner.Height: 14 1/2 in x width: 17 1/2 in. />Condition: The colors are bold and deep. There are small losses throughout, especially along the edges. Some surface marks throughout. Stretcher bar marks along all four edges. Craquelure along the foremost onion. Some small impressions along the surface. No apparent restorations when inspected under UV light. Some wear to the stretcher. The artwork is not framed.
Hippolyte-Pierre Delanoy (French, 1849-1899). Oil on canvas still life painting depicting a vase of blue and red flowers. Signed along the lower left.Sight; height: 10 1/4 in x width: 8 in. Framed; height: 15 1/2 in x width: 13 1/2 in. />Condition: The colors are bold and bright. There is undulation to the surface and the canvas is slightly loose. The surface has some areas of instability throughout. Craquelure throughout. There is a small loss near the lower center below the vase's footrim. Wear to the extreme edges. Wear to the verso and stretcher. Some accretions to the verso that do not affect the recto. Wear and some small losses to the frame.
Trevor James (American, 20th c). Large oil on canvas still life depicting a bowl of fruit. Signed along the lower right.Sight; height: 39 in x width: 59 in. Framed; height: 45 1/2 in x width: 65 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Oil on canvas painting depicting a still life with an Asian porcelain vase with white calla lilies and pink lilies. Inscribed along the verso "Wm Hubacek."Sight; height: 21 1/2 in x width: 13 1/4 in. Framed; height: 25 1/2 in x width: 17 1/2 in. />Condition: The colors are bold and bright. The surface is stable. There are several areas of inpainting throughout the artwork, visible under UV light. Most notable in the following areas: both of the white calla lilies and the right margin. There are numerous other areas of inpainting throughout. There are stretcher bar marks throughout all four side. Along the verso, there are six noticeable patches corresponding to areas of inpainting on the recto. There is wear to the extreme edges of the canvas along the verso. All but one stretcher key is missing. Wear to the frame.
Wang Yutian (Chinese, 20th/21st c). Oil on canvas still life painting depicting apples and oranges along with a clear bottle, 1991. Signed and dated along the lower right corner.Sight; height: 30 3/4 in x width: 38 3/4 in. Framed; height: 38 1/4 in x width: 46 1/4 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Huguette Caland (Lebanon, 1931-2019)Untitled mixed media on paper, framed signed 'H Caland' and dated '22/12/86' (lower right), executed in 198644 x 59cm (17 5/16 x 23 1/4in).Footnotes:Provenance:Property from a private collection, LondonFormerly in the Collection of Raoul Jean-Moulin Crait & Muller, Succession Raoul-Jean Moulin Sale, February 2018, Lot 125, Paris Hugette Caland's Abstract Still Life on Paper presents a captivating and energetic departure from her typically meticulous and orderly painted works. This piece, originating from the personal collection of esteemed art critic Raoul Jean Moulin, offers a rare glimpse into the artist's spontaneous and expressive side Caland's artistic evolution during her final year in Paris before her move to Los Angeles is evident in this piece. Here, she abandons the carefully calculated precision of her previous works in favor of a more unrestrained approach. The result is a dynamic and vibrant still life that pulsates with energy and vitality. The composition is a riot of colors, shapes, and textures, with elements seemingly colliding and intermingling in a symphony of chaos. Caland's bold use of mixed media adds depth and dimension to the work, creating a tactile and visceral experience for the viewer. Each brushstroke and mark on the paper appears spontaneous, less premeditated, and more guided by the artist's immediate emotions and impulses. Raoul-Jean Moulin was a critic, exhibition organizer, and head of the contemporary art archives at the Val-de-Marne and the collections at Musée d'Art Contemporain du Val-de-Marne. In 1958, he began writing criticism for Lettres françaises, and also contributed to Humanité until 1998. Moulin helped organize the Biennale de Paris, served as commissioner of the French pavilion at the Thirty-sixth Venice Biennale, and was active in the International Association of Art Critics, serving as its chair from 1972 to 1984. According to Widermann, who said Moulin seemed to have done enough for one hundred lives, the critic once wrote: 'We should listen to the painters—often times they get to the heart of things.'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
Manoucher Yektai (1922-2019)Still Life oil on canvassigned 'Yektai' and dated '64' (lower left), executed in 196440.6 x 22.8cm (16 x 9in).Footnotes:Provenance:Property from a private collection, USAThis 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
Ahmed Cherkaoui (1934-1967)Les Miroirs Noirs VII oil on canvas, framedsigned 'A.Cherkaoui' (lower left), titled and dated on the verso, executed in 196525 x 30cm (9 13/16 x 11 13/16in).Footnotes:Provenance:Property from a private collection, FranceProperty from a private collection, SpainAcquired directly from the artist by the above 'This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections'- Holiday PowersAhmed Cherkaoui was a leading figure of early Moroccan modernism, known particularly as one of the first painters there to initiate a dialogue working towards rooting international artistic modernism within a distinctly national context. He was an early instigator to a broader movement in Morocco during the short span of his career between the late 1950s and 1967, when he died abruptly from complications from appendicitis. Despite the short length of his career, artists and the arts discourse in Morocco throughout the 1960s and 1970s came back repeatedly to questions Cherkaoui had begun to pose before his early death. Cherkaoui was one of the first artists to attempt to ground abstraction in signs and symbols, actively confronting the duality of and distance between Morocco and Europe as can