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Ca. 300 AD. A schist carving depicting a standing couple, most probably Hariti and Panchika, respectively the Goddess of Fertility and the God of Wealth. Cf. Christie's, Live Auction 2271, Indian and South East Asian Art: Including Highlights from The Star Collection, 20 Mar 2009, Lot 1232.Size: L:335mm / W:200mm ; 6.41kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 1100-1200 AD. A bronze oil lamp displaying intricate openwork, a domed lid with a bird finial, and trefoil-shaped two spouts. The pierced lateral handles and arched handle with a perching bird add to the lamp's beauty and functionality. During the Seljuk period, oil lamps were not merely functional, but also aesthetically pleasing objects that were highly prized for their beauty and craftsmanship. These lamps served as an integral part of daily life, as they provided the primary source of illumination in homes and public spaces. Cf. Christie's Live Auction 9219 Islamic and Indian Works of Art, 18 October 2001, Lot 50.Size: L:230mm / W:180mm ; 1.2kgProvenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s.

Ca. 11th-12th century AD. A bronze rosewater sprinkler bottle. Its flat base provides a stable foundation for its bell-shaped lower body, adorned with ribbed features and exquisite benedictory inscriptions running along every other two vertical ribs. The funnel-shaped neck of the sprinkler is crowned by a ridge at the lower section, adding to the bottle's elegance and sophistication. In the medieval Islamic world, rosewater held a significant cultural and symbolic value and was used for various purposes, from perfuming clothes and hair to flavoring food and drinks. Rosewater was also employed for religious rituals and ceremonies, as well as for its medicinal properties. Rosewater sprinklers, such as this remarkable piece, were used to dispense rosewater during festivities and social events, enhancing the atmosphere and creating an aromatic ambiance. Cf. Christie's Live Auction 5169, Art of the Islamic and Indian Worlds, 26 April 2012, Lot 84.Size: L:150mm / W:100mm ; 505gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Ca. 200-300 AD. A high-relief panel crafted from a schist stone. This frieze portrays two scenes from the life of Buddha. The scenes are separated by a Corinthian column and set within a stunning architectural backdrop, creating an aura of grace and grandeur. The Buddha and other figures in the frieze are dressed in long robes known as sanghatis, intricately draped with folds that have been incised with the utmost precision. These figures exhibit elaborate hairstyles that add to the intricacy and detail of the piece. The figures are depicted in a dynamic and naturalistic manner, with each pose capturing a sense of movement and energy that is truly mesmerizing. The left-hand side of the frieze depicts an elephant, which is an animal that features prominently in Buddhist iconography. The elephant is often seen as a symbol of strength, wisdom, and compassion, all qualities that are associated with the Buddha himself. This exquisite frieze is a prime example of Gandharan art, a style known for its unique blend of Indian, Greek, and Roman artistic traditions, resulting in a fascinating fusion of Eastern and Western styles.Size: L:135mm / W:475mm ; 10.79kgProvenance: Private London collection; acquired in Japan between 2000 - 2005; formerly in an old Japanese collection.

Ca. 100-200 AD. A strikingly expressive schist torso of emaciated Siddhartha, whose physical austerity is palpably conveyed through the intricate details of his skeletal frame. His face, with sunken eyes and wavy hair gathered at the top of the head in a bun, gazes inward, contemplative and serene. This sculpture represents a profound moment in the life of Siddhartha Gautama, the founder of Buddhism, who famously embarked on a six-year ascetic journey, enduring extreme privations in his search for enlightenment. This period of self-mortification culminated in Siddhartha's emaciation, which is poignantly depicted in this sculpture. The revealed ribcage, tendons, and veins, along with the bony shoulders, symbolize his sacrifice and determination to transcend the material world. The halo encircling the head of the sculpture adds a spiritual dimension, alluding to the attainment of enlightenment that Siddhartha ultimately achieved. The reverse side remains flat and unworked. Cf. Christie's Live Auction 1974, Indian & Southeast Asian Art, 21 Mar 2008, Lot 569.Size: L:250mm / W:165mm ; 3.13kgProvenance: Private London collection; acquired in Japan between 2000 - 2005; formerly in an old Japanese collection.

Deccan, ca. 16th-18th century AD. A brass pilgrim flask, an exquisite work of art characterized by its crescent-shaped body with protruding terminals facing the neck. The funnel-shaped neck boasts a striking median ridge and a mouth with a flat rim. The vessel is perfectly balanced atop a raised foot. This stunning piece features attachment rings with delicate chains for suspension, adding an elegant touch to an already impressive design. A short spout projects from one side of the vessel, enhancing the practicality and functionality of this remarkable object. Each side of the body is cast with a lappet of trefoil form. Pilgrim flasks of this nature were widely used in the Deccan region by pilgrims and travelers, providing a portable means of carrying water for drinking or washing. These flasks were a common sight on long journeys and served as an important tool for survival in a harsh and unforgiving landscape. For a similar, see The Metropolitan Museum of Art, Accession Number: 1992.50; Christie's Live Auction 7615, Art of the Islamic and Indian Worlds, 7 October 2008, Lot 227.Size: L:300mm / W:280mm ; 2.12kgProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.

Ca. 1200 AD. A rectangular-shaped brass table-top tray with a wide lip and an octagonal central recess featuring three roundels with six-petaled flowers and intricated arabesque designs. The flat lip displays lines of Kufic inscriptions that bestow good wishes interspersed with decorative roundels. For a similar example, but with silver inlaid, see Bonhams, Islamic and Indian Art, London, 6 October 2008, Lot 170.Size: L:310mm / W:195mm ; 700gProvenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s.

Sui Dynasty, ca. 581-618 AD or later. A stone head of a Bodhisattva depicted with a regal headdress and elaborately coiffured hair, suggesting the importance and significance of this figure. The face is rendered with great attention to detail, with arched brows, heavily lidded, half-closed eyes, a bulbous nose, full lips, a rounded chin, and large, pendulous ears. Bodhisattvas were revered figures in Mahayana Buddhism, embodying the ideal of enlightenment and compassion. They are beings who have attained enlightenment but choose to remain in the earthly realm to help others achieve enlightenment. The Bodhisattva ideal emphasizes the importance of compassion and altruism in the pursuit of spiritual awakening. The Sui Dynasty was a crucial period in Chinese history, known for its unification of the northern and southern regions and the restoration of a centralized government. This era also saw the emergence of a distinctive style of Buddhist art, which fused elements of Indian, Central Asian, and Chinese traditions. This Bodhisattva head is a superb example of this artistic fusion, combining the sophistication of Chinese art with the spiritual depth of Buddhist symbolism.Size: L:240mm / W:175mm ; 5.74kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.

Ca. 200-300 AD. A carved torso of a bodhisattva, exuding an aura of serenity and divinity. This stunning masterpiece depicts a possible representation of Padmapani, the lotus-bearer, one of the most revered bodhisattvas in the Buddhist pantheon. With a halo encircling the head of the figure, this immaculate sculpture symbolizes the spiritual power and enlightenment of the bodhisattva, as well as the sacred nature of Buddhist art. The halo, a recurring motif in Buddhist art, represents the divine radiance emanating from the head of an enlightened being. The muscular torso of the bodhisattva, embellished with a pair of heavy necklaces, exudes an air of masculinity and strength, while the rounded face, with chubby cheeks, a broad nose, and attentive eyes, exudes an aura of compassion and wisdom. The long, curly hair gathered at the top of the head further emphasizes the serene countenance of the figure, while the closed lips imply inner peace and contemplation. This carved torso is a testament to the rich cultural and religious heritage of Gandharan Buddhism, which flourished in the ancient region of Gandhara from the 1st to the 5th century AD. Gandharan Buddhism was characterized by a unique blend of Hellenistic and Indian artistic styles, resulting in a distinctive form of Buddhist art that has captivated art lovers for centuries.Size: L:150mm / W:105mm ; 920gProvenance: Private London collection; acquired in Japan between 2000 - 2005; formerly in an old Japanese collection.

Lene Schneider-Kainer (1885 Wien -1971 Cochabamba / Bolivien, österr. Malerin und eine der Hauptvertreterinnen des deutschen Expressionismus), Stilleben mit rotem Tulpenstrauß in petrolblauer Vase, signiert, Aquarell, um 1920, 34 x 47 cm. Die jüdisch stämmige Malerin gehört zu einer Künstlerinnen-Generation, die noch nicht an den deutschen Kunstakademien zugelassen wird. Sie zieht 1912 nach Berlin und schließt sich der expressionistischen Avantgardebewegung an. Sie ist mit Herwarth Walden („Der Sturm“) und Else Lasker-Schüler befreundet und hat 1917 mit ihrer ersten Einzelausstellung im Salon Fritz Gurlitt ihren künstlerischen Durchbruch. In 1920 er Jahren ist sie in Berlin eine erfolgreiche und auch angesehene Malerin. Aufsehen erregen ihre 1920 bei Julius Bard erschienenen erotischen Illustrationen der „Hetärengespräche des Lukian“, mit denen sie zu einer Protagonistin des Typs der sog. „Neuen Frau“ wird. Im Jahr 1932 emigriert sie über die Balearen nach New York, bevor sie sich zusammen mit ihrem Sohn endgültig in Bolivien niederlässt, wo sie eine Mission leitet und eine Textilfabrik für indianische Stoffe ins Leben ruft. Lene Schneider-Kainer gehört zu den Hauptvertreterinnen des deutschen Expressionismus. Quelle: Sabine Dahmen „Leben und Kunst der jüdischen Künstlerin Lene Schneider-Kainer im Berlin der zwanziger Jahre“, Edition Ebersbach, 1999. / Lene Schneider-Kainer (1885 Vienna -1971 Cochabamba / Bolivia, Austrian painter and one of the main representatives of German Expressionism), Still Life with Red Bouquet of Tulips in Petrol Blue Vase, signed, watercolor, c. 1920, 34 x 47 cm. The Jewish-born painter belongs to a generation of female artists not yet admitted to German art academies. She moved to Berlin in 1912 and joined the expressionist avant-garde movement. She is friends with Herwarth Walden ("Der Sturm") and Else Lasker-Schüler and has her artistic breakthrough in 1917 with her first solo exhibition at the Salon Fritz Gurlitt. In the 1920s she was a successful and respected painter in Berlin. Her erotic illustrations of the "Hetärengespräche des Lukian", published by Julius Bard in 1920, caused a sensation and made her a protagonist of the so-called "New Woman". In 1932 she emigrated to New York via the Balearic Islands, before settling definitively in Bolivia with her son, where she led a mission and set up a textile factory for Indian fabrics. Lene Schneider-Kainer is one of the main representatives of German Expressionism. Source: Sabine Dahmen "Leben und Kunst der jüdischen Künstlerin Lene Schneider-Kainer im Berlin der zwanziger Jahre", Edition Ebersbach, 1999.

Various vintage collectables, tub of badges - charitable and others, NSPCC, Dormobiles, Eddie Stobart, Leicestershire Regiment cap badge; two brass vesta cases; Sorrento wooden pocket watch holder; boxed Chinese giftware hand mirror and magnifying glass; novelty bottle style "Turning Leaf Cabernet Sauvignon" multi tool bottle opener, cork screw etc; an Art Deco brass multi tool with gymnastic figures; claw foot brooches; Indian style gilt metal and enamelled bangles; a brass "Jerusalem" paper knife; horse head brass walking stick top, three other brass finials - duck, retriever with duck, snake head; etc.

