We found 6027 price guide item(s) matching your search

MASQUE DE DIVINITÉ COURROUCÉE EN PAPIER-MÂCHÉ ET MONTURE EN ARGENTTIBET, XIXE SIÈCLE Applied yak hair and leather brows and tongue; Himalayan Art Resources item no. 205064 83 x 50 x 50 cm. (32 5/8 x 19 3/4 x 19 3/4 in.) Footnotes:A POLYCHROME PAPIER-MÂCHÉ AND SILVER MOUNTED MASK OF A WRATHFUL DEITY TIBET, 19TH CENTURY 西藏 十九世紀 紙塑加彩嵌銀怒相本尊面具This is one of the most powerful and dramatically rendered masks to appear on the market. Indicative of his skill hand, the artist has imbued a mesmerizing alertness and intensity to the mask's piercing eyes beneath flaming eyebrows emblazoned in gold. There is vary iconography with the buffalo-head that is most commonly associated with Yama, the lord of Death. In the capacity of Vajrabhairava, Yama is a manifestation of Manjushri, the fierce archetype of wisdom's triumph over death, expelling the forces adverse to law and goodness.Ritual horned masks of similar size and quality can be found in several museums, including the Rubin Museum of Art (C2006.52.10; HAR 65716), the Zanabazar Museum of Fine Arts (HAR 50754), and the Chojin Lama Museum in Ulan Batar, Mongolia (HAR 53076).Published: Francois Pannier, La Danse Des Morts. Citipati De l'Himalaya, Danse Macabres et Vanites De l'Occident, Paris, 2004, p. 38, no. 19. Exhibited: La Danse Des Morts: Citipati De l'Himalaya, Danse Macabres et Vanites De l'Occident, Galerie le Toit du Monde, Paris, 15 September – 30 October 2004.Masks a art tribal de himalaya, Musee des arts asiatic, Ville de Toulon, 5 April - 31 August 2008Provenance:Galerie le Toit du Monde, Paris, early 2000sFor further information on this lot please visit Bonhams.com

TWO TRIBAL ART EAST AFRICAN MAKONDE TANZANIA CARVED WOODEN BUSTS WITH FACIAL SCARIFICATION'S, AN AFRICAN CARVED STONE BUST AND OTHER AFRICAN CARVED TRIBAL ART FIGURES

Tribal Art - carved masks, fertility figures, fetish figures, etc

Tribal Art. A carved figure of a female head, with two chain link top, 19cm high.

Tribal Art. A carved mask, on painted white ground with applied blonde beard, on stand, the mask 42cm high, the stand 33cm high.

Tribal Art. Three carved wooden figures, comprising a bald headed gentleman, 28cm high, child, 14cm high, and a figure arched over bird, on light wood base, 40cm high. (3)

Tribal Art. A carved wooden scabbard, depicting Aboriginal figures, 64cm high.

Tribal Art. A carved figure of a nude female, modelled standing holding a ball, base signed indistinctly and dated 1986, 59cm high.

Aboriginal tribal art bust, a collection of leaf beetles, and large seashell.

Tribal art. An Ashanti carved wood stool, 32.5cm h; 25 x 51cm Decoration on one of the uprights damaged in places, several cracks in the uprights much encrusted with old dirt and grime, an old example of the type

Tribal Art. An Ethiopian carved wood neck rest and various other African and South East Asian carved wood objects, circa mid 20th c As a lot in good condition

Collection of tribal masks, animals, wall art, etc.

A BOX AND LOOSE WOODEN TOURIST TRIBAL ART, to include masks, figures, busts, carved sticks, a spear and a crocodile (1 box + loose) (sd)