be seen in his 1965 painting Les Miroirs Noirs VII (The Black Mirrors VII). If the resolutely flat plane, visible brush strokes, and loose gestural abstraction call to mind the Paris School, the luminous earth tones and central symbol still link back to Morocco. For an artist that felt himself continually torn between France and Morocco, it was in his work that he was able to create an interstitial space. The elements of the painting are not precisely locatable to a discreet national body yet still gesture to his multiple geographic ties, creating instead a new blend and bridging the distance between the two on canvas. Trained in calligraphy in Qur'anic schools in Morocco, Cherkaoui left for Paris to study graphic design at the École des Métiers d'Art in 1959. Despite his interest in design, it was during his time in Paris that he began focusing more on painting and began frequenting the atelier of painter Jean Aujame. Influenced by the work of Paul Klee and Roger Bissière, Cherkaoui began working with abstraction. Like many artists of his generation in Morocco, it was while he was abroad, studying in Warsaw at the School of Fine Arts, in 1961, that Cherkaoui became invested in a closer look at his own background and cultural heritage. This led him in part towards experimentation with new materials, such as his series consisting of paintings on jute and collages that allowed him to expand on the boundaries of more academic painting.1 It was upon his return to Morocco after that year that he began exploring more closely the signs and symbols culled from local visual culture that would go on to populate his visual language.2 In many ways, this is an evocative moment for a career that was so intensely rooted in Morocco yet primarily articulated abroad. After multiple years abroad, Cherkaoui came home only to leave again to forge a career in France. By 1965, the year in which he painted Les Miroirs Noirs VII, Cherkaoui was at the height of his career and working in France. That same year, Gaston Diehl, the highly influential director of the Cultural Exchanges at the French Cultural and University Mission, writes, again in a text reproduced in L'Opinion: 'Given that our universal contemporary art has been so often criticized by vocation and by taste to be without particular roots, let us rejoice in front of the oeuvre of an artist that is not afraid to affirm his personality andhis origins. ... That he plunges into a long ago past does not keep him from living in the present or placing himself there [in the present] with vigour. Mixture of traditions? Marriage of convenience between the Maghreb and Europe? I would opt more for an osmosis between two civilizations, between two distinct modes of expression.'While deeply influenced by Moroccan visual culture, and particularly by the symbols used in Amazigh symbols, Cherkaoui was by no means mechanically repeating the images that he saw around him, as is highlighted in Les Miroirs Noirs VII. To the contrary, his work is an in-depth exploration into the structures and shapes of these symbols in order to reimagine them, to rework them through the lens of international modernism. Instead, and as is highlighted with Les Miroirs Noirs VII, painted soon after Cherkaoui had left Morocco to work in France as a drawing teacher, the artist actively sought to ground the international influences of training within a deeply local context in order to create something different. It is not, in Cherkaoui's work, a choice between one or the other. Like other works from this time period, Les Miroirs Noirs VII focuses in closely on large shapes painted with thick black lines that are interacting with one another, emphasized and refracted by broad lines of bright colours over a wash of earth tones meant to mimic remembered Moroccan landscapes. This is not the hard-edged abstraction championed by other well-known Moroccan modernists at the time such as Mohamed Melehi. Instead, Cherkaoui's work here and throughout his career retains much more of the hand of the artist. His work deliberately allows space for imperfections—the black line at the right is not retouched and so we glimpse the blue paint underneath, the purple paint is not quite opaque. There are not clean lines or sharp shapes in Cherkaoui's oeuvre, giving way instead to shapes that have light and life in them. The central symbol itself is off balance, not centred but active on its unstable axis. The canvas is full of movement because the viewer can see the action of his brush in the uneven white line in the centre, the gradations of colour given by varying thicknesses of paint, the lines that stop before hitting the edge at the bottom. The colours rarely blend together, instead focusing on the solidity and purity of each colour as it stands alone in concert with the other bright accents throughout the canvas. Moreover, it is an intimate canvas, just slightly larger than a piece of paper. Here Cherkaoui does not impose a vision to overwhelm the viewer, but invites us to step in closer, see in more depth something that is almost private. Abridged from a Text by Holiday PowersThis 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