A pair of silver rosewater sprinklers (gulabpash) India, 19th Centuryeach with long tapering neck surmounted by a flaring flowerhead finial, the body in the form of a hamsa bird on an octagonal splayed foot, the base of the neck engraved and decorated with leaves, the foot with a border of foliate designs the tallest 27 cm. high(2)Footnotes:These rosewater sprinklers are unusual in their form. Birds gained popularity in 19th Century silver rosewater sprinkler designs across India, notably in Kutch, but the majority of such sprinklers feature realistic birds holding the sprinkler head in their beaks. For such an example, see a 19th Century Central Indian or Deccani bird-shaped rosewater sprinkler sold at Bonhams Islamic and Indian Art, 24 April 2018, Lot 309. The present design, however, shows the more stylized mythical hamsa bird and mounts the sprinkler head on top of the bird's body.The juxtaposition of textured silver with smoother and more polished silver sections on the finial and pedestal, along with as the distinctive engraved scale pattern making up the hamsa's down feathers, is characteristic of the Swami silver work produced in 19th Century Madras for European firms like the famous P. Orr & Sons. These Swami silver objects often reproduced Hindu imagery and iconography, which includes the hamsa bird. For an example of a similar hamsa in Swami silver, see a rectangular tea caddy with an engraving of Brahma riding his hamsa mount published in Dehejia, Vidya, Delight in Design: Indian Silver for the Raj, New Delhi 2008, fig. 30, p.114.For further information on this lot please visit Bonhams.com

Mahadev Viswanath Dhurandhar (India, 1867-1944) Two drawings: A Maratha warrior with a tutari, or chieftain's horn; a girl carrying a matka, the first dated 1910pencil on paper, the first signed MVD and dated 1910 lower right 285 x 135 mm.; 260 x 173 mm.(2)Footnotes:ProvenanceAmbika Dhurandhar, the artist's daughter.Private UK collection from 1995 to 2022.Mahadev Viswanath Dhurandhar was part of the evolution of the art academy in India which created the role of the Indian salon painter and teacher. Dhurandhar was trained at the famous Sir Jamsetjee Jeejbhoy School of Art in Bombay where he became the first and only Indian Principal during British rule.Art schools were initially established by the British, in order to introduce Western precepts and techniques to utilise and reinforce Indian craftsmanship so that it would find a commercial place in the increasingly industralised world. Painting had hitherto been considered a trade rather than a vocation but these schools paved the way for artists to be given professional recognition. Rather than attracting the artisan however, they appealed to Anglicised middle and upper class Indians. Dhurandhar, from the Pathare Prabhu community of Western India, was one of the first 'middle class' Indians to break the mould and aspire to be a painter. Dhurandhar's style eloquently combines classical Western academic training with traditional Indian craftsmanship and Hindu iconography.In 1927, Dhurandhar was awarded the title 'Rao Bahadur' by the government of India. He achieved considerable recognition both in Indian and abroad. Queen Mary collected his work for Buckingham Palace, Lutyens commissioned murals for the Imperial Secretariat in New Delhi and the Gaekwar of Baroda was one of his major patrons.For further information on this lot please visit Bonhams.com

A gem-set gold box India, 19th Centuryof domed cylindrical form on four feet shaped as animal paws, the lid fitted to base with twist-lock opening system and surmounted by a finial in the form of a parrot or falcon, the casket profusely set with diamonds, rubies and emeralds in a feather-like design 7.4 cm. high; 165.2 g.Footnotes:ProvenanceSotheby's, Arts of the Islamic World, 20 April 2016, lot 148.This gem-set domed box is unusual among published Mughal decorative objects due to the addition of a bird-headed filial at the top of the dome, as well as four lion paws holding up the base. For a comparable Mughal domed gem-set box without a footed base, see Spink, Passion & Tranquillity: Indian & Islamic Works of Art, 12th October to 12th November 1998, lot 21, with a raised red gemstone on top of the dome in place of the bird-head finial, circa 1625. A domed Mughal box without a footed base is in the Khalili Collection (inv. JLY 1857). For a comparable but larger Mughal bird head finial, see the enamelled gold fittings for a walking stick or staff with an enamelled parrot head finial circa 1650 sold at Christie's, Maharajas and Mughal Magnificence,19 June 2019, lot 266.For further information on this lot please visit Bonhams.com

A bronze figure of Krishna South India, 17th/ 18th Centuryon a square stepped base, in a dancing posture on a lotus, holding in the right hand a ball of butter, the left stretched out to the side, depicted naked and adorned with jewels 15.4 cm. highFootnotes:ProvenanceChristie's Paris, Art d'Asie, 8 June 2010, lot 395.Private US collection. According to ancient epics, Krishna was brought up by foster parents who were cow-herders, leading to the association of the deity with cows, milkmaids and, as demonstrated in the present lot, butter, which he would steal from his neighbours.For a similar example sold at Christie's and dated to the 17th Century, see Indian and Southeast Asian Art, 16 September 2008, lot 428. A similar depiction is also in the Los Angeles County Museum of Art, California, (Inv. No. M.87.124) (see P. Pratapaditya, Indian Sculpture, Volume 2, Los Angeles, 1988, p. 223, cat. 116).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

A mother of pearl hilted dagger Gujarat, 17th/ 18th Centurythe single-edged watered steel blade with raised central ridge and flattened spine, the hilt mounted with mother-of-pearl plaques of chevron design, each held in place by three brass pins, the wood scabbard with gilt-copper mounts engraved with floral decoration, foliate suspension loop to one side, clad in brocade silk with pomegranate motifs 32 cm. longFootnotes:ProvenancePrivate US collection. In the 16th and 17th Centuries, the accounts of the Jesuit missionaries and foreign travellers often mention mother-of-pearl objects manufactured in Gujarat. These objects were usually intended for the Ottoman and Portuguese markets, but were also greatly appreciated in the Mughal court.Comparative examples are in the Musee Guimet, Paris (MA 6825) and published in Simon Ray, April 2007, no. 26 both formerly in the collection of Krishna Riboud. See also Thierry-Nicolas Tchakaloff et al, La Route des Indes: Les Indes et L'Europe: échanges artistiques et héritage commun, 1650-1850, 1998, p. 106, no. 33; Simon Digby, 'The mother-of-pearl overlaid furniture of Gujarat: the holdings of the Victoria and Albert Museum', in Robert Skelton, Andrew Topsfield, Susan Stronge and Rosemary Crill (eds.), Facets of Indian Art, 1986, p. 215.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

A large painting on cloth depicting a nobleman holding a cosmic diagram (adhaidvipa) Rajasthan, 19th Centurygouache on cloth 181 x 119.5 cm.Footnotes:Diagrams illustrating the Jain conception of the cosmos, with the lower (adholoka) and middle (madhyaloka) worlds, and the heavens (urdhvaloka), appear in self-contained paintings of various sizes. Here the depiction is combined with a human figure, in the form of a nobleman, in a variation on the lokapurusha painting, which depicts the relationship between human beings and the cosmos by making a visual comparison between the body and the universe. In these cases, the cosmic being has the circular jambudvipa (representing the world and its continents) at its navel, and further levels of heaven and hell are depicted expanded into the body with further stylised cosmological diagrams. In our painting the relationship between cosmos and human might be said to be more explicit, with the cosmos in one diagram, and the human figure depicted in 'realistic' terms. See P. Pal, The Peaceful Liberators: Jain Art from India, Los Angeles 1994, no. 103, for an example and discussion of the type.For a very similar painting, depicting apparently the same figure and the same cosmological diagram, with minor differences (notably the mythical beasts in each corner), see Christie's New York, Indian and Southeast Asian Art, 21st September 2007, lot 255.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

An album of sixty paintings depicting Sikh rulers, monuments in Lahore and elsewhere, and tradespeople, soldiers and entertainers Punjab, circa 1855-60watercolours on watermarked paper, many with Lumsden & Co watermark often with 1851 date, inner margins ruled in colours, most with English inscriptions in lower margins, contemporary and local brown leather binding tooled with floral motifs, doublures of coloured paper decorated with flowers 193 x 235 mm.Footnotes:For similar albums - almost all with a standard sixty paintings - apparently often acquired by British servicemen and visitors to the Punjab, see the sales in these rooms, Bonhams, Islamic and Indian Art, 30th April 2019, lot 212; 26th October 2020, lot 268; 30th March 2021, lot 124; 25th October 2021, lot 334; 29th March 2022, lot 214A; and various other instances of single paintings or groups of paintings from dispersed albums.This one has particularly idiosyncratic comments written in by its British owner, seemingly based on personal observation, whether relating to the accuracy of the portrayal of buildings, or amused, facetious (or perhaps mystified) remarks on the tradespeople and entertainers, whom they must have seen face to face in the Punjab.The subjects of the paintings are as follows:1. Maharajah Ranjit Singh.2. Maharajah Duleep Singh, 'King of Lahore'.3. Rani Jindan.4. Maharajah Sher Singh.5. Chattar Singh Atariwala.6. Maharajah Gulab Singh, 'King of Cashmere'.7. Dost Mohamed Khan of Kabul.8. Diwan Mul Raj.9. Sher Singh Atariwala.10. Ali Akbar Khan of Kabul.11. The Jumma Masjid, Delhi (inscribed 'Exact').12. The Taj Mahal, Agra (but inscribed 'Shaz Beebee Rah Rawzah in Agra').13. Wazir Khan's Mosque, Lahore (inscribed 'Correct').14. The Badshahi Mosque, Lahore (inscribed 'the wall between the two towers in the foreground [...] down merely the features of steps remaining').15. The Golden Temple at Amritsar ('exact').16. The Qutb Minar, Delhi ('Not correct. The height is all right (400 ft). The tower might be leaning slightly. The top is not [...] is covered with characters. Cut in the material, there, destroyed').17. The Tomb of Maharajah Ranjit Singh, Lahore ('Correct. Just outside the fort').18. The Golden Mosque, Lahore ('In city of Lahore. Correct').19. The Shalimar Gardens 'in Punjab' ('6 miles from the Fort, Lahore. Correct').20. The Tomb of Jahangir, Lahore ('A King of Lahore's tomb (3 miles from Lahore Fort; on the Ravee). Correct - the trees in the foreground should be to within 5 yards of the steps - trees ought to be [...] back side of the walk also').21. Two men, one an archer, one a porter.22. A female toy seller, with two excited children.23. A bhishti, or water-carrier ('Common mode of drinking - Native well').24. Two potters.25. A man wrestling a bear.26. A man weaving, with a woman carrying a large load on her head.27. Two men preparing food.28. Male and female clothmakers, with a loom and spinning wheel.29. Two fakirs, perhaps carrying implements with which to cut themselves.30. Two linen drapers ('kuppa-wollas').31. A woman with a spinning wheel and a companion.32. Peasants operating an irrigation system powered by oxen ('the way of watering a garden').33. Three men smoking opium from hookahs.34. A man and a woman with a mule ('the way of carrying bricks, removing rubbish &c').35. Two fakirs with their dogs ('the Dog Fanciers - this is not Mother Eve [?] but a boy - a Pariah [dog]').36. A man stirring a large churn, aided by a blinkered ox.37. Two women: 'A female sweeper - And this [?]: Pretty figure!'.38. Two fakirs cutting themselves with daggers ('And they cut themselves with knives').39. Two fakirs with prayer wheels [?].40. A Sikh akali and his wife ('Bluebeard to the life').41. Two snake charmers.42. A man and woman carding wool.43. Two men dyeing cloth ('the process of dyeing').44. An entertainer with two monkeys and a goat ('the most natural of the lot').45. A barber shaving a man's head.46. 'The Slipper Maker' (and his wife).47. A nautch girl ('Lovely little creature') and three musicians.48. Two sepoys in red tunics and carrying rifles.49. A punkah-wallah and a man with a brazier ('Punkah pulling: punkah inside, female coolie in the verandah; the elevation of the Punkah is incorrect'; beneath each figure: 'Bad economy keeping a female'; 'Coolie, you can't beat her').50. A sepoy drummer ('the 'loyal' sepoy'); and a 'Native Corporal' with rifle and sword.51. 'A seller of vegetables in the bazaar - how could you refuse such a one anything!').52. Two fakirs, one with a hookah, the other with crutch and begging bowl ('An artist's privileges!').53. Two carpenters ('the Cabinet Maker').54. Two sellers of firewood.55. A man and boy winding silk ('Also a boy - He is not in the stocks').56. Two men winding cloth.57. A female acrobat and a male drummer ('A humbling attempt at the 'Poses Plastiques' - the nautch girl in one of the most 'Killing' attitudes').58. A Sikh officer and a young woman ('Romeo and Juliet').59. 'A bauble maker' and his wife.60. A blinkered ox turning a mill for grinding corn.For further information on this lot please visit Bonhams.com