A RARE AND IMPORTANT BRONZE RITUAL AXE-HEAD, YUE, EARLY SHANG DYNASTY, CIRCA 1500-1400 BC 公元前1500-1400年商代早期銅鉞Opinion: Except for the different size, the present lot has remarkable similarities with a yue that bears a near-identical relief decoration surrounding the central hole, but lacks the taotie at the haft. This yue was excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and is now in the Hubei Provincial Museum. Discovered in 1954, Panlongcheng is a city-site that dates from the early Shang Dynasty. Located on the bank of Panlong Lake in Huangpi District, it covers an area of roughly 15 acres. The city conforms to the top-layer culture (circa 1500 BC) of the Shang site of Erligang in terms of bronze-making techniques, burial customs, styles of jade-wares, and features of pottery. It might have been a state built by Shang people in the middle reaches of the Yangtze to exploit resources in the south. Its discovery confirmed for the first time that the Shang culture of the Central Plains had reached the valley of the Yangtze River already during the early Shang Dynasty. The discovery of the yue in tomb 2 also confirms the function of the city as a military stronghold. Given the many features and striking resemblances that the present lot shares with the larger yue from Panlongcheng, and the provenance history described below, it seems possible, if not likely, that our yue was once found at the same site.China, ca. 1500-1400 BC. The wide flattened blade with a beveled edge, crisply cast in deep relief with Kui dragons with raised eyes flanking a large central aperture below two small rectangular holes, the haft similarly cast with taotie masks.Provenance: Mandala Fine Arts, Hong Kong, 1989. Acher Eskenasy, Paris, acquired from the above (invoice lost). Martin Doustar, Brussels, acquired from the above in 2011. An American gentleman, acquired from the above. A copy of a handwritten letter, signed by Acher Eskenasy, confirming his purchase of the present lot from Mandala Fine Arts, Hong Kong, in 1989 and its sale to Martin Doustar in 2011, accompanies this lot. Acher Eskenasy is a noted French scholar and collector of Asian and tribal art. Major works previously owned by him are now in important collections and museums, such as the Metropolitan Museum of Art in New York and the Musee du Quai Branly in Paris.Condition: Superb condition, commensurate with age. Extensive wear, signs of weathering and erosion, corrosion, minor nicks, cracks and scratches. Fine, naturally grown patina with malachite encrustation overall.Weight: 838.8 g (excl. stand)Dimensions: Length 24.9 cm (excl. stand)With an associated metal stand. (2)The yue was an ancient long-handled weapon and instrument of execution, symbolic of noble authority. Evidence suggests that these axes played a part in ritual beheadings in addition to being symbols of power. Almost central holes also dominate several other early bronze axes, including two from Panlongcheng in Hubei province.Literature comparison: Compare a closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (41.4 cm) and lacking the taotie at the haft, excavated in 1974 from Lijiazui Tomb M2 in Panlongcheng and now in the Hubei Provincial Museum, illustrated by Wen Fong, The Great Bronze Age of China: An Exhibition from The People's Republic of China, The Metropolitan Museum of Art, New York, 2013, page 104, no. 7. Another closely related bronze yue, with near-identical relief decoration and central hole, but of larger size (35.2 cm) and lacking the taotie at the haft, is in the Jiangxi Provincial Museum. Compare a closely related bronze yue, also with a large central hole, excavated in 1995 from Guojiazhuang Southeast, Tomb M26, and now in the Yin Ruins Museum. Compare a related bronze ceremonial axe, dated to the Eastern Zhou dynasty, 11th century BC, illustrated by Christian Deydier Oriental Bronzes Ltd., Le Banquet des Dieux, Bronzes Rituels de la Chine Ancienne, Paris, January 1996, page 37, no. 12. Compare a related yue axe, also decorated with taotie masks, dated to the Shang dynasty, 13th-11th century BC, from the collection of the King of Sweden, illustrated by Christian Deydier, Chinese Bronzes, Fribourg, 1980, page 86, no. 59. Compare a related qi axe with a human mask on the blade, in the collection of the Museum für Ostasiatische Kunst, Berlin, dated to the Shang dynasty, 13th-11th century BC, illustrated ibidem, page 88, no. 63.Auction result comparison: Type: Related Auction: Sotheby's New York, 20 March 2012, lot 3 Price: USD 80,500 or approx. EUR 100,500 converted and adjusted for inflation at the time of writing Description: An archaic bronze ritual axe-head (yue), Shang dynasty, 12th/11th century BC Expert remark: Compare the related form, though slightly flared, similar relief decoration, and the taotie masks to the haft. Compare also the closely related rectangular holes. Note the smaller size (16.4 cm).公元前1500-1400年商代早期銅鉞中國，公元前約1500-1400年。 來源：香港Mandala Fine Arts, 1989年；巴黎Acher Eskenasy購於上述藝廊 (發票遺失)；布魯塞爾Martin Doustar 2011年購於上述收藏；一位美國紳士購於上述收藏。隨附一封手寫的信，Acher Eskenasy簽名，確認此拍品于1989年購於香港Mandala Fine Arts，2011年賣于 Martin Doustar。Acher Eskenasy是一位著名的法國學者和亞洲和部落藝術收藏家。 他以前擁有的主要藏品現在都在重要的博物館收藏中，例如紐約大都會藝術博物館和巴黎的 Musee du Quai Branly。 品相：狀態極佳，與年齡相稱。大面積磨損、風化和侵蝕、輕微劃痕和裂縫。細膩的包漿，孔雀石色結殼。 重量：838.8 克 (不含底座) 尺寸：長24.9 厘米 (不含底座) 金屬支架。由於字數限制，完整中文敘述請至www.zacke.at查看。