Omar El-Nagdi (Egypt, 1931-2019)Alef Lam Mim mixed media on canvassigned and dated '2008' (lower right), executed in 2008 180 x 180cm (70 7/8 x 70 7/8in).Footnotes:Provenance:Property from the Artist's EstateHurrufiyya – The Art of the Word'Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence''They deconstruct writing, exploit the letter and turn it into a lexical sign of calligraphy, tradition and cultural heritage. As the sign is purely aesthetic, and only linguistic in its cultural association, it opens hitherto untraveled avenues for interpretation, and attracts different audiences, yet still maintains a link to the respective artist's own culture... Hurufiyya artists do away with the signifying function of language. The characters become pure signs, and temporarily emptied of their referential meaning, they become available for new meanings.' - Christiane TreichlBonhams are proud to present five spectacular artworks that showcase Arab Modern artists experimentation with the aesthetic and conceptual dimensions of Arabic letterforms, a movement broadly defined as 'Hurufiyya'. The works showcased here demonstrate the variety, geographical breadth, and originality of a movement which breathed new life into the traditional craft of calligraphy and which found local forms of expression amongst diverse regions of the Arab world. The Hurufiyya movement was an aesthetic movement that emerged in the late twentieth century amongst Arabian and North African artists, who used their understanding of traditional Islamic calligraphy, within the precepts of modern art. By combining tradition and modernity, these artists worked towards developing a Pan-Arab visual language, which instilled a sense of national identity in their respective nation states, at a time when many of these states where shaking off colonial rule and asserting their independence.They adopted the same name as the Hurufi, an approach of Sufism which emerged in the late 14th–early 15th century. Art historian, Dagher, has described hurufiyya as the most important movement to emerge in the Arab art world in the 20th-century.The term, hurifiyya is derived from the Arabic term, harf which means letter (as in a letter of the alphabet). When the term is used to describe an contemporary art movement, it explicitly references a Medieval system of teaching involving political theology and lettrism. In this theology, letters were seen as primordial signifiers and manipulators of the cosmos. Thus, the term is charged with Sufi intellectual and esoteric meaning.Traditional hurufi art was bound by strict rules, which amongst other things, confined calligraphy to devotional works and prohibited the representation of humans in manuscripts. Practising calligraphers trained with a master for many years in order to learn both the technique and the rules governing calligraphy. Contemporary hurufiyya artists broke free from these rules, allowing Arabic letters to be deconstructed, altered and included in abstract artworks Alef, Lam, Mim Born in 1931 in Cairo, Omar El Nagdi's artistic trajectory is a testament to a deeply ingrained passion for exploring the union of cultural heritage with avant-garde artistry. While El Nagdi's oeuvre spans an array of styles and subjects, his hurrufieh compositions stand out as a distinguished chapter in his prolific career.Detaching from the conventional use of calligraphy, El Nagdi's works in this style liberate the Arabic letters from their primary linguistic function. Instead, they breathe and dance on the canvas, fusing together, intertwining, and morphing into emotive forms. They are at once recognizable as letters and abstract forms, urging the viewer to witness the script in an entirely new light.Alef, Lam, Mim is a particularly significant sequence of letters which appears regularly in the Quran. In the intricate tapestry of Arabic calligraphy, the practice of repetitively inscribing individual letters bears a profound connection to the Sufi concept of Zikr (often spelled 'Dhikr'). Zikr, an essential component of Sufi spiritual practice, entails the repetitive invocation of divine names or religious phrases to cultivate inner mindfulness, presence, and an intimate connection with the Divine. Just as Zikr serves as a meditative tool, guiding the soul towards divine contemplation, the rhythmic repetition of letters in calligraphic compositions similarly evokes a meditative state. This repetitive technique in calligraphy resonates with the Sufi idea of cyclical remembrance, drawing parallels between the written form and spiritual transcendence, where both strive to center the practitioner in a profound space of reflection and devotion.El Nagdi's signature application of vivid hues imbues depth and dynamism to the compositions. Every brushstroke, while revealing letters, also narrates tales of centuries-old heritage and contemporaneous sentiments. Omar El Nagdi's hurrufieh compositions challenge, elevate, and redefine the way viewers engage with calligraphy. No longer simply a medium for conveying messages, the letters in his works embody emotions, stories, and histories.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
The Perry of Mambeg 'Amen' glass: a highly important engraved Jacobite wine glass, circa 1747The drawn trumpet bowl inscribed in diamond-point with the cipher monogram 'JR' and the number '8' beneath a crown, flanked by the first three verses from the Jacobite version of the national anthem in script and inscribed 'Amen' within a scrollwork border below, an elaborate calligraphic scrollwork border to the rim, raised on a plain stem containing an elongated tear, over a conical foot, 15.9cm highFootnotes:ProvenanceBy repute owned by General StuartBy repute thence by descent to his cousin, Mr Ferrier, a Writer to the Signet in EdinburghBy repute thence by descent to his wife, Mrs Ferrier, née Miss Gordon (or Gardon) of Croy, KillearnBy repute presented by her to Sir Robert PerryThence by descent to his son Dr Robert PerryThence by descent to his wife May Perry of The Lodge, Mambeg, Garelochhead, Sotheby's 27 June 1924, lot 36, where bought by Arthur ChurchillGeorge Henderson Collection, Knight, Frank and Rutley, 2 October 1952, lot 60J D Fox Collection, Sotheby's, 16 October 1972, lot 194With Cecil Davis LtdSotheby's, 10 February 1986, lot 22With Asprey, 1986Durrington CollectionLiteratureRees Price, 'Notes on Jacobite Drinking glasses', Transactions of the Glasgow Archaeological Society, Vol.5, No.2 (1906), pp.24-5 and pl.1, fig.2Percy Bate, English Table Glass (1913), p.99, pl.LII, no.200John Shuckburgh Risley, 'Jacobite Wine Glasses: Some Rare Examples', The Burlington Magazine XXXVI (June 1920), p.281R J Charleston and Geoffrey Seddon, ''Amen' Glasses', The Glass Circle Journal, No.5 (1986), p.9Geoffrey B Seddon, The Jacobites and their Drinking Glasses (1995), p.189, pl.137e and pp.218-9, no.29, pl.155Peter Dodsworth, The Durrington Collection (2006), no.17ExhibitedGlasgow Archaeological