An engraved brass ewer Deccan, 17th/ 18th Centuryof piriform on a stepped foot, the gadrooned body rising to an hexagonal shoulder, neck and mouth with hinged domed cover surmounted by a bud finial, the waisted neck with moulded band, with faceted serpentine spout terminating in a flower head, the curved handle terminating in a palmette, engraved and decorated to the body and handle with vegetal scrollwork, the neck and spout with foliate motifs 29 cm. highFootnotes:ProvenancePrivate US collection, acquired in London circa 2003. For a similar example dated to the 17th Century sold at Christie's see, Art of the Islamic and Indian Worlds, 8 April 2008, lot 282.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

An Indo-Portuguese mother-of-pearl dish Gujarat, 16th/ 17th Centuryof shallow rounded form on a short foot, constructed from pinned sections of mother-of-pearl forming a flowerhead within a central roundel with an outer band of radiating panels, brass bands to foot 20.5 cm. diam.Footnotes:ProvenanceBy repute (according to documents accompanying the dish) given by Anne Boleyn (c. 1501 – 19 May 1536), Queen of England (1533-1536), second wife of King Henry VIII to Sir John Brereton Kt; given by Miss Brereton of Brereton Hall, Cheshire to Henrietta E. Sharpe (who has collateral descent from Sir John Brereton).Acquired by a private collector from the Brereton family and thence acquired by Cameo Corner, Museum Street, Bloomsbury, London from the private collector, January – February 1940-1941.Acquired by William H. Goodenough at Cameo Corner, Museum Street, London on the 13th of June, 1941 (£18).Private UK collection.Given the western shape of these dishes, they were initially thought to be European by art historians in the 19th Century. Gujarati dishes of this design are known to have been imported to Europe from as early as the second quarter of the 16th Century, based on a documented example in the Green Vaults in Dresden. The commissioning of Gujarati mother-of-pearl wares is particularly associated with the Portuguese in India. In some cases, these dishes are known to have accompanied larger mother-of-pearl ewers, as illustrated by two examples presently in the Victoria and Albert Museum in London (inv.no. 4282-1857 and 4283-1857). For a discussion on these garnitures of Gujarati mother-of-pearl articles, see A. Jaffer, Luxury Goods From India: the art of the Indian Cabinet-Maker, London : V&A, 2002, pp.38-39.For further information on this lot please visit Bonhams.com

A Vizagapatam engraved-ivory mounted sandalwood Bureau Cabinet South India, circa 1800in two parts, the lower element on four bracket feet with hinged fall front opening to reveal a fitted interior with seven drawers, three pigeon holes and two concealed upright compartments disguised as columns, a large drawer to the front fitted with lidded divisions and four glass bottles, the upper element of rectangular form with stepped cornice and four drawers to the front flanked by hinged doors, a larger drawer above, the doors opening to reveal three further drawers and four pigeon holes to each side, decorated in ivory veneer etched with borders of trailing flowers and foliage, each leg with a makara 87 x 62 x 37 cm. Footnotes:This is a miniature version of a full-sized English bureau-cabinet made with sandalwood and veneered with ivory, with etchings in lac. This miniature bureau-cabinet showcases the flourishing international port of 18th and 19th Century Vizagapatam and its deep involvement with the English and European markets. The small size of these furniture pieces made them easily transportable and therefore more marketable to the many travellers and traders passing through the busy port (Amin Jaffer, Luxury Goods from India: The Art of the Indian Cabinet-Maker, London 2002, p. 80). The components of the cabinet reference the English furniture industry, while the floral engravings reproduce the patterns on the textiles made in Vizagapatam for export to the European market (ibid.). The furniture piece itself is assembled by Vizagapatam's expert craftsmen out of high-quality luxury materials, thanks to the city's access to natural resources like ivory and different timbers.For a similar ivory-veneered miniature bureau-cabinet, see Jaffer, pp. 80-81, no. 33. The version published by Jaffer includes additional lac engravings of trees and architecture based on European print sources.This lot has been registered as exempt from the prohibition in the United Kingdom on dealing in ivory in accordance with the Ivory Act Section 2(2). Certificate reference no. HH57UDQB.This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the UK, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com

Sayed Haider Raza (Indian, 1922-2016)Three Bridges signed 'S H Raza' lower right, circa 1950s; further inscribed in pencil 'S.H. RAZA. / 'THREE BRIDGES' / 150 / Rs 1201 / 166/0267 / 1031/ Mrs. E.P. SAMPLES / 1031' (on the reverse)gouache and oil on paper, framed43 x 57.8cm (16 15/16 x 22 3/4in).Footnotes:ProvenanceProperty from a private collection, Canada. Acquired from the artist by a Commonwealth Relations Officer, Reginald McCartney Samples and his wife, Elsie Samples in Bombay, India in the early 1950s; Thence by descent.This work will be included in the forthcoming catalogue raisonné SH RAZA, Early Works (1940 – 1957) by Anne Macklin on behalf of The Raza Foundation, New Delhi.Reginald McCartney ('MAC') Samples (1918-2009) was the only son of Jessie McCartney and William Samples of Liverpool, England and Rhyl, North Wales. Born in Liverpool, MAC served in the Fleet Air Arm during WWII (1940-1946) and was awarded the D.S.O (Distinguished Service Order) in 1942 for conspicuous gallantry, by King George VI at Buckingham Palace. At the end of the war, MAC returned to university and undertook a short refresher course in economics. In 1947, he joined the Central Office of Information as Economics Editor of Overseas Newspapers, and in 1948 transferred to the Commonwealth Relations office. Soon after, he was posted as Economic Information Officer to the British Deputy High Commission in Bombay, India, where he stayed for a few years, before moving to New Delhi, India and then Karachi, Pakistan in 1956. In 1959 he was transferred to Ottawa, Canada, as Director, British Information Service and was appointed an Officer of the Order of the British Empire (OBE) in 1963. He moved again, back to New Delhi, India as Head of the British Information Service, before being transferred to London as Assistant Under-Secretary of State Commonwealth Office. Finally, he returned to Canada where he settled in Toronto with his family. After retiring from the British Diplomatic Service in 1978, MAC joined the Royal Ontario Museum as Development officer and then as Assistant Director. He was active in the cultural life of Toronto, serving on the Board of Directors of the Canadian Scottish Philharmonic Foundation, the Canadian Aldeburgh Foundation, and the National Ballet of Canada. He was also a volunteer reader at the Canadian National Institute for the Blind, where he was the recipient for the best recorded book of the year in 1991. A wonderful raconteur, he loved a party and could enthral listeners with stories drawn from his wide experience of the world. (Reginald Samples Obituary, , 7th–8th August 2009, https://www.legacy.com/ca/obituaries/theglobeandmail/name/reginald-samples-obituary?id=41565773.)The present lot is inscribed 'Mrs E.P Samples' on a small card on the reverse and was acquired by Mac and his wife Elsie during their stay in Bombay from Raza, possibly from the artists 1950 solo show. When Raza obtained a scholarship from the French government to study art in 1950, both Mac and Elsie bid farewell to Raza when the artist left for Marseilles, France. They were avid collectors and acquired works by Raza, Husain, and Jamini Roy, all of which have previously featured in Bonhams' auctions. Their other Raza, a Street Scene, was also a gouache and oil on paper and sold as lot 320 in Bonhams' 13th October 2005, auction and was featured in Vision in Art (6), a review of his solo show in 1950.Unlike the Street Scene, the Raza offered in this sale is titled 'Three Bridges' and depicts a beautiful townscape, likely Srinagar in Kashmir, connected by three bridges. Whilst the exact location is unidentified, Raza was known to have painted over a hundred watercolours in Kashmir, during his three-month sojourn to the region. (R.V.L, , The Times of India, 23rd October 1948, p.48). What makes this watercolour fascinating is that Raza has focussed on bridges to construct the painting rather than the common subject of mountains or lakes. This composition appears in other works, like those included in the 2022 exhibition catalogue for the exhibition held at the Jehangir Nicholson Art Foundation.The success of Raza's work is manifold. While it is aesthetically appealing, it is also subdued, an effect achieved through the limited use of colour. Blues, whites, yellows, and greens take centre stage in this work, whilst the smattering of pinks, concentrated in the foreground enable us to differentiate between the three distinct sections of the work. Additionally, the composition, divided in three sections, draws the viewers gaze to meander along with the undulation of the river. These sections represent a harmonious use of geometry, typical of his early works. All three sections appear to have been created using various triangular structures, with the bridge farthest away from the viewer as the vanishing point. Raza's success with his work is manifold. It is aesthetically appealing and draws the viewers gaze to meander along with the undulation of the river. But, it is also subdued, an effect achieved through the limited use of colour. Blues, whites, yellows and greens take centre stage in this work, whilst the smattering of pinks, concentrated in the foreground enable us to differentiate between the three distinct sections of the work. These three sections are in harmony, and we can see the early examples of his use of geometry. All three sections appear to have been created using various triangular structures, and the bridge farthest away from the viewer appears to be a vanishing point. His delicate brushwork and the use of shadow and light creates depth and dimensionality whilst the frenetic strokes used to create the foliage create the dynamism and energy warranted by this scene. With this work, Raza has captured the essence of this place. The composition metamorphoses into a harmonious and seamless entity, which dissolve into one another, much like flowing water and is therefore both lively and nuanced. Bonhams extends their gratitude to Ann and Connor Macklin from the Raza Foundation for their assistance in cataloguing this lot.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

Nikhil Biswas (Indian, 1930-1966)Untitled (Horse) signed 'Nikhil' lower centreink on paper31.5 x 30.5cm (12 3/8 x 12in).Footnotes:ProvenanceProperty from a private collection, Sri Lanka.Nikhil Biswas work as an art teacher. Despite the financial problems and the low income, he earned from his job, Biswas was dedicated to his craft and would paint every day, even if that meant compromising on the quality of the materials he used. The present lot, painted on one such material, using an ink pen and brush, shows a horse in the rearing position. Horses take up this position in response to a perceived threat, or when playing with other horses. In art, a horse painted in this stance is often thought to be a symbol of strength, power, and freedom. Painted using strokes alternating between thin and thick ink, there is a pulsating energy to this horse. The horse appears to be gearing up to leap out of the artwork. He looks squashed and confined within the small space, and whilst his hind legs are well defined, his face appears hidden amongst the movement. There is a dynamism to this work and a controlled emotional frenzy.For further information on this lot please visit Bonhams.com