A Roman blue-green glass long fusiform unguentarium Circa 4th Century A.D.The elongated body swollen at the shoulder, then tapering towards the thick globular base, with long slender cylindrical neck, 42cm longFootnotes:Provenance:Lions Gate Bazaar, Jerusalem, Israel.Private Collection, Robert Cummings, Palm Beach, Florida, USA, acquired from the above in 1972, and thence by descent.Fine Pre-Columbian, Tribal Art & Classical Antiquities, Arte Primitivo, New York, 8 December 2016, lot 479.The Nico F. Bijnsdorp Collection (NFB 348), acquired from the above from the above sale.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

Decorative Tribal Art and The Eclectic Interior - a Gabon Punu Okuyi/Mukudj mask, 40cm high; other, masks, various

Decorative Tribal Art and the Eclectic Interior - a Baule mask, elaborate stylised coiffure, scarified features piocked out in white pigment, fibre frill, 33cm long, Ivory Coast, West Africa

Decorative Tribal Art and the Eclectic Interior - a Baule mask, lofty stylised coiffure, scarified features picked out in white pigment, 36cm long, Ivory Coast, West Africa; another (2)

Decorative Tribal Art and the Eclectic Interior - a Benin bronze bust, 60cm high, Nigeria, 20th century

Decorative Tribal Art and the Eclectic Interior - a Dogon Tellem altar figure, typically posed with arms raised, 58cm high, Mali/Burkina Faso, West Africa

Decorative Tribal Art and the Eclectic Interior - a West African mask, stylised eliptical features, brass clad and chased with geometric scarification, fibre and beadwork frill, 35cm long, Nigeria

Decorative Tribal Art and the Eclectic Interior - an African ancestor fetish figure, diamond shaped face with pronounced forehead and stylised features, reliquary aperture to verso applied with nails, decortaed with white pigment, beadwork necklace, fibre skirt, 76cm high, probably Democratic Republic of Congo

Decorative Tribal Art and the Eclectic Interior - an African fertility figure, standing with tongue out, 48cm high; a similar fetish figure, typically applied with nails, 49cm high; others (4)

Decorative Tribal Art and the Eclectic Interior - an Ekoi (Ejagham) headdress or crest mask, hide clad, with four scrolling horns, stylised features picked out in pigments, rattan socle, 37cm high, Nigeria/Cameroon

Decorative Tribal Art and the Eclectic Interior- a bronze, cast as the head of an Oba or figure of the court, 51cm high, Nigeria

Decorative Tribal Art and the Eclectic Interior- an African power or fetish figure, figure-of-eight aperture to torso, stylised features picked out with coral beads, 62cm high, possibly Bakongo or Suku, Congo region

Tribal Art - a 19th century Ashanti stool or seat, arched rectangular seat with four carved supports and central perforated barrel-shaped column, 30cm high, 46cm wide, 23cm deep, Ghana, Africa

Tribal Art - a 19th century Fijian ula, bulbous head, 44cm long

Tribal Art - a Bamana Chiwara antelope headdress, 122cm high, Mali, West Africa, collector's display stand

Tribal Art - a coconut shell mask, abstract features, pierced eyes and mouth, 13.5cm wide, probably Dayak, Borneo