Society, 17 November 1905The Scottish Exhibition of National History, Art and Industry, Glasgow, 'Palace of History', 1911, catalogue p.739, cases 25 and 26, no.1Glasgow Museums and Art Galleries, 1990sBroadfield House Glass Museum, 'Majesty & Rebellion', 1999, catalogue no.2The two verses on the bowl read:God Save The King I pray/ God Bliss The King I prayGod Save/ The KingSend him Victori=ous/ Happy and GloriousSoon to Reign/ Over Us,God Save/ The King.God Bliss the Prince of WalesThe True born Prince of WalesSent us by Thee:Grant us one favour moreThe King for to RestoreAs Thou hast done beforeThe Familie.Together with Lot 25 in this sale, the Perry of Mambeg 'Amen' glass belongs to a celebrated group of thirty-seven Jacobite 'Amen' glasses dating to the mid-18th century. All are inscribed in diamond-point with the monogram 'JR' interwoven with the number '8' for James VIII, known as the 'Old Pretender', who was considered by many to be the legitimate King of Scotland. All are inscribed with one or more verses from the Jacobite version of the national anthem 'God Save the King', promoting the good health and restoration of King James VIII and Prince Charles, and occasionally Prince Henry, Cardinal Duke of York. Most of these inscriptions end with the word 'Amen'. Five of the glasses bear dates between 1743 and 1749, the earliest of which is recorded on the so-called Steuart 'Amen' glass, see Seddon (1995), pp.220-2, no.32. The present lot is one of twenty-four 'Amen' glasses with plain drawn stems, most of which contain a large elongated tear, see Seddon (1995), pp.185-229.All are considered to be the work of a single engraver generally thought to have been working in Scotland who engraved glasses available to him over a relatively short period of time in the 1740s, probably between 1743 and 1750. In recent years Ian McKenzie has provided compelling circumstantial evidence to suggest that the 'Amen' glasses may be the work of the renowned Scottish artist and line-engraver, Sir Robert Strange (1721-1792), see Geoffrey B Seddon, The Jacobites and their Drinking Glasses (2015), pp.188-92. In around 1743-44, around the time that the first 'Amen' glasses were engraved, Strange first met his future wife Isabella Lumisden who, together with her brother Andrew, was a dedicated Jacobite supporter. As a condition of their betrothal, she stipulated that Strange should join the Prince's Army to support the 'cause'. Strange, who was also a dedicated Jacobite supporter, subsequently joined the Life Guards and served in the army throughout the rebellion before going into hiding after the Battle of Culloden, eventually marrying Isabella in 1747.Seddon notes that the engraving on four of the known 'Amen' glasses is of relatively poor quality compared to the others; this includes the Steuart 'Amen' glass with the early date 1743. He notes a further six glasses with slightly better engraving, including the present lot and the so-called Dunvegan 'Amen' glass which bears the date 1747, all of which are thought to have been engraved around this date. He suggests that in the years between 1743 and 1747 there is likely to have been a period of two or more years when no 'Amen' glasses were produced, coinciding with Strange's service in the Prince's Army and his subsequent period in hiding. The majority of the remaining extant 'Amen' glasses have engraving considered by Seddon to be of much better quality and are therefore thought to have been engraved in or after 1747, after which Strange had emerged from hiding and married his wife.The present glass obtains its name from its ownership by the Perry family, who were a distinguished family in the city of Glasgow. Sir Robert Perry (1783-1848) was a prominent physician who was President of the Faculty of Physicians and Surgeons of Glasgow from 1843 until 1845. His son, Dr Robert Perry (1826-1918), married May Perry, née Jane Mary Robertina Sim (1851-1931), in 1872. They lived all of their married lives in a large house at 11 Queen's Terrace (later 67 West Princes Street), close to the Arlington Baths Club with which they were connected. May's mother Jane lived at The Lodge at Rosneath (near Mambeg) on the Gare Loch until her death in 1906, and the house is mentioned in Robert's will in 1918 as having been part of his estate. May was still living at their home in Glasgow after her husband's death, but moved to Swanage in Dorset shortly afterwards and it is likely that the present lot was sold at Sotheby's at around the time she moved.It is not possible to be certain of the identity of the Mr Ferrier from whom the glass reputedly descended, but several members of the Society of Writers to the Signet by the name of Ferrier are recorded in A History of the Society of Writers to Her Majesty's Signet (1890), all of whom were related. James Ferrier (1744-1829) became a Writer in 1770 and his sons Archibald, John and Walter followed him as Writers. Archibald Campbell Ferrier (1773-1814) became a Writer in 1796 and married Catherine 'Kate' Garden in 1800 in Greenock, who was the daughter of Francis Garden, a merchant in Greenock. Although she was not from Croy, they seem to be the only feasible candidates for Mr and Mrs Ferrier (née Gordon or Gardon) at this time.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
François Joseph Huygens (Belgian, 1820-1908)Still life with roses and raspberries on a ledgesigned and dated 'F.J.Huygens 47' (lower left) oil on panel 47.6 x 37.5cm (18 3/4 x 14 3/4in).Footnotes:ProvenanceAnon. sale, Bonhams, London, 1 November 2001, lot 20.Private collection, UK.For further information on this lot please visit Bonhams.com