Sawlaram Laxman Haldankar (Indian, 1882-1969)Untitled (Landscape from Panhala Fort,Kolhapur) signed 'S.L.H' lower right; further inscribed Panhala Fort/ 22.5 x 17.4 cms/ SH1/ l5184.B, 839 A BW, 920 A indecipherable, 823A stone, Plain 8/ 55 (on the reverse)watercolour on paper18 x 23.4cm (7 1/16 x 9 3/16in).Footnotes:ProvenanceProperty from a private collection, Sri Lanka. Acquired by LTP Manjushri from the artist in India;Acquired from the above;Thence by decent to the present owner.Born in Maharashtra, India, in 1882, Haldankar began his art education at the J. J. School of Art in Mumbai, where he studied under notable Indian artists like John Lockwood Kipling and and Cecil Burns.After completing his studies, Haldankar went on to work as a professional artist. Celebrated for their realism and attention to detail, his works often depicted women in traditional Indian attire, and he became famous for his ability to capture the grace, beauty, and inner strength of his subjects. The present lot is a fine example of his landscapes, specifically that from Panhala Fort, Kolhapur and is beautifully rendered in watercolour with splashes of wash to add depth to the background and the clouds. The fort itself is an important historical site. A hill fortress, it was built during the medieval period and is known for its impressive fortifications, stunning views, and rich history. It played an important role in the history of Maharashtra, as it was the site of several significant battles and events. To see a similar work sold at auction see Sotheby's, Modern & Contemporary South Asian Art, London, 25th October 2022, lot 57.For further information on this lot please visit Bonhams.com

Sadequain (Pakistani, 1930-1987)Untitled (Two Figures) signed and dated 'Sadequain 6/3/1962' upper rightpen, ink marker and wash on paper75 x 55cm (29 1/2 x 21 5/8in).Footnotes:ProvenanceProperty from a private collection, Germany.Acquired from the Francois Forges Gallery in Paris;Thence by descent to the present owner.'Sadequain's great contribution to modern art in Pakistan was that he amplified it with the living cultural resources of his broad and deep tradition in his own style and according to his conscience as no other artist could do.' Akbar Naqvi, Image and Identity: Fifty years of painting and sculpture in Pakistan, Pakistan, 1998, p. 403.After winning the Pakistan National prize for painting in 1960, Sadequain was invited by the French Committee of the International Association of Plastic Arts to visit Paris. Already a celebrated artist in Pakistan, the next few years in Paris catapulted Sadequain onto the international stage. In 1961 he was awarded the 'Laureate Bienniale de Paris' at the Paris Biennale and the scholarship prize enabled him to remain in Paris. The two lots offered in this auction were painted in Paris in 1962, the year he received the President's Pride of Performance award and illustrate the distinguished Calligraphic Cubist style that Sadequain invented. Influenced by the sculptures of Picasso and the Spanish arabesque of González, these heavily stylized, statuesque and monumental figures are depicted in broad sweeping lines, bearing the influence of the École de Paris. Responsible for the resurrection of Islamic calligraphy, he transformed the art of calligraphy into these eye-catching expressionist paintings. He married this with the scratched surface, which gives these works volume and amplifies their flatness. Resembling a cobweb, there is an intricacy and detail to these works which defies their appearance of simplicity. To see a similar work sold in these rooms dating from 1962 see Bonhams, Islamic & Indian Art, London, 8th April 2014, lot 375.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Anwar Jalal Shemza (British Pakistani, 1928-1985)Chessmen signed and dated in Urdu 'Shemza 1965' upper leftoil on canvas, framed70 x 34.2cm (27 9/16 x 13 7/16in).Footnotes:ProvenanceProperty from a private collection, Pakistan.Acquired from the Collection of Mr Hamid Khawaja in 2019, who acquired the work in London in 1980.From 14th January – 16th April 2023, Wolverhampton Art Gallery in the UK held an exhibition titled, Shemza Digital: Across Generations. The show celebrated and drew parallels between the abstract works of Anwar Jalal Shemza and the contemporary digital practise of his granddaughter, Aphra Shemza. Featured in this exhibition were works from both the Estate of Anwar Jalal Shemza and those from the Wolverhampton Collection. The breath of works displayed were produced in the UK and spanned from 1957-1969 and can be described as some of the most important works from his oeuvre. One of the works featured in the exhibition came from his renowned Chessmen series, and was a gouache and watercolour on paper, dating from 1968. The oil on canvas in the present lot is also part of the abovementioned series, executed in 1965. Anwar Jalal Shemza was born in Shimla, India to Kashmiri and Punjabi parents. Following the creation of Pakistan in 1947, a young Shemza relocated to Lahore, Pakistan, where he continued his education at the Mayo School of Art, before relocating again, this time to the UK in 1956, where he studied at the Slade School of Art. His constant relocations were traumatic, not least because he lost numerous family members during Partition, but also because despite having been a renowned artist in Pakistan, his works were not well received in the UK. He had to reinvent himself as an artist, and the works produced in the aftermath of his reinvention would continually explore the themes of identity, migration, and cultural hybridity. The present lot was created when Shemza taught art at the Ounsdale (Wombourne) High School (1963-1979) in Wolverhampton. It was during this period that he developed his signature style, which blended elements of Islamic calligraphy with abstract modernist forms. This can be seen in the series titled 'Square Compositions,' 'Circles and Semicircles,' and 'Meem.' What makes the Chessmen series particularly important is that it marks a significant departure from these earlier works, which were mostly abstract and focussed on geometry and calligraphy. Instead, this series introduced figurative elements, specifically chess pieces, into Shemza's work, creating a unique blend of abstraction and representation. This series was an exploration of the themes of power, hierarchy, and identity, and he used the pieces to comment on themes in relation to colonialism and imperialism. Having had his works and Islamic art rejected upon arrival to the UK in the mid-1950s, perhaps as part of the last wave of 'colonial' artists, he was in an existential crisis. This work created 9 years after his arrival, was his way to reconcile his dual cultural heritage, Pakistani and British. The painting depicts three chess pieces of various heights and sizes. The frontal viewpoint emphasizes the two dimensionality of the canvas, accented by the horizontal line that cuts across the lower fifth of the work. The horizontal line is a recurring motif is Shemza's work, and is often interpreted as a symbol of connection and unity. It was his way to create a sense of order and structure, whilst simultaneously paying homage to Islamic principles of art. Normally, works from this series feature multiple chessmen in each composition, and are wider, however this work, is similar to his Untitled (Red and Yellow Ochre Composition) and only has three pieces, the King, the Queen and the Bishop which dominate the canvas. This grouping of three could also be seen to be a family, as this was the title Shemza would give to the subsequent works he produced in the 1980s that formed part of the same series. The dark colours used in the painting are intentional. They convey a sense of depth and contrast that emphasises the white geometric shapes and forms of the chess pieces. The use of black, dark brown and maroon also evoke the traditional colours of the chessboard, which are often made of dark wood. Moreover, the dark colours also create a sense of tension and drama that reflected the intellectual and strategic nature of the game, an allusion perhaps to the unresolvable question of identity. To see a silkscreen from the same series sold in these rooms see Bonhams, Islamic and Indian Art, 23rd April 2013, lot 427.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

Badri Narayan (Indian, 1929-2013)Untitled (Couple) initial 'B' in Devanagari lower rightmixed media on paper, framed29.1 x 29.1cm (11 7/16 x 11 7/16in).Footnotes:ProvenanceProperty from a private collection, UK; Acquired in the late 1970s from the artist.There is a Chemould label on the reverse.One of the recurring themes in his works is the depiction of couples as seen in the present lot. He often portrays couples as a symbol of love and companionship. There is tenderness and affection evident in this work, denoted by the physical closeness of the couples' face to each other. The man is looking directly at the woman, and the sombre colours used to paint them accentuate the feeling that one is being able to enter a private moment. The absence of negative space and the small scale of the work further amplify this moment of intimacy. For a similar work sold at Sotheby's see Modern & Contemporary South Asian Art, 25th October 2022, lot. 41.For further information on this lot please visit Bonhams.com

Sudhir Patwardhan (Indian, B.1949)Untitled (Two Men) oil on canvas, framed71.3 x 52.4cm (28 1/16 x 20 5/8in).Footnotes:ProvenanceProperty from a private collection, UKAcquired from the artist;Thence by descentSudhir Patwardhan was born in Pune, India, in 1949. He studied medicine at the Armed Forces Medical College in Pune and worked as a radiologist for several years before pursuing art full-time. Patwardhan's interest in art began in childhood when he was fascinated by drawing and painting. He continued to pursue art as a hobby throughout his medical studies and early career as a radiologist. In the 1970s, he began attending art classes and workshops in Mumbai and soon decided to pursue art professionally. In 1975, he held his first solo exhibition in Mumbai, which received critical acclaim and established him as a significant new talent in the Indian art world. Since then, he has exhibited widely in India and internationally, and his work is held in several public and private collections.Patwardhan's artistic style is influenced by a range of artistic traditions, including Indian miniature painting, Western figurative art, and modernism. His work often explores the complexities of contemporary urban life in India, particularly the experiences of ordinary people in Mumbai. He is known for his realistic and detailed paintings, which often depict urban landscapes, figures, and everyday objects with great sensitivity and depth. His work often depicts the complexities and contradictions of modern urban life, and the struggles faced by individuals within this context.In the present lot, he has painted one of most frequently depicted subjects, the male. The man on the right has his arm reassuringly resting on the shoulder of the man on the left. The facial expressions of both men are unclear, and open to interpretation, although they appear stoic. The composition and story, if any, that the painter wishes to relay is unclear, however this is likely deliberate. Patwardhan's depictions of men often reflect his interest in the social and economic inequalities that exist in contemporary Indian society, particularly with regards to class and gender. Whilst his paintings do not specifically focus on the representation of gay men, his work does sometimes address issues related to sexuality and sexual identity.Through his paintings, Patwardhan seeks to draw attention to the challenges and complexities of contemporary Indian society, and to encourage his viewers to engage with the human stories that lie behind the headlines and statistics. By focusing on the experiences of men, he captures the psychological and emotional states of his subjects. Patwardhan offers a unique perspective on the realities of life in India, and invites us to reflect on the social, cultural, and political factors that shape our lives.For further information on this lot please visit Bonhams.com

Syed Haider Raza (Indian, 1922-2016)Arbres [Trees] signed and dated 'Raza 69' lower right; further inscribed with felt tip 'RAZA./ P.797'69/ Arbres/ 5F (on the reverse)acrylic on canvas35 x 27cm (13 3/4 x 10 5/8in).Footnotes:Provenance:Property from a private collection, France.Acquired by the owner from Pierre Berge, Art Moderne & Contemporain, 17 December 2015.'The French countryside was new to me, and beautiful, and became the inspiration for my work. I visited Autun, Veselay and Chartres, and Avignon and Provence in my explorations into the French countryside and its architecture... But I was not in France to do Indian miniatures! I was here to experience French art, and to live it'. (G. Sen, Bindu: Space and Time in Raza's Vision, New Delhi 1997, p. 55–56).For further information on this lot please visit Bonhams.com