Tribal Art - a Karamojong headrest, of typical inverted-U form, 23cm high, Uganda/Ethiopia; another, similar (2)

Tribal Art - a Kongo power figure (nkondo nkisi), the fetish figure kneels, the chin and cheeks pierced with nails, 30cm high, Democratic Republic of Congo

Tribal Art - a Papua New Guinea phallic figure, 67cm high

Tribal Art - a West African sword, 44cm blade, the copper and iron hilt with leather grip, 64cm long overall, probably Nigeria; another (2)

Tribal Art - a Yoruba bronze and iron Ogboni Ori Society staff, cast as a male figure, hooked shaft, 38cm long, Nigeria, 19th century

Tribal Art - a Zulu knobkerrie, bulbous terminal, 64cm long, South Africa, 19th/early 20th century

Tribal Art - an African headrest, of tripod from, the projecting front support carved with a mask, 25cm long

Tribal Art - an Ashanti figure, female, carved seated on a stool, collector's display plinth, 38.5cm high overall

Tribal Art - an East African stool or headrest, possibly Pokot, 19cm high; another (2)

Tribal Art - an Ethiopian carved tripod stool, 18.5cm high; another similar, 20cm high (2)

Tribal Art - an Igbo stool, dished circular top above three outswept legs carved with geometric motifs, 33.5cm high, 33cm diam, Nigeria

Tribal Art - an Oceanic black palm bow, 173cm long, Papua New Guinea; three arrows; a spear (5)

A TRIBAL ART BUST IN MARBLE EFFECT HEIGHT 18CM

FON TRIBAL ART; a collection nineteen bronze and brass figures and figure groups to include five figures in a boat, a figure shooting a snake, another figure shooting an animal in a tree, a mother and child with an umbrella, a gentleman with camel, etc, longest 38cm, and a Benin bronze head

FON TRIBAL ART;  a large processional figure group, comprising a central figure in a swing seat and twenty-one attendants, on oval base, length 62cm.

Christie's diverse Ausstellungskataloge: Oceanic Art, Hawaii, Tribal, African, Melanesian 1976-1980Ausgaben aus den Jahren: Melanesian & Polynesian Art 1979, Hawaiian Art1977, 1980 Oceanic Art, 1976 African Art, 1979 Tribal Art. Schwarz-Weiß Abbildungen.Aus einer europäischen Privatsammlung, erworben vor 2007Gebrauchsspuren

TWO BOXES OF ASSORTED SUNDRIES, to include a ceramic based table lamp, height 43cm to top of brass fitting, a brass Aladdin oil lamp (missing shade), a large copper coffee pot (stamped on base Birmingham 1931), a pair of blue ground cloisonné vases, height 18cm, a boxed Japanese table runner, a blue floral tapestry wall hanging, an Eluxa bracket clock with key and pendulum, with a brass face and hand painted floral design to case with a matching shelf, a pair of hand carved hardwood tribal art bookends, a relief decorated lidded urn, a boxed collector's plate to commemorate 150th anniversary of Burton Rail, an Asian brass bell, brass jug, brass candle stick, a brass dinner gong, vintage table linen, an SB wall barometer, a Ronson onyx table lighter, a Seiko carriage clock, a NZ Paua shell dish, etc (s.d) (2 boxes + loose)

A wide selection of treen to include African carved tribal art wall masks and busts, various boxes and pots to include a Mauchline ware hairpin holder, various elephants, and bowls, candlesticks, a stool, a barometer, carved wooden ducks, nut crackers, and other items Location:

Tribal art - A carved horn figure of a dancer in an elephant mask, with brass coin button to the belly, the half-length figure wearing a skirt with incised geometric decoration, on a wooden base, 8¾in. (22.2cm.) high overall.

Tribal Art - a rectangular carved hardwood panel, 70.5cm high

Dreibein Gefäß Vietnam Han-Viet Periode 1.-3. Jhd.Bronze mit archäologischer Patina, Gefäß mit Deckel, H: 26 cm,siehe auch Vergleich: Auktionshaus Cornette de Saint Cyr- Art Tribal- Arts de Asie, Auktion vom 17.11.2021Provenienz: Alte Sammlung Norddeutschland.