Robert Rafailovich Falk (Russian, 1886-1958)Hawthorn branch, 1948 signed in Cyrillic and dated '48' (lower left)oil on canvas 65 x 81cm (25 9/16 x 31 7/8in).Footnotes:ProvenanceCollection of V. Shklovsky, acquired directly from the artistThence by descentLiteratureRobert Falk/ Paintings/ Addendum to the Catalogue Raisonné, Y.V. Didenko, Three Squares, Moscow, 2018, no. 36 (1244), p. 51 illustratedHawthorn branch, 1948, is a remarkable painting shot through with the vibrant colour of the hawthorn berries. Typical of Falk's later still-lifes, the colour combination of the branch's reds and greens would have been well considered by the artist who was, as noted by his widow Angelina Shchekin-Krotova, 'meticulous when it came to composition'. As with the majority of Falk's still-lifes from the period, the branch of berries is set against a darker background of brown and silvered wood, such that the different hues of green and red stand out, lit by a shaft of gentle light. A comparable still-life from 1947, Рябина осенью [Autumnal rowan] (Abramtsevo Museum-Reserve) is similarly composed around the contrasting colours of the leaves and berries of the rowan. Yulia Didenko elaborates on Falk's artistic methods, noting 'He grouped his objects according to the charge of energy in their colours; he created a 'plastic event''. [Didenko (ed.) The Late Still-Lifes of Robert Falk, Angelina Shchekin-Krotova, 'Tretyakov Gallery Magazine', no. 4 2020 (69)].Both Hawthorn branch and Bouquet with mimosa were acquired by the renowned Russian writer Viktor Shklovsky directly from Robert Falk. Viktor Borisovich Shklovsky (1893-1984) was a writer, literary critic, screenwriter and film critic who first encountered Falk (as recounted by Shchekin-Krotova) with the artist Elena M. Fradkina (1901-1981). Falk was very taken with Shklovsky's sharp repartee and - interestingly- with the shape of his bald skull, the latter being a preoccupation of the artist. Falk had, apparently, been musing on the subject of bald skulls for a long time and had written to Raisa Idelson from Paris in the 1930s of his desire to paint a portrait of three bald old men.Eventually, Falk persuaded Shklovsky to sit for him, beginning with a series of sketches and resulting in the painting Portrait of V.B. Shklovsky, presently in the collection of the Vladimir Dahl Russian State Literary Museum in Moscow. In the entry for the offered lot in Robert Falk/ Paintings/ Addendum to the Catalogue Raisonné, Yulia Didenko notes that it is possible that the painting was acquired by Victor Shklovsky in the year it was painted, 1948, because it was that year that Shklovsky sat for his portrait in Falk's studio.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
Cecil Kennedy (British, 1905-1997)Still life of white flowers signed 'Cecil Kennedy' (lower right) oil on canvas 66 x 51cm (26 x 20 1/16in).Footnotes:ProvenanceLady Virginia Williams, UK. Thence by descent to the current owners.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A collection of Recent Solo Beatles and Related LPs to include (1) Paul McCartney & Wings - Wild Life (00602435611730); (2) Paul McCartney - McCartney III (00602435321783, White Vinyl, Hand Numbered); (3) Paul McCartney - McCartney III Imagined (00602435933245, Gold Vinyl); (4) George Harrison - Electronic Sound (0602557090314); (5) George Harrison - Somewhere In England (0602557136562); (6) John Lennon/The Plastic Ono Band - John Lennon/Plastic Ono Band (0602507354541); (7) Ringo Star - Give More Love (00602557804140); (8) Ringo Starr - Zoom In (00602435585802); (9) Linda McCartney - Wide Prairie (00602577285189); (10) Shankar Family & Friends - I Am Missing You/Lust (DH0007, Blue Vinyl); All conditions presumed Mint Still Factory Sealed. (10)
Mariota Bosanquet (1923-2022). Fruit still life, oil on canvas, 23cm x 30cm and three others. (4) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Mariota Bosanquet (1923-2022). Floral still life, oil on canvas, 40.5cm x 35.5cm and four others. (5) Biography: St. Martins School of Art (1945-1949) Exhibitions: 1954 Whitechapel Gallery, Suffolk Galleries, Leicester Galleries 1955 Piccadilly Galleries 1967/8 Highbury 1977 Home of Artists Islington 1983 Royal Academy Summer 1991 Usher Art Gallery 1996 Winchester Contemporary, Alresford Gallery 1997 The Mall Galleries
Still Life from Kosta Boda is a hauntingly beautiful series of votives. The off-white votive is perfect as a glass decoration out of the ordinary, a memento mori reminding you to light a candle while you can. Signed on the bottom by the artist and numbered #7060903. Artist: Ludvig LofgrenIssued: 20th CenturyDimensions: 4.75"L x 3.5"W x 3.25"HManufacturer: Kosta BodaCountry of Origin: SwedenCondition: Age related wear.
Laxma Goud (B.1940)Untitled (Still Life of Vase in a Window) signed and dated 'K.Laxma Goud 1979' lower rightmixed medium on paper, framed34 x 26.5cm (13 3/8 x 10 7/16in).Footnotes:ProvenanceProperty from a private collection, UK.Acquired from Sotheby's, The Indian Sale, 8th May 1997, lot 431.'Still Life of a Vase in Window' is a striking work, imbued with vibrant colours and bold black lines. The floral bouquet dominates the canvas and the riot of colours populates the entire composition. To the bottom left of the vase there is a trio of three fruits possibly Guava's, native to Goud's Telangana. The window in which the vase is placed is teeming with multiple aspects. The sky behind the vase is a cool blue and the curtains to the right of the vase are a lemon yellow, echoing the low temperature depicted through the light blue sky. The right side of the vase is lit up by sunlight, a traditional aspect of still life painting. What makes this work unique however is that the inanimate objects appear to be infused with life and personality. Goud's keen observation and portrayal of texture, light and shadow create a tactile quality that invites viewers to reach out and touch the objects.For further information on this lot please visit Bonhams.com