Zarina Hashmi (American-Indian, 1937-2020)A thousand knots (c.1980s) signed 'Zarina' lower right and edition 2/10 lower leftcast paper pulp/mixed media, framed61.6 x 61.6cm (24 1/4 x 24 1/4in).Footnotes:ProvenanceProperty from a private collection, New York.Gifted to the vendor by a Prominent Collector;Acquired from the artist.'Paper is an organic material, almost like human skin,' the artist Zarina Hashmi has said. 'You can scratch it, you can mold it. It even ages.' Zarina in Reveling in the Multicultural Possibilities of Paper by Karen Rosenberg, 31st January 2013, The New York Times'Watching paper being made and seeing the liquid paper pulp gave me all sorts of new ideas: What if I pour this pulp into my plate? Will my plate act like a mold? Will the paper dry in that shape? Can I cast paper? The papermakers said it couldn't be done, but I kept thinking about it.'Zarina, Zarina with Sarah Burney, Directions to my house, Asian/Pacific, American Institute, New York University, 2018, p.63Born in the university town of Aligarh, India in 1937, Zarina Rashid was the youngest of four children, two boys and two girls and grew up in a traditional Muslim home. She was closest to her elder sister, Rani and enjoyed sleeping outdoors 'under the stars and plotting our journeys in life' in the scorching summer heat of her childhood home, whose walls enclosed a fragrant garden. (Holland Cotter, Zarina Hashmi, Artist of a World in Search of Home, Dies at 82, New York Times, 5th May 2020). This all changed in 1947, when aged 10 she witnessed the Partition of India. Her idyllic life ended abruptly. She saw mass atrocities being committed by both Hindu's and Muslims and the memories of the ensuing violence, fear of separation, migration, and longing for home, would haunt her and mould her life and career. During this turbulent time, her father sent the family to Karachi, in the newly formed Pakistan for their safety. She would however later return to India to obtain her degree in mathematics and statistics at the university of Aligarh, although the place would never be home again.Shortly after graduating, aged 21, she married Saad Hashmi, a foreign service diplomat, which commenced a new chapter in her life. The nature of Saad's career meant frequent travel, and over the ensuing years she would end up living in over 25 countries across the continents of Asia, the Middle East, Europe, Latin America and finally the United States where she would reside permanently from 1975 onwards. Zarina also studied in London, England when she enrolled at St. Martin's School of Art in London, England. This was a turning point in her career as it cemented her desire to become a fully-fledged artist. She returned to India, and in the ensuing half decade participated in group and solo exhibitions. Her works were showcased at the likes of Gallery Chanakya, Delhi, Kunka Chemould and Pundole Art Gallery in Bombay. It was during this time, that she went to Bonn, Germany where along with studying silk-screening, she was captivated by the prints of Dürer. In Tokyo, her two-week stint turned into a year long stay as she immersed herself in studying the woodblock techniques with Toshi Yoshida. It was here that she began to experiment with printmaking styles and abandoned colour. She printed the grain textures found on scraps of wood that she collected on the roadside, having cleaned, oiled, and inked them herself. She identified with the resilience of the damaged organic material and wanted to capture its inherent beauty. She also either slashed and punctured the surface of handmade paper or built it up sculpturally with pulp.She relocated to the United States in 1975, having arrived in Los Angeles, before moving to New York in 1976, where she would reside for the remainder of her life. Here, she broadened her horizons further by teaching papermaking at the Feminist Art Institute, and being part of the of Heresies Collective, a feminist publication on art and politics. She was part of their issue on Third World artists and it was the first time she encountered works by other discriminated minorities including the Afro-Americans, the native Americans and the Hispanics. This experience fundamentally altered her perception of her own experiences and made her realise how her plight was universal. Questions pertaining to notions of 'home,' 'geographical boundaries' and 'nation' would now be examined in her prints, and the amalgamation of her learnings would come to the fore. She would simplify these complex experiences in the precise and uncluttered works that she would produce, which would be the culmination of all her experiences; the influence of artists such as Sol LeWitt, Yves Klein and Jean Arp, her own background of mathematics, and adherence to Islamic notions of geometry. The two works on offer in this auction are exquisite examples from her oeuvre and illustrate Zarina's lifelong adherence to the creation of 'multiples.' The multiplicity of prints appealed to her sensibilities, as they were the mainstays of printmaking, but also allowed for a plurality of ownership. Having grown up being surrounded by books, multiples of the original, meant that she could have access to something that might hitherto have been inaccessible. She therefore applied the aesthetic and mechanics of printmaking onto other mediums that had previously been the preserve of a singular work. In 'A thousand knots,' (lot 8) Zarina's sculptural work we see the continuation and extension of her works on paper. It retains the expertise she had been cultivating in propagating a geometric purity and lyrical form. What makes it unique is that it is injected with colour which is reminiscent of the red sandstone of the Buland Darwaza and Jodha Bai Mahalat Fatehpur Sikri. Having lived in 25 cities and inculcated numerous experiences and cultures, she was simultaneously at home and not at home. She was likely aware of the inscriptions that surmount the doorway of the Buland Darwaza, one of which reads, 'Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it.'Known for being deeply interested in Sufism, the title of the work might allude to a line in the Sufi poem, Tum Ek Gorakh Dhanda Ho by Naz Khialvi, rendered beautifully by Ustad Nusrat Fateh Ali Khan, a world-renowned singer of qawwalis, a form of devotional Sufi music. The line in the poem mentions that one is looking to untangle the cord but fails to find top. The title might therefore be self-referential, as Zarina was constantly 'searching' for home. Structurally, much like her white works on paper from the 60s and 70s, this work is about shadows. As you approach the work, you'll see thousands of tiny holes which pierce the pulp, and the work keeps changing based on which angle you approach it from. It's a sculpture made of shadow, caught in the interstices of each fine hole. It recalls the notion of home and is perhaps best explained by Zarina in her own words: 'I often wonder what my life would have been like had I never left my house of four walls in India [...] I do not feel at home anywhere, but the idea of home follows me wherever I go. In dreams and on sleepless nights, the fragrance of the garden, image of the sky, and sound of language returns. I go back to the roads I have crossed many times. They are my companions and my solace.' (Zarina Hashmi, Cities I called home, 2010.)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

Badri Narayan (Indian, 1929-2013)Untitled (Parvati with child, surrounded by yalis and deities) mixed media on paper, framed54.2 x 74.8cm (21 5/16 x 29 7/16in).Footnotes:ProvenanceProperty from a private collection, UK.Acquired in the late 1970s from the artist.Narayan is known for his distinct style that combines traditional Indian motifs with contemporary art. He derived his inspiration from the cultural and social landscape of India, including its mythology and folklore. In addition to being a self-taught artist, he was also a professional writer and illustrator and worked on the Orient Longman Indian Epics, the Mahabharata and Ramayana in 1985 and 1988 respectively. The dual nature of his career meant that he was a natural storyteller, and his two-dimensional paintings are often grand narrations which include fantastical elements. The present lot is a fine example of this from Narayan's oeuvre. Seated in the middle on her throne is the Goddess Parvati, the consort of Lord Shiva, who is revered in Hindu mythology as the embodiment of feminine power and energy. Often depicted as a motherly figure, here she is seen cradling a child, perhaps her son Kartikeya and holding a floral toy in her raised hand. Depicted in the colour of Goddess Kali, the fierce and powerful deity, she is surrounded by two yalis, the Hindu mythological creature said to be more powerful than a lion, tiger, or elephant. Directly above them, are two winged angels, perhaps incarnations of the demigod Garuda, who appear to be watching over Parvati and her child.Compositionally, there is no depth to the work however this allows for there to be an immediacy to the painting. The black and red background cuts the work into thirds and allows for the Goddess in blue to stand out. The predominant colours used are shades of yellow and gold, which illustrates the divinity of the scene. It is a striking and complex work and amplifies Narayan's sense of beauty and aesthetics.For further information on this lot please visit Bonhams.com

Jagdish Swaminathan (Indian, 1928-1994)Untitled signed and dated in Devanagiri and English 'J Swaminathan 92' versooil on canvas, framed81.1 x 116.1cm (31 15/16 x 45 11/16in).Footnotes:Property from the Estate of Chresten PetersenProvenanceAcquired by Mr Pedersen, a Danish diplomat in India in the 1990s.Madhya Pradesh also brought about a basic shift in my painting again. The live and vibrant contact with tribal cultures triggered off my natural bent for the primeval, and I started on a new phase recalling my work of the early sixties. If my work of the early sixties anticipated the journey of the eighties, my present phase recapitulates my beginnings.- Jagdish Swaminathan, 1993Swaminathan oscillates between lucidity that captures the most abstract ideas into jewel-like analogies and dark obscurity, where the ideas that swarm fail to emerge to the surface in words or in images. (G. Kapur, Reaching Out to the Past, Lalit Kala Contemporary 40, March 1995, p. 17)'Swaminathan's aesthetic, which held that folk art, tribal art, and urban art are all equally valid versions of the contemporary, might appropriately be termed a 'post-colonial aesthetic'' (V. Dehejia, Text Decoded, Beyond the Legacy, Washington, 1998, p. 202).In the late 1980s, Jagdish Swaminathan's paintings underwent a dramatic stylistic and technical shift. In these later works, texture plays an important role in the creation of the overall image, and it is arrived at through the skilful combination of staining and the interplay of horizontal and vertical bands. Moreover, 'the surface of the canvas ceases to be a two-dimensional support system upon which is represented a world, whether abstract or figurative. The surface becomes an arena within which to act and from which the creative ace and material world arise.' (K.B. Goel, The Other, J. Swaminathan, Vadehra Art Gallery, Exhibition Catalogue, New Delhi, 1993.)From the beginning of his artistic career, Jagdish Swaminathan has concerned himself with the exploration of the tribal in modern art. His works draw 'upon the collective assemblage of myths and symbols in folk, and other subterranean passages of culture that attempted to reach the unknown in a kind of blind intuitiveness.' (G. Kapur, Reaching Out to the Past, Lalit Kala Contemporary 40, New Delhi, March 1995, p. 17.)Swaminathan was more than an artist. Along with being a founding member of the artist collective Group 1890, he was also known for his membership of the Communist Party of India, for his journal Contra, albeit short lived, for starting a movement to reform the Lalit Kala Akademi in the 1970s and for establishing an interdisciplinary arts centre in Bhopal in the 1980s, called Bharat Bhavan. He lived outside the cultural influence of the Progressive Artists' Group, rejected academism and the teachings of the Bengal School, which allowed for a flourishing of ideas that was rooted in the mystical, spiritual, and primal. His art was an amalgamation of these ideas, and this distinct outlook kept him at the forefront of the development of a unique idiom of modern Indian art. His counter-cultural approach is evident in his works that can be grouped under distinct phases. The present work, dating from 1993 is from the last phase of his oeuvre, yet not only pays homage to the works that preceded it but also succeeds in creating a distinct visual language. We can see the influences of symbolism and surrealism despite the innate simplicity and natural order that govern the canvas. The dominant colours are the earthy browns and blacks, punctuated with smatterings of whites. Squares, circles, rectangles, diamonds, and triangles are the geometric motifs that compete and complement each other and are reminiscent of his iconic Bird, Mountain, and Tree series from the 1960s. What makes them unique in this painting however is their greater symbolic significance. The triangle for example, is the mountain, Kailash and symbolises the abode of Shiva, the Hindu God. These additional layers are almost totemic, and 'capable of exercising its magical eternal influence on those who come within its field of vision.' (J. Swaminathan, 'The Cube and the Rectangle', op. c Lalit Kala Contemporary 40, March 1995, p. 23)This is a vocabulary unique to Swaminathan, and the symbols that he deployed can be read as 'non descriptive, partially associated images' that may not be recognisable, but when seen as a whole, they take on a new and collective meaning. 'Whatever specific context they may belong to, he uses images and icons of the past, that in a similar attempt at identification become evocative and remain so even at this point in time. Through the transformed context and relationships in his painting, they become one with traditional and contemporary, because they are born of a motivation that bridges the two in a continuum.' (G. Kapur, ibid, p. 17.)To see a similar work sold at auction see Christies, South Asian Modern & Contemporary Art including works from the collection of Mahinder and Sharad Tak, New York, 23rd March 2022, lot 623.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