Tribal Art: two African white metal Tuareg Sahara rings - engraved with designs - one set with red stone

African/tribal art

Art Derry (20th century) Trinidadian, Tribal Shield, signed and dated '64, oil on canvas, unframed, 91.5 x 61 cm and another by the same artist 'Dance', signed dated '65 and inscribed on the reverse, oil on canvas, framed, 76.5 x 60.5 cmQty: (2)Tribal Shield - Light layer of dust overall, some very slight losses of the impasto, canvas indented top right next to the three vertical lines, slight white deposits down right edge.Dance - Some light staining and dust to the surface, particularly top left corner. Slight cracking and very slight losses to the impasto. Some fine cracking to the outside border.

Tribal Art - African Art - various hardwood busts; elephants; gourd; etc

Maqbool Fida Husain (Indian, 1915-2011)Untitled (Bhil Tribals) signed lower right and signed and dated 5/VIII/006 versoacrylic on canvas, framed181.5 x 120.5cm (71 7/16 x 47 7/16in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired from the artist in 2007.'A Painterly Journey of Husain in his own wordsBorn in the Second decade of the 20th Century Venue of landing - Pandharpur in MaharashtraMy mother Zainab took seven rounds around my frail bodyand bade farewell herself.My grandfather Abdul the tinsmith, my father Fida the accountantAn infant Maqbool, a would-be painter headed towardsIndore then ruled by the Holkar dynasty.My rocking cradle now firmly placed in princelypilferage and pageantry.A motherless Maqbool wandered alone in the lanes and landscapes of Malwa, now Madhya Pradesh.A sketching pad the only companion. The Third decade made me conscious of the British Raj and the arrival of Gandhi on the political horizon.Glancing through the pages of the most popular illustrated weekly called 'Riyasat.'The fourth decade put forward a decisive proposal towhich I at one clung like along deserted child dashesinto his mother's lap.My painterly journey commences against odds and orthodoxy.My brush dips down into deep reds and sweeps across the blue space above - I paint a woman, her navel red and breast blue whosemaroon tits swollen-Then comes the Fifth decade and I meet the painted woman whohas swallowed her darkness to shoe me the eternal entrance.The ecstasy of pain. The aroma of dying wounds. Then under the cover of my tattered umbrella and flickering lanternI take my woman to distant lands. To Chinese terracotta and jade horses, to Italian virgins of Cimabue and Giotto,to tormented Rembrandt portraits, to Van Gogh's lonely chair and abandoned shoes. All of a sudden I come to a halt in front of Guernica.As the Sixth decade declares war of self-destruction in the name of 'Avant-garde'But my painted man, woman and animal remain neutral-there I lay aside my conventional tools for a while.And hold the 16mm movie camera to shoot an experimental film in Rajasthan, based on visual equation of cow plus umbrellaplus a lantern minus a shoe is equal to one unit, Man-Woman.The film so baffled the Berlin Film Festival to award the 'Golden Bear.'Followed by hesitant National awards,And also the much awaited promotion from Padmashree to Padmabhushan to Padmavibhushan. The universities of Mysore and Benaras conferred doctorates.The New York at publisher Harry Abraham compiled a Comprehensive volume and how one reaps the reward of neutrality is still a question.But before I find the answer-The Seventh decade rings my doorbell, And as I open the door Goddess Durga enters riding thetiger followed by 'Kanya' the most beautiful woman on Earth, eternally waiting at the banks of the river Gomti.There joins another stream of thought, ripples of wave, the river Voltawa, Maria of Slovakia.The Eighth decade, the decade of eternal mother, her white sarilights up the unlit lanes of Calcutta. I paint and unfoldseveral layers of her sari in search of my lost mother.Sometimes her trembling hand appears from the bodiless bundle of cloth. To touch the fugitive son?The Ninth decade brings all the arc lights, sound effects and cameras, cranes and crackles of tinsel town. Shoot of an art and cinema episode.A hundred feet of visual script painted on the lemon yellow sari.Madhuri the metaphor for my Gaja Gamini,the beautiful walk, her dancing toes touching the crest of our time.Why a painter's dreamflashes on the silver screen instead of the wallsof Ajanta and the Sistine chapel?'Rashda Siddiqui, In conversation with Husain paintings, Mumbai, 2001, pg. 16-17.Dating from 2006, this enormous work was made in Husain's ninth decade. It encapsulates the motifs that Husain has come to be known for, the reclining woman and the fierce and protective elephants. A perennial artist, Husain adapted to and depicted various themes, religions and ideas throughout his career. Here he is depicting the Bhils, the largest tribal group in western India. They populate the states of Gujarat, Madhya Pradesh, Chhattisgarh, Maharashtra and Rajasthan, and Tripura in far-eastern India, on the border with Bangladesh. Also known as Adivasi's they speak various languages, and have regional dress variations, which might explain why Husain has refrained from depicting their clothing here. Known for their ability to live in the wild and hunt, the reclining woman appears to be protected by and content in the elephant's trunk. The elephant is perhaps shielding her from the blazing red sun emanating from the top left corner. Despite the sombre colours, there is a playfulness in the work. The brush strokes are sharp and short, and illustrate Husain's skilfulness as an artist, honed over a lifetime of experimenting, commenting and depicting innumerable topics.For further information on this lot please visit Bonhams.com