Walter Langhammer (1905-1977)Untitled (Still Life with a Rosewater Sprinkler & Vase) signed 'W. Langhammer' lower leftoil on canvas, framed39.2 x 59.7cm (15 7/16 x 23 1/2in).Footnotes:ProvenanceProperty from a private collection, Scotland.Born with an innate curiosity for the world around him, Langhammer's artistic journey led him to explore the complexities of the still life, a genre often regarded as a window into the intimate relationship between artist and subject. With a discerning eye, he transforms ordinary objects—vases, fruits and flowers, into extraordinary compositions that transcend the mundane and radiate a sense of timeless beauty.Langhammer's technical prowess is evident in every brushstroke. His ability to render the interplay of light and shadow on the surface of the fruits, the rosewater sprinkler and the vase is mesmerizing. Moreover, the delicate sheen on the porcelain vase coupled with the gleam of the grapes illustrates Langhammer's meticulous attention to detail and his ability to capture the nuances of texture and materiality with astonishing precision.A defining feature of Langhammer's still lifes is their sense of balance and harmony. Here, we can see how his composition is a carefully orchestrated arrangement, with each fruit or object thoughtfully placed to create a sense of visual equilibrium. This precise arrangement imbues his work with a serene and contemplative quality, inviting viewers to engage in a meditative exploration of the painting.For further information on this lot please visit Bonhams.com
TURING (ALAN)JAHNKE (EUGENE) AND FRITZ EMDE. Funktionentafeln Mit Formeln Und Kurven, ALAN TURING'S COPY, SIGNED 'A.M. Turing' on front free endpaper, and with a short pencil note ('Π = 4π.7 in cms') in his hand on p.152, second revised edition, illustrations and diagrams in the text, publisher's cloth, lacks spine, some soiling (cup stain on upper cover), 8vo, Leipzig and Berlin, B.G. Teubner, 1933Footnotes:Turing's copy of Tables of Functions, published in 1933 whilst he was an undergraduate at King's College, Cambridge. This edition included a chapter on 'The Riemann Zeta-Function', about which Turing 'developed a life-long fascination. Though his research in this area was not a major thrust of his career, he did make a number of pioneering contributions. Most have now been superseded by later work, but one technique that he introduced is still a standard tool in the computational analysis of the zeta and related functions. It is known as Turing's method, and keeps his name alive in those areas' (D.A. Hejhal and A.M. Odlyzko. 'Alan Turing and the Riemann Zeta Function', 2011). On his return from Princeton to Cambridge in 1938 Turing had 'unusually for a mathematician... joined in Wittgenstein's classes, [and] unusually again he engineered a cogwheel machine to calculate the Riemann Zeta-function' (ODNB). A short bibliography of 'Useful books for the computer' is included at the end of Tables of Functions, and as Donald Bayley's note [see below] confirms, the book accompanied Turing to Hanslope Park where, during the war years, he worked with Bayley on the 'Delilah' project (see lot 45).Provenance: Alan Turing (1912-1954); Donald Bayley (1921-2020), manuscript note in his hand loosely inserted, 'This belonged to the famous AM Turing of Enigma fame. I saw it with his books when I first met him in Hanslope [Park] in 1944. I was much taken with the diagrams of complex functions - which I hadn't seen before. After his death Robin Gandy said I was to have any keepsake I wished (I'm not sure whether this was a bequest in AMT's will - Gandy was executor). Anyway, I asked for this. It should be kept for posterity D.B.... In this broken spine condition he had used it a lot'. Bayley was an electronic engineer who collaborated with Alan Turing on Delilah a functioning portable speech-encryption system, during the Second World War; thence by descent to the present owner.Saleroom notices:Title pages and text are in both English and German.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
HUGHES (TED)Howls & Whispers... Etchings by Leonard Baskin, NUMBER 48 OF 110 COPIES, SIGNED BY BOTH AUTHOR AND ILLUSTRATOR, printed in red and black on hand-made paper, 11 etched plates signed and dated by Baskin, all printed in colours, tissue guards, publisher's cloth-backed patterned boards, red morocco gilt spine label, cased in original solander box (a few light smudges on upper cover), 4to, The Gehenna Press, 1998Footnotes:Howls and Whispers was the last book published in Hughes' life-time, and the final collaboration with Leonard Baskin, his lifelong friend. After the publication and universal success of Birthday Letters Hughes still 'could not let Sylvia go... [Howls and Whispers] would be an opportunity to release, but avoid excessive public examination, some of the most intimate poems that he had stepped back from including in Birthday Letters' (Jonathan Bate, Ted Hughes, 2015, p.509).Provenance: Frieda Hughes, the author's daughter, signed on the title-page.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
ARISTOTLE'S MASTER-PIECEAristoteles Master-piece, or, The Secrets of Generation displayed in all the parts thereof., Containing, 1. The Signes of Barrenness. 2. The Way of Getting a Boy or Girl. 3. Of the Likeness of Children to Parents....7. The Prejudice of unequal Matches. 8. The Discovery of Insufficiency... 11. How a Midwife ought to be Qualified... 14. The Fabrick of the Womb. 15. The Use and Action of the Genitals. 16. Signs of Conception, and whether of a Male or Female. 17... 18. Instructions for Women with Child... to which is added a Word of Advice to both Sexes in the Act of Copulation: and the Pictures of several Monsterous Births drawn to the Life, FIRST EDITION, woodcut frontispiece of 'a Maid all Hairy, and an Infant that was black by the Imagination of their Parents', with blank H12, 6 woodcuts of monstrous births (including repeat of frontispiece) at end, blank free endpapers, final gathering frayed with short tears at fore-edge with minor losses just touching image and 1 letter of I6, and catch-word of I4, contemporary sheep, rubbed with small loss at upper margin of lower cover [ESTC R504793; Wing A3697fA], 12mo, J. How, and are to be sold next door to the Anchor Tavern in Sweethings-rents in Cornhil, 1684Footnotes:SCARCE COMPLETE COPY OF 'THE DIRTY BOOK OF THE EARLY MODERN PERIOD'.'Aristotle's Masterpiece was the most popular book about women's bodies, sex, pregnancy, and childbirth in Britain and America from its first appearance in 1684 up to at least the 1870s. More than 250 editions are known, but all are very rare... It was sold furtively by country peddlers and in general stores and taverns; regular booksellers seldom advertised it, though they usually had it under the counter' (The Library Company of Philadelphia, 'Treasures', online catalogue). The work 'was still on sale, contents largely unaltered, in Soho sex shops in the 1930s' (Books and Babies, Cambridge Library, 2011) and James Joyce's protagonist Leopold Bloom peruses an edition of the book in Ulysses. The work was in fact assembled from Levinus Lemnius's The Secret Miracles of Nature (1564) and Jakob Rüff's midwifery manual De conceptu et generatione hominis (1554), and the attribution to Aristotle is of course totally spurious and probably a vain attempt to give the work some measure of respectability.This is the earliest publication date for the Master-piece, ESTC listing three variant settings of 1684, all printed by J. How, with no priority having been established. ESTC records only the incomplete British Library copy (which lacks final gathering I1-6) of our setting, which has line 11 of title ending 'both', line 18 of title ends 'Ge-', and the first line of the imprint ending 'sold', the first line of imprint ends 'sold', signature B5 is under the 'nt Bl' of 'effluent Blood' and on p.190 the fifth line from bottom begins with a capital 'Q'.Provenance: '?J. Riam... [scuffed] his book 1740 February the 21', light ink ownership inscription on the verso of the title-page.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Exceptionnel ensemble constituant une pièce en papier peint, Chine pour le marché européen, XVIIIe siècleExceptional set of wallpaper, China for the European market, 18th centuryPlaced on stretchers, comprising thirteen panels, two door-tops and a window-top, with a total surface area of 52.25 m2. Painted in tempera on paper, depicting with chinoiserie scenes of imaginary daily life with figures in various pursuits, set in landscaped and mountainous gardensTotal length including the two door tops and the window top: 19,44 mDimensions of each panel: A. 149cm wide, 325cm high (58 1/2in wide, 127 1/2in high) B. 150cm wide, 169cm high (59in wide, 66 1/2in high); C. 107cm wide, 325cm high (42in wide, 127 1/2in high); D. 121cm wide, 325cm high (47 1/2in wide, 127 1/2in high); E. 115cm wide, 325cm high (45in wide, 127 1/2in high); F. 118cm wide, 325cm high (46in wide, 127 1/2in high); G. 76cm wide, 325cm high (29 1/2in wide, 127 1/2in high); H. 105cm wide, 106cm high (41in wide, 41 1/2in high); I. 126cm wide, 325cm high (49 1/2in wide, 127 1/2in high); J. 149cm wide, 325cm high (58 1/2in wide, 127 1/2in high); K. 98cm wide, 325cm high (38 1/2in wide, 127 1/2in high); L. 160cm wide, 73cm high (62 1/2in wide, 28 1/2in high); M. 117cm wide, 325cm high (46in wide, 127 1/2in high); N. 117cm wide, 325cm high (46in wide, 127 1/2in high); O. 117cm wide, 325cm high (46in wide, 127 1/2in high); P. 119cm wide, 325cm high (46 1/2in wide, 127 1/2in high);Footnotes:Arrived by boat from China, the wallpaper we are presenting is a real technical feat, a homogeneous whole in a remarkable state of conservation. Removed from the room where it had been since the 18th century, each strip was cleaned and transposed onto a wooden frame. Having a chinoiserie in your home was a sign of good taste and perfection; it could be painted on woodwork, silk or paper. It was the middle of the 18th century, and trade with China and Europe was very strong, with pieces being made especially for the European market. The trading posts and the Compagnie des Indes transported these coveted works of art, including porcelain, lacquer panels and silk, to the Netherlands, England and France. Although the French sovereigns, the natural protectors of French manufactures, artists and craftsmen, could not openly display their taste for China in the state flats of Versailles, many Chinese or Chinese-style works were displayed in their 'appartements intérieurs' or in their favourite country residences. Louis XV, for example, filled the Château de Choisy, refurbished for him by Gabriel from 1740 onwards, with furniture in Far Eastern lacquer or decorated with varnish, as well as Chinese porcelain, fabrics and wallpaper.France and Holland sent painted scrolls all over Europe to meet demand; we know, for example, that Louise-Elisabeth, daughter of Louis XV and wife of the Duke of Parma, wanted to create Chinese-style rooms at the Reggia in Colorno, so she travelled to Paris three times to acquire Chinese wallpaper and bring it back to Colorno, along with many other items and gifts from her father. These still look good today, although they have been stripped of the objects that accompanied them in Colorno's Chinese room, which ended up in the various Savoy residences between Piedmont and Rome after Italian Unity. What's more, these wallpapers were often reworked to suit European tastes, paving the way for local imitations all over Europe.Commenting on the breakfasts given by Madame de Montaigu, Madame du Bocage wrote that it was very pleasant to invite one's neighbours and friends to a room lined with Peking paper and furnished with Chinese objects.For further reading on the subject see: Emile de Bruijn, Chinese Wallpaper in Britain and Ireland (2018).Madeleine Jarry, Chinoiserie Le rayonnement du goût chinois sur les arts décoratifs des XVIIe et XVIIIe siècles (1981)Dawn Jaconson, Chinoiserie (1993)This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
Nathaniel Hone (1831-1917) Landscape with Cattle by Water, O.O.C., 46cms x 61cms (18" x 24"). (1) Although regarded as one of Ireland’s finest landscape painters of the Impressionist period, Nathaniel Hone the Younger also had a strong Romantic sensibility, as evidenced in this mood-filled scene of cattle by a watering place at dusk. Surrounded by a fence, the still waters of the pond reflect the darkening sky. Black rain-filled clouds contrast with the intense ultramarine blue sky beyond. A line of trees in the distance marks the horizon, separating fields and water from the sky. The faintest touch of yellow and pink on the horizon reveals Hone’s sensitivity to weather and climate. The painting also reveals the influence of the Barbizon School, a colony of plein-air artists that flourished near Fontainebleau in the mid nineteenth century, Hone had perfected his landscape painting technique during the 1860’s, when he lived in and around the village of Barbizon. He was an active member of the group, which included (at various times) Corot, Rousseau, Courbet, and Henri Harpignies, with whom he was particularly friendly. In the late 1860’s, Hone exhibited both at the Royal Academy and the Salons in Paris. In 1875 he returned to Ireland to live at his family’s estate and farm at Malahide, where, apart from annual trips to the West of Ireland, he remained for the rest of his life. It is likely that this scene is set near Malahide, as are many of his beach scenes, and depictions of cattle. Based on direct observation, Hones studies of Irish skies are among his finest works, redolent of Constable’s cloud studies. Although best-known for his daytime scenes, with cattle grazing contentedly under cloudy skies, he also delighted in depicting evening and night scenes, as in A Wooded Landscape, Moonlight Effect (National Gallery of Ireland). Born in Fitzwilliam Square in Dublin, Hone was a descendant of the brother of the eighteenth-century painter Nathaniel Hone. After working for a period for the Midland Great Western Railway Company, of which his father was a director, in 1853 he decided to take up art. He then studied for two years in Paris, under the history painters Adolphe Yvon and Thomas Couture, before moving to Barbizon. After returning to Ireland, in 1880 Hone was elected a member of the RHA, and fourteen years later was appointed professor of painting at the Academy. After his death, his widow gifted most of the contents of his studio to the National Gallery, including some five hundred paintings. The National Gallery retained several hundred but sold many. It is not known if this is one of those works, or one that was sold during the artist’s lifetime. Hone was not diligent in signing his work, and many of his paintings are unsigned. Dr. Peter Murray, 2023
Charles Gerrard ARA (British, 1892-1964), Director of the Sir J. J. School of Art, Bombay (1936-46) Seated Sadhuoil on canvas, signed lower right 97 x 85 cm.Footnotes:ProvenanceSworders, Stansted Mountfitchet, Essex, October 1996, the sale of the remaining contents of the Gerrards' studio, where acquired by the seller. Private UK collection, 1996-present.The same sitter appears in another painting entitled Sadhu in the Catalogue of Exhibition of Sculpture and Drawings by Doris Gerrard and Oil Paintings by Charles Gerrard, 4th-9th November 1940, Sir J. J. School of Art, Bombay, plate IX (see fig. 1 in our present catalogue). In the brief listing of works in the exhibition, there appear no. 5, Sadhu, in Gallery I, and no. 32, The Sadhu, in Gallery II, which is the one in plate IX. It is therefore possible that our painting was no. 5 in this exhibition. A review in The Times of India of an exhibition of Gerrard's paintings at the Sir J. J. in November 1940 observed that it encompassed Impressionist and post-Impressionist styles as well as those of 'solid academic traditions'. Sadanand K. Bakre, paying tribute to his direct influence on his own work, was later to comment on Gerrard's skill as a draughtsman, and his use of 'sharp, hot colours'.Several other works by Charles Gerrard have been sold in these rooms: see Bonhams, India in Art, 7th June 2022, lot 92 (the Delhi Gate), and 93 (Still Life); and Islamic and Indian Art Online Sale, 18th-26th May 2023, lot 464 (the Garden of the Director's Residence), and 466 (Female Nude). Also offered in the same sale (lot 465) was a group of pamphlets, sketchbooks and photographs relating to Gerrard and his wife Doris. Charles Gerrard was Director of the Sir J. J. School of Art in Bombay from 1936 to 1946, introducing a keen personal observation of 1930s modernist developments in British and European painting, sculpture, graphic design and architecture. He was assisted in this by exiles from the Nazi regime such as Walter Langhammer and Rudi van Leyden, who with Gerrard directed at the School, invigorated the Bombay Art Society and encouraged modernist and art deco European design amongst local architectural practices and in commercial printing. Despite the pupils' necessarily local origins and inability to travel during the war, Gerrard encouraged groupings of pupils to adopt this eye on Western developments.In 1941 a group referred to as the 'Young Turks' held a show featuring the work of P. T. Reddy, M. Y. Kulkarni, A. A. Majeed, C. Baptista and M. Bhople, artists who regarded themselves as being in modernist opposition to the more Victorian and Edwardian style of Dhurandhar, Haldankar, and Trindade. But more notably in the history of modern Indian art the less tentative group known as the Bombay Progressives emerged. This consisted of Francis Newton Souza (whom, however, Gerrard was forced to expel from the School for his connections with the pro-independence movement), H. A. Gade, S. H. Raza, S. K. Bakre, K. H. Ara and M. F. Husain. Some of Gerrard's pupils retained close ties with Bombay (e.g. K. K. Hebbar and Tyeb Mehta) while others, like Souza and Raza, under his influence embarked for Britain and Europe after the war.Gerrard brought the J. J. to maturity: under enlightened predecessors such as Lockwood Kipling, Solomon Gladstone, Cecil Burns and M. V. Dhurandhar a beaux-arts and arts and crafts traditionality had understandably persisted, but with Gerrard the J. J. became modernist.For discussion of Gerrard and his work, his influence on Bakre and others, and the Bombay art scene at this time, see Y. Dalmia, The Making of Modern Indian Art: the Progressives, New Delhi 2001, pp. 27-28, 189, 240-241; and N. Tuli, The Flamed Mosaic: Indian Contemporary Painting, 1997, pp. 196, 200.For further information on this lot please visit Bonhams.com
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