Krishna Hawlaji Ara (India, 1914-1985)Untitled (Flowers in a Vase) signed 'Ara' lower rightwatercolour on board, framed76.2 x 55.9cm (30 x 22in).Footnotes:ProvenanceProperty from a private collection, Florida.Acquired from India in the 1930s;Acquired from the Estate sale of the above.The life of K.H. Ara was marked by a constant struggle for survival, yet he persisted with his love for art and desire to paint. His relationship with his father and step-mother were challenging and this forced him to abandon his home for Bombay where he worked as a domestic servant. Caught up in the independence movement, he lost his job after partaking in Gandhi's salt satyagraha, which led to his imprisonment. This represented the beginning of a social and political awareness that eventually led to the creation of the Progressive Artists Group alongside five of the most influential modernist artists in India. Here, Ara found the intellectual and formal encouragement that allowed him to further develop his artistic production and define his style. In 1942 he had his first solo show and in 1944 he was awarded the Governor's Prize at the Bombay Society Annual exhibition. Later in his career, his exhibitions became less frequent, as he dedicated most of his later life to helping upcoming artists. Ara remained in India where he died in 1985.When discussing his artistic production, Ara's lack of formal training is surprising. However, the absence of academic limitations was an advantage that gave his works a raw authenticity. His paintings were free from the structures imposed by the classical standards of the Bengal school and the Western ideals of fine art. Often described as the most intuitive member of the PAG, Ara succeeded in using classical devices to expand the language of his painting, evolving his signature style that loudly emerged from his very early works. Although he is usually compared to Cezanne and Matisse, it would be reductive to think of his work as a mere reflection of Western modernism. Although European modernism represented a source of inspiration, his and the PAG's artistic production was deeply rooted in the historical and social context of 1940s India, the liberation from colonialism and the definition of a newly rediscovered national identity alongside a place of Indian art in the world. Due to his intuitive grasp of the principles of modernism Ara revitalised the entire genre of 'Still Life' in India. Still Life, specifically vases of flowers, represents the hallmark of his artistic production. This painting Untitled (Flowers in a Vase) is an exquisite example of Ara's style and is characterised by a roughness in both drawing and the application of the paint, that seems to overflow from one form to the other. The minimal attention to details and the predominance of colours is evident. Petals merge into each other and yet the choice of different colours makes every single flower stand out in a vibrant bouquet. Particularly significant is the use of white that is frequently applied by the artist to create forms, connect shapes, differentiate the space, and modulate depth and volume. This work demonstrates Ara's ability to turn an apparently till subject into a dynamic triumph of colours.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

George Keyt (Sri Lankan, 1901-1993)Lovers signed 'G.Keyt 68' upper rightoil on canvas, framed77 x 78.5cm (30 5/16 x 30 7/8in).Footnotes:ProvenanceProperty from a private collection, New York.Acquired directly from the artist;Private Collection, Malaysia;Christie's London, 21st May, 2007;Acquired from the above by the present owner.Two recurring themes in Keyt's artistic production are the depiction of lovers and female nudity. The former often stems from the Radha Krishna tradition that highlights the opposition and harmonious union of the male and the female. The two lots on offer here, lots 3 and 25 are the perfect examples of these themes.Lovers is a fantastic illustration of the Buddhist Tantric concepts of eroticism, sensuality and love. The painting depicts a woman and a man in a tight embrace. The roughness of the man is represented by the darker skin whilst the lighter tone used to illustrate the woman symbolises purity and gracefulness. The red in the background underlines the erotic nature of the embrace. This is further emphasised by the rhythmic and strong lines that define the two figures that are characterised by strong traits and extremely geometrical features, such as the elongated eyes. These are characteristics that recur in both Cubism and ancient Indian sculptures. An additional component that supports the erotic and sensual element is the choice of clothing. The woman is covered by a thin transparent shirt that reminds the viewer of both ancient Indian sculptures and ancient Greek statues.The colours, shapes, facial expressions and postures are a beautiful amalgamation of folklore, European Modernism and ancient Indian art and literature, which make Keyt's art admired worldwide, regardless the cultural backgrounds.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jamini Roy (Indian, 1887-1972)Untitled (Gopini) signed in Bengali lower righttempera on canvas, framed84.10 x 43cm (33 1/8 x 16 15/16in).Footnotes:ProvenanceProperty from a private collection, Singapore.Acquired from the artist in the late 1950s in Calcutta;Thence by descent to the present owner.Of all the changes that followed World War II in South Asia, perhaps, the most important was in the disruption of the colonial powers. Dominated countries began to regain their identity and fight for independence. India did not remain untouched by this anti-colonial sentiment. These are the circumstances in which the painter Jamini Roy (1887-1974) lived and produced art. This, albeit brief, contextualisation is fundamental to understand and fully appreciate the works of this artist. Born during the zenith of colonialism in South Asia, Roy came from a land-owner Kayastha family. His first encounter with art happened within this middle-class, art-loving household. Encouraged by his parents, in 1908 Roy obtained a diploma from the Government College of Art. Here he studied the academic style of the West. However, like many of his peers, Roy began his revolt against westernisers and orientalists. Rejecting European modernism seemed to be the perfect means to express the frustration of an entire country, support nationalism and anti-colonialism, and feed the desire to find an authentic Indian identity depleted of western misconceptions, which meant looking to rural India.Jamini Roy's artistic production falls within this search for authenticity, which he found in rural Bengali, where he observed folk art, admiring its formal simplicity and clarity. Roy began to experiment with the elimination of the detailed elements, and instead added rough lines, reducing his colour palette to primary and basic colours. Roy succeeded in reinterpreting traditional Indian iconography in a modern and crisp style. In 1931, he exhibited his works in Calcutta. Apart from the incredible works he displayed alongside original Bengali folk art, the most revolutionary element of the show was the curatorial choices. Roy decided to transform the exhibition into a Bengali living space. His works, his philosophy and the curatorial choices represented the cornerstone of Indian modernism. Indian rural reality against colonial cities, a collective against the individual, a nation against the occupier. Art was a political act and needed to be a collaborative effort. The ideological strength behind Roy's paintings contributed to his worldwide popularity. His works were acquired by Peggy Guggenheim, and can now be found in major modern and contemporary art collections globally. The painting offered here is an exquisite example of Roy's style. From a formal perspective, Unitled (Gopini) represents a female dancer standing and wearing traditional clothes from the Bengali region. Her features are clear and simple and remind the viewer of traditional Indian sculptures. Rough and thick darker lines define the outline of the figure. The colours palette is limited to white and different shades of brown and red. The earthly tones and nuances unconsciously draw a connection to the land. The subject matter also stems from tradition. The figure represents Gopis, the legendary milk maids that are enamoured of Krishna, a subject that was typical of miniature paintings from the 17th to 19th century. As we can see from this fantastic example, Roy's pieces are populated by traditional subject matters characterised by a harmonious combination of both modernism and indigenous formal qualities.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

George Keyt (Sri Lankan, 1901-1993)Girl and Cactus signed 'G Keyt 62' upper right and title versooil on board, framed81 x 39.5cm (31 7/8 x 15 9/16in).Footnotes:ProvenanceProperty from a private collection, Ireland.Acquired from Adams, Contemporary Paintings and Prints, 7th April 2009, lot 31.When it comes to George Keyt most art historians highlight the impact and influence of Western modern art on his artistic production. This focus might stem from the fact that Keyt's childhood was deeply rooted in the British Empire and those of other European colonial countries. Born in 1901, he was a Burgher of Eurasian descent. The social environment in which he grew up and the education he received can be described as pro-western and supportive of British imperialism. This Eurocentric upbringing drew Keyt's attention to the other side of his origins, those of the country and the culture in which he lived. Keyt studied Buddhism, Hindu myths and developed a keen interest in Indian culture. This apparent idiosyncrasy epitomises the foundation of Keyt's genius. The juxtaposition of ancient traditions and modern forms and styles is what places this artist on the centre stage of the Sri Lankan and South Asian art scene. The formal influence of Wester art comes from different medium, including painting, sculpture, and photography. He worked for a firm of photographers, where he met Lionel Wendt (1900-1944), who encouraged the artist to enter the art world. In 1927 aged 26, Keyt began his artistic education. Soon he deviated from Western Victorian and Edwardian traditions, in favour of more modern styles. His early works are often associated with Gauguin, due their pastoral subjects and the style adopted. However, Gauguin is not the only European artist Keyt is compared to. In 1930 Keyt's works were exhibited in London alongside Pablo Picasso (1881-1973) and George Braques (1882-1963). Cubism, Fauvism, and Post-Impressionism's formal qualities represent a pivotal source of inspiration in the everchanging and progressing style of the artist. In 1943, Keyt, Wendt and other artists founded the '43 Group'. The aim of this collective was to depict Sri Lankan subject matters in radical ways, and they pursued a freedom of expression inspired by European modernism. The group exhibited at the 1955 Venice Biennale where their works were recognised as one of the most radical examples of modern Asian Art. Despite his clear interest in western art principles, Keyt's subjects are largely rooted in local tradition, depicting vernacular buildings and scenery, villagers, dancers, tradesmen, and Gods often drawn from Hindu and Buddhist mythology. In Keyt's paintings, European art forms, Hindu iconography, Buddhism and Indian literature are so skilfully integrated that they cannot be acknowledged separately. Girl and Cactus comprises Keyt's typical themes of folklore and representation of the female body in the manner of European Expressionism. The paint is dense and flat, and yet the rhythmic lines and the rounded shapes create the illusion of movement. We can imagine the central figure removing and repositioning the yellow scarf over her head. The spotlight is on her. Keyt makes her the protagonist of the painting with a clever use of oppositions. The harsh lines of the plant contrast with the softness of the woman's naked body, highlighting her grace, innate elegance, and beauty. The bright colour of the scarf envelopes the figure in a delicate embrace that glorifies her shape and brings her figure out of the darker background. The intense pigments of the surrounding place this painting in an expressionist setting, although the colours used to depict the woman appear more realistic, akin to post-impressionistic works. This painting is another fantastic example of Keyt's skilful merging of European 20th century styles with local scenes and imagery.Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Krishen Khanna (Indian, b. 1925)Untitled (Patricia) signed 'K.Khanna 13/6/1954' lower left oil on canvas, framed56 x 33cm (22 1/16 x 13in).Footnotes:ProvenanceProperty from a private collection, England. Painted by the artist for the vendor's mother;Thence by descent.'I am talking about the painting I did of Patricia Atkinson which dates back from the days we were both with Keith, her husband, and I were working in Grindlay's Bank and we were in Madras at the time. I was transferred there to relieve Keith, and his duties in the bank, which was Grindlay's, and this painting came about because he said why don't you paint, I said maybe, I'll paint Patricia, so I did with whatever I had at hand and so forth and it turned out to be a very good painting actually. BBC showed this picture at one of their soiree's and that was it. Well, I hope this painting goes to a house which will like it.' Krishen Khanna, February 2023An artist in residence: Krishen KhannaKeith Atkinson (our father) worked for Grindlays Bank in India which is where he met Krishen, in the 1950s, in Madras (Chennai). Krishen needed temporary lodgings and as Patricia and Keith had a spare bedroom, they offered it to Krishen. The offer came with a gentle warning, the presence of two small boys (my brothers: John 2yrs ish; Aidan 0yrs). Would that be acceptable? It was, and Krishen came to stay. An artist in residence proved to be very exciting; Patricia, Keith and friends would visit Krishen when he was painting. As his favoured spot was the bathroom, because it had the best light, there would, on occasion, be an enthusiastic audience perched on the side of the bath observing his progress. One can only wonder that this attention must have been a mixed blessing for an artist exploring his burgeoning talent and style. Patricia's portrait is well travelled within India, East Pakistan, Bangladesh and finally to Ashover in Derbyshire. For over 60 years the painting has been an integral part of our lives; enjoyed and admired by family and friends alike. Jane Graham nee Atkinson, John Atkinson and Aidan AtkinsonPainted in 1954, this portrait of Patricia Atkinson was featured on the BBC series, the Antiques Road Show on 2nd October 2016, and it instantly captured the attention of the viewers. It is an early painting from Khanna's oeuvre, yet could be mistaken to be a painting by a European artist from the 1930s owing to the style and subject portrayed; Amrita Shergil's portrait titled 'Self portrait at the easel,' for example immediately comes to mind. Regardless, it is a deeply personal painting for both Khanna and the Atkinson family as evidenced from their recollection above. Painted in a thick impasto style, its genius lies in both its subject and use of colours, for it foreshadows the works that Khanna will come to be known for, the bandwalas. Khanna is foremost a figurative painter, and he seeks to capture moments in history, much like photographs. Patricia's portrait is photographic but transcends the photo-realist technique. She is seated, but her gaze is turned away from the viewer. Her expression is unreadable, and yet the muted colours used here, the blues, blacks, maroons, yellows and whites give the painting a soothing quality. Despite this soothing quality, we can detect elements of spontaneity. The background for example, is a mesh of various shades of reds, maroons and oranges, and is laced with black. Khanna appears to have enjoyed the process of creating this work, whilst experimenting to find his own style. Figurative painting was the norm for much of art history, and therefore elevating the repetitious, through the expressionistic brush stroke, and economical use of colours is what makes this painting a tour de force. To see another figurative work sold in these rooms dating from the late 1950s, see Bonhams, Modern & Contemporary South Asian Art, 11th June 2015, London, lot 21.Bonhams extends their gratitude to Krishen Khanna for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