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

B. Prabha (Indian, 1933-2001)Untitled (Village Scene) signed 'B Prabha' lower right, executed circa early 1950sink and gouache on paper, framed38.5 x 49.5cm (15 3/16 x 19 1/2in).Footnotes:ProvenanceAcquired from Sotheby's, Indian and Southeast Asian Art, New York, September 2004, lot 156Born in Bela, Nagpur Prabha commenced her training in art at the Nagpur School of Art, before moving to Bombay where she earned her diploma in Painting and Mural painting from the Sir J J School of Art. She is primarily known for her trademark works illustrating rural women in their milieu, and the two works on offer in this auction are early examples of this. She depicted women from various tribal communities and focussed on important details such as their skin colour, attire and jewellery. In both works the women appear to be from the same community. They are married as evidenced by their naths (nose rings), mangalsutras (marriage necklace), toe rings and payals (anklets) and they are engaged in their daily activities. Prabha's accomplishment lies in chronicling and elevating the lives of women at a time when opportunities afforded to them were few and far in between. Prabha exhibited widely over her nearly five-decade long career both nationally and internationally. The Nobel prize nominee for physics, Homi J. Bhaha bought three of her works during her first exhibition whilst she was still a student. Later, the airline Air India acquired her works to display and use as part of their collection, which included other notable contemporaries like M.F. Husain and V.S. Gaitonde. Posthumously, her works continue to be exhibited at galleries that include Aicon Gallery in New York and Gallery Beyond in Mumbai and are testament to her timelessness as an 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

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

Jyoti Bhatt (Indian, B.1934)Jal-Thal-Nabh signed and dated Jyoti Bhatt 2009 and edition 46/125 lower leftserigraph in 88 colours on paper, framed99.7 x 125cm (39 1/4 x 49 3/16in).Image size (in) 11.5 x 16.25Footnotes:ProvenanceArcher Graphic Studio, Ahmedabad.Jyoti Bhatt studied at the Faculty of Fine Arts, Maharaja Sayajirao University, Baroda under N.S Bendre and K.G Subramanyan, and subsequently studied fresco and mural painting at Banasthali Vidyapith in Rajasthan. In the early 1960s he studied at both the Academia di Belle Arti in Italy and the Pratt Institute in New York. He is most well known for his modernist work in painting and printmaking, and his photographic documentation of rural Indian culture, as seen in one of the three lots on offer in this auction. A lot his works are playful and colourful and have elements of Pop Art, as seen in the other two lots on offer in this auction. He derives his inspiration from traditional Indian folk designs and symbols that include tribal and village designs, stylized Indian Gods and Goddesses, the peacock, parrot and the lotus. His works are held in numerous collections including the Museum of Modern Art, New York, The Smithsonian Institute, Washington, D.C, The British Museum, London and the Museum of Art & Photography, Bangalore. He is the recipient of the Padma Shri, 2019 and was elected as a Fellow of the Lalit Kala Akademi in 2022.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com