Thota Vaikuntam (Indian, B. 1942)Untitled signed and dated (indecipherable) in Telugu lower rightacrylic on canvas board, framed62 x 36cm (24 7/16 x 14 3/16in).Footnotes:ProvenanceProperty from a private collection, India.Acquired from Srishti Art Gallery.'I like using rich primary colours, which give a sense of character and depth to my paintings. Like reds and saffron and even orange, because these are essentially Indian colours. I don't like using colours that are mix of two, because they are not natural, they don't exist in surroundings around us, in our everyday life'. Thota Vaikuntam in Uma Nair's, 'Nvya's small suite of T Vaikuntam at IAF 2023, The Times of India, 11th February 2023.Arguably, one of India's most important contemporary artists, Thota's brilliance lays in his simultaneous ability to both elevate the mundane and create a distinct visual language. Guided by his professor, K.G. Subramanyan who impelled him to find his work amongst the everyday Indian life, Vaikuntam took on the challenge with a fervour and determination, resulting in the creation of an aesthetic that is unmistakably his. He found inspiration in his childhood and in the rural women of his home state of Telangaga. He fostered a lifelong fascination with them, which can be traced back to the travelling theatre groups that would frequent his state. Men would dress up as women and perform, and this left an indelible impression on him. The women he paints, a fine example of which can be seen in the present lot, are resplendent in their Indian identity, and he pays homage to both the contemporary female and those from antiquity. She is voluptuous and sensuous, and he highlights their Dravidian features, skin tone and characteristics, which contrast with the bright primary colours of their resplendent saris. Strong and robust, she is graceful as seen in the movements mirrored in the undulations of her sari. She is wearing a large vermilion Bindi, has exquisitely painted large red lips, has her hair tied in a triangular knot, and is adorned with ornaments, including two nose rings, one round and one flattened and multiple bangles and rings. Her hands laced with red altas (dye), illustrate his love for tradition as Hindu's believe the colour represents fertility and purity. Compositionally, she fills the frame, and there is a dearth of negative space. The flat two dimensionality of the canvas is offset by the controlled lines, fine strokes and power that emanates from the acrylic. She is looking away from the viewer but is undoubtedly the centre of attention. For Vaikuntam, the female figure is sublime.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Jamini Roy (Indian, 1887-1972)Untitled (Four Santhal Drummers) signed in Bengali lower rightgouache on paper on card42.8 x 54.3cm (16 7/8 x 21 3/8in).Footnotes:ProvenanceProperty from a private collection, Sri Lanka.Acquired by LTP Manjushri from the artist in India;Acquired from the above;Thence by descent to the present owner.Santhal Drummers is a fantastic example of Roy's unique style, wherein he combined traditional Indian folk art with modern painting techniques. He was particularly fascinated by the art and culture of the Santhal tribe, one of the largest indigenous communities in India, and likely painted this work as a tribute to their culture.Santhal Drummers is one of Jamini Roy's most famous paintings, and in the present lot it depicts four Santhal men playing traditional drums. Roy was drawn to the Santhal culture and their art, which he saw as pure and unadulterated by the influence of modern civilization. In his paintings of Santhal life, he sought to capture the simplicity, purity, and vibrancy of their culture.Roy was also interested in exploring the formal aspects of art, such as colour, line, and form, which he has captured well in the present lot. The bold, simple lines and bright colours used in the painting are characteristic of his unique style, which was influenced by traditional Indian folk art.To see a similar work sold in these rooms see Bonhams, Modern and Contemporary Middle Eastern and South Asian Art, London, 2nd June 2010, lot 8.For further information on this lot please visit Bonhams.com

Bhupen Khakhar (Indian, 1934-2003)Residency Bungalow signed and dated in Gujarati 'Bhupen 69' centre right; further signed 'A. Gupta 30/5/1969 Bhupen' and titled 'Residency Bungalow' (sic) verso oil on canvas, framed130.5 x 122.5cm (51 3/8 x 48 1/4in).Footnotes:Property from the Estate of Robert & Janice ShawProvenanceAcquired by Robert & Janice Shaw from India in the early 1970s.ExhibitedX Bienal Setembro-Dezembro 1969 (Sao Paolo Biennale), Work 23. Bangalô Residencial, 1969. 130 x 122 X Bienal Setembro-Dezembro 1969 (Sao Paolo Biennale), Work 23. Bangalô Residencial, 1969. 130 x 122, pg. 109. Lines of Descent: The Family in Contemporary Asian Art, Queensland Art Gallery, June 2000-February 2001 https://www.visualarts.qld.gov.au/linesofdescent/works/bhupen.html Timothy Hyman, Bhupen Khakhar, Chemould Publication & Arts, 1998, pg. 118 , Referred to as Sheikh at Residency Bungalow(not illustrated)There is a 'Biennial of São Paulo' label on the reverse with the name and surname of the artist (Bhupen Khakar), title of the work (Residency Bungalow), category and dimensions (painting and 130 x 122 cm), technique (oil), sale price (US 1500), owner (artist) and address (Lalit Kala Akademi, Rabindra Bhavan, New Dehi, India). There is an additional price of RS 3500 Rupees Three thousand five hundred written on to the label. This label is overlaid on top of another label, through which we can read 'For Sao Paolo Exhibition.' 'Bhupen Khakkar paints naively humorous or satirical works. His flat colours are broken by stiff characters and ornamental vegetation. Vast spaces are contrasted with little doll like figures.' (X Bienal Setembro-Dezembro 1969, p. 108)Making its auction debut, 'Residency Bungalow' is an exquisite example from Khakhar's early oeuvre and is a masterful and intimate work. Painted in 1969, two years prior to 'Portraits of my mother and my father going to Yatra,' it is not only referenced in Timothy Hyman's book, Bhupen Khakhar, as 'Sheikh at Residency Bungalow,' but was also exhibited at the September-December 1969 X São Paulo, after which it was acquired by Robert and Janice Shaw in India in the early 1970s. Robert L. Shaw had a dual career as an army intelligence offer and lawyer. He graduated from the University of Oregon in 1955, where he was president of the Chi Psi fraternity, after which he was commissioned as a regular U.S. Army officer and served as an adviser to the King's Royal Guard in Saudi Arabia. He also served two tours in Vietnam. During his career, he earned a master's and doctorate degree. His career took him to India, where he resided from 1969 until at least 1974. He served as a foreign area specialist and travelled extensively in India, Pakistan, and Afghanistan. The Bhupen Khakhar and B. Prabha (Lot 15) were acquired during his stay in India, along with carpets, and works by the Vietnamese artist Le-Minh, the latter of which is also being offered in Bonhams' future Hong Kong sale. He learnt to speak Hindi whilst in India and was the first American to travel to Tibet and have an audience with the Dalai Lama. He wrote about the experience in an article which was published in Liberty Magazine in the 1980s. Considered a political-military scholar, he became the director of the South Asia Bureau of the Defence Intelligence Agency in Washington D.C. and retired from the army in 1977. He took a sabbatical for a year, and then enrolled at the University of Oregon's law school, from where he obtained his law degree in 1981. He subsequently joined the Eugene law firm, Luvaas, Cobb, Richards & Fraser, and was a member of the Oregon State Bar, American Bar Association, Oregon Association of Defence Counsel and the Eugene Country Club. He passed away in 1989, having battled cancer for a year and was survived by his wife, Janice, and son Scott both of whom passed away in 2022. An avid sportsman, he enjoyed polo, skiing, fly fishing and golf and spent many years sailing in Chesapeake Bay and in Hawaii, from where he collected local works of art.'Residency Bungalow' measures 130.5 x 122.5 cm and depicts a sprawling bungalow set against a vibrant blue sky. This house was Khakhar's first significant home away from Bombay and is important because it was symbolic of the new 'artistic,' 'home' and 'family' that Khakhar adopted from 1962 in Baroda. (Bhupen Khakhar in Lines of Descent: The Family in Contemporary Asian Art, a Queensland Art Gallery travelling exhibition (visualarts.qld.gov.au). Khakhar was a qualified chartered accountant and worked as such but was drawn towards art and would spend his free time pursing the subject. His interest in art can be traced to his teenage years, when aged 18 he attended an evening art class in Grant Road. Here he was taught free hand drawings and flower studies. In his 20s, he would begin to visit contemporary art exhibitions and acquired a group of intellectually minded friends who were drawn towards literature. It was during this time that he befriended Gulammohammed Sheikh, who had attended the newly Founded Faculty of Fine Arts at Baroda, and this relationship would alter the course of his career. In 1958, while taking his accountancy exams, Khakhar met a young Gujarati painter-poet, Gulammohamad Sheikh...Sheikh had attended the newly founded Faculty of Fine Arts at Baroda and spoke of it in a way that fired Khakhar's imagination. By 1960, Khakar was still helpless; he was attending an evening class at the main Bombay Art College, the Sir J.J. School of Art, which offered 'absolutely no teaching' and 'hardly any direction.' He remembers his teacher, Palsikar, speaking only to the girl students. 'He never came to instruct me, even once in six months...I was very cheesed off.' In 1961, he joined the graphics and woodcut class of Vasant Para who Khakhar considers 'my first teacher.' It was around this time that he finally took the step of showing Sheikh – by now part of the Baroda Faculty – his portfolio. The response was guarded but sympathetic. 'Why don't you come to Baroda? You are now a fully qualified accountant; if it doesn't work out well, you can always resume.' (Timothy Hyman, Bhupen Khakhar, Chemould Publication and Arts, 1998, p. 9)Residency Bungalow becomes the starting point in many ways for Bhupen, as this is his first proper home away from Bombay and where the style of work he becomes known for flourishes; he did live with GM Sheikh at the Shivmahal Palace Farmhouse and later rented a room in a bazaar, before moving into Residency Bungalow in 1968. The old house of a one-time 'British Resident' it was divided into five residential quarters and the inhabitants included the artists, K.G Subramanyan and his family, Bhupen Khakhar, Gulammohammed Sheikh, Jeram Patel, and Krishna Chhatpar. They lived here for about a year, and it was during this time that Khakhar travelled around India, to Bundi-Kota, Udaipur, Nathdwara and Chandigarh along with Sheikh and began to absorb the techniques of traditional Indian paintings. Upon his return from these travels, his style had altered, and there was a marked difference in his works. For further information on this lot please visit Bonhams.com

An art glass pink and green two tone dish; pair of book ends Dante and Beatrice; ceramic figures; Masons Golden Azeala 11cm ginger jar; Shelley Mabel Lucie Attwell Baby's Plate; Staffordshire figures; Royal Doulton D6614 North American Indian character jug; and others

Seven chess pieces - red pawnsSeven chess pieces - red pawns, carved, painted and gilt ivory, Indian - Rajasthan, 19th C., missing flag, other minor faults, wear on polychrome. Notes: A similar set is part of the collection of the Metropolitan Museum of Art in New York. This lot is subject to CITES export/import restrictions and is duly certified: nr 21PTLX9372C. Cabral Moncada Leilões warns of the fact that several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries in question., Dim. - (a maior) 8 cmA similar set is part of the collection of the Metropolitan Museum of Art in New York. This lot is subject to CITES export/import restrictions and is duly certified: nr 21PTLX9372C. Cabral Moncada Leilões warns of the fact that several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries in question.

Eight chess pieces - white pawnsEight chess pieces - white pawns, carved, painted and gilt ivory, Indian - Rajasthan, 19th C., one with a fault at the base, other minor faults, wear on polychrome. Notes: A similar set is part of the collection of the Metropolitan Museum of Art in New York. This lot is subject to CITES export/import restrictions and is duly certified: nr 21PTLX9372C. Cabral Moncada Leilões warns of the fact that several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries in question., Dim. - (o maior) 9,5 cmA similar set is part of the collection of the Metropolitan Museum of Art in New York. This lot is subject to CITES export/import restrictions and is duly certified: nr 21PTLX9372C. Cabral Moncada Leilões warns of the fact that several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries in question.

Two chess pieces - red king and queen «howdah»Two chess pieces - red king and queen «howdah», carved, painted and gilt ivory, Indian - Rajasthan, 19th C., queen with many faults. Notes: A similar set is part of the collection of the Metropolitan Museum of Art in New York. This lot is subject to CITES export/import restrictions and is duly certified: nr 21PTLX9372C. Cabral Moncada Leilões warns of the fact that several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries in question., Dim. - (Rei) 14 cmA similar set is part of the collection of the Metropolitan Museum of Art in New York. This lot is subject to CITES export/import restrictions and is duly certified: nr 21PTLX9372C. Cabral Moncada Leilões warns of the fact that several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries in question.

Two chess pieces - white king and queen «howdah»Two chess pieces - white king and queen «howdah», carved, painted and gilt ivory, Indian - Rajasthan, 19th C., queen with several faults, wear on polychrome. Notes: A similar set is part of the collection of the Metropolitan Museum of Art in New York. This lot is subject to CITES export/import restrictions and is duly certified: nr 21PTLX9372C. Cabral Moncada Leilões warns of the fact that several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries in question., Dim. - (Rei) 11 cmA similar set is part of the collection of the Metropolitan Museum of Art in New York. This lot is subject to CITES export/import restrictions and is duly certified: nr 21PTLX9372C. Cabral Moncada Leilões warns of the fact that several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle. Therefore, we advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries in question.

PIERRE JEANNERET (1896-1967)Mod. PJ-S1-56-APaire de tabourets hautsTeck. Marques peintes sur chacun P.U./PHY./115 et P.U./PHY./99Paar hoge krukkenTeakhout en geschilderde merktekens P.U./PHY./115 en P.U./PHY./99.Pair of high stoolsTeak, painted mark to each P.U./PHY./115 and P.U./PHY./99Circa 1960.H: 68,5cm L: 42cm P: 38cmFootnotes:Provenance/Herkomst:Cité administrative de Chandigarh, Inde, département des sciences de l'université. Bibliographie/Bibliografie:Le Corbusier Pierre Jeanneret: The Indian Adventure, Design-Art-Architecture, Touchaleaume and Moreau, p. 570For further information on this lot please visit Bonhams.com

Jugendstil Teppich. Art Nouveau. Übermaß.436 cm x 294 cm. Handgeknüpft. Wolle auf Baumwolle. Wohl circa 80 bis 120 Jahre alt. Wohl Indien, Deccani, für Europa. Diverse lateinische Schriftzeichen. Zustand siehe Fotos. Versand kann organisiert werden.Art Nouveau Carpet. Art Nouveau. Oversize. Hand knotted. Wool on cotton. Probably about 80 to 120 years old. Probably Indian, Deccani, for Europe. Various Latin characters. See photos for condition. Shipping can be organised.

Handel Evans. “West Indian mother & child”. Charcoal/Pencil on paper. 68 x 52 cms Handel Evans was born in Pontypridd in 1932, and trained at Cardiff College of Art 1949–54, where his teachers were Eric Malthouse and David Tinker    

A GOLD AND SILVER-INLAID BRONZE ARCHAISTIC STEAMER, SONG TO MING DYNASTYChina, 960-1644. Heavily cast, the upper cauldron with two upright loop handles to the rim, decorated with interlocking scroll and confronting stylized phoenixes. The sides with three animal masks flanked by confronting phoenixes divided by short flanges, above pendent stiff leaves, all reserved on leiwen grounds. The shoulders of the three legs cast with stylized large-eyed animal masks, decorated with scroll and lozenge designs. The bronze with a rich, solid, naturally grown, dark patina with scattered malachite encrustations.Provenance: From the personal collection of Dr. David McCay, and thence by descent in the same family. Dr. David McCay was an English physician and later surgeon general with the Indian Medical Service in Bengal, India. He was sent to China during the Boxer Rebellion and served as an army doctor at the Siege of Peking. While in India, he wrote a book titled Investigations on Bengal Jail Dietaries. Upon his retirement, he returned to England with his collection of Chinese bronzes, cloisonné, and porcelain. After his death, his wife gifted his favorite piece, a highly important Wanli garlic mouth vase, among other items, to the Victoria and Albert Museum, accession number CIRC.23-1950, where it remains to this day.Condition: Very good condition with expected old wear, traces of age and usage, some casting irregularities, small nicks and losses, light scratches, the undersides of the feet with tiny old fills. The gold inlays are fresh and in very good condition overall. The silver inlays have darkened over time and show expected tarnish. However, we chose not to clean the silver inlays, so to preserve the piece’s impressive natural appearance.Weight: 5,200 g Dimensions: Height 31.5 cmReferring to the importance of reverence to the past in Chinese art, Ulrich Hausmann writes:“Archaic bronzes and their inscriptions, the subject of centuries of epigraphic and stylistic studies by literary men and artists, became inseparable, so much so that since that time scholars writing characters have seen at the back of their minds the image of ancient bronze vessels whose rubbings they had carefully studied. Generations of painters and calligraphers [...] spent a lifetime studying these inscriptions. What could be more fitting than to embellish one's studio with subtle allusions to the magnificent past, or to furnish the ancestral altar with vessels expressing the continuation of their inheritance.” (Quote from Ulrich Hausmann, Later Chinese Bronzes: In Search of Later Bronzes in Documentary Chinese Works of Art: In Scholars' Taste, Ed. Paul Moss, Sydney L. Moss, London, 1983, page 233, requoted again by Hugh Moss and Gerard Tsang in Arts from the Scholar's Studio, The Oriental Ceramic Society of Hong Kong and the Fung Ping Shan Museum, University of Hong Kong, 1986, cat. no. 161.)Expert’s note: The present steamer is quite likely to date from the Song dynasty, because the earliest archaistic bronzes generally tend to be the closest in form and design to their archaic prototypes. This is clearly the case here, as shown by the two literature comparisons below, which prove that the present lot is very much in the spirit of its Shang and Western Zhou paragons. The example from the National Palace Museum, Taipei, even has gold and silver inlays just like our vessel, which is unusual for such an early piece. Another important aspect is the superb, naturally grown patina on the present lot with its distinct malachite encrustations. This is beyond doubt not a patina from the late Ming or early Qing dynasty: It not only does closely resemble that of ancient bronzes, but with its unique appearance, reminiscent of savage elementary forces rather than the genteel creations of later periods, essentially makes this bronze an archaic vessel of its own merit.Literature comparison: Compare a closely related prototype for this steamer, also with gold and silver inlays, dated to the Shang dynasty, in the National Palace Museum, Taipei, image number K1A002369N000000000PAB. A related prototype, lacking gold and silver inlays, dated to the Western Zhou dynasty, 11th-10th century BC, in the collection of the Arthur M. Sackler Gallery in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.352a-b, is illustrated by Jessica Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Vol. IIB, Massachusetts, 1990, pp. 342-344, no. 33.Auction result comparison: Type: Related Auction: Bonhams London, 11 November 2010, lot 139 Price: GBP 31,200 or approx. EUR 49,500 converted and adjusted for inflation at the time of writing Description: A large archaistic bronze tripod steamer, yan, probably Song dynastyExpert remark: Compare the closely related form with similar legs cast with animal masks. This steamer is however vastly inferior to the present lot as it lacks the gold and silver inlays and the design is overall less lively. Note the larger size (44.5 cm). Auction result comparison: Type: Related Auction: Sotheby’s New York, 1 December 2022, lot 694 Price: USD 37,800 or approx. EUR 35,000 converted at the time of writing Description: An archaistic copper-inlaid bronze tripod censer (Ding), Ming dynastyExpert remark: Compare the related form with similar legs cast with animal masks. This censer is however vastly inferior to the present lot, not only because the inlays are merely copper, but also because it completely lacks the cauldron found on the present lot. Also note the significantly smaller size (16.7 cm).Auction result comparison: Type: Related Auction: Sotheby’s London, 14 May 2014, lot 252 Price: GBP 80,500 or approx. EUR 116,000 converted and adjusted for inflation at the time of writing Description: An archaistic silver and gold-inlaid bronze wine vessel and cover, you, Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the related size (30.2 cm). Auction result comparison: Type: Related Auction: Sotheby’s Hong Kong, 8 October 2014, lot 3350 Price: HKD 2,680,000 or approx. EUR 380,000 converted and adjusted for inflation at the time of writing Description: A large gold and silver-inlaid bronze incense burner, gui, late Ming dynastyExpert remark: Compare the closely related manner of casting and decorations with similar gold and silver inlays. Note the similar size (28.5 cm).宋至明代銅錯金銀三足銅甗中國，960-1644年。甗分上下兩部分：一甑一鬲。甑部與鬲部相連，甑部有一對拱形直耳，外壁飾雷紋地鳳鳥紋飾帶與蕉葉紋，同樣是雷紋地上獸面紋。鬲部修飾獸面紋。表面神色包漿堅實，散佈著孔雀石色結殼。 來源：Dr. David McCay收藏，在同一家族保存至今。Dr. David McCay是一名英國醫生，後來在印度孟加拉的印度醫療部擔任外科醫生。他在義和團運動期間被派往中國擔任軍醫。在印度期間，他寫了一本名為《孟加拉監獄飲食調查》的書。退休後，他帶著他收藏的中國青銅器、景泰藍和瓷器回到英國。在他去世後，他的妻子將他最喜歡的一件非常重要的萬曆蒜頭瓶贈予維多利亞和阿爾伯特博物館，編號為 CIRC.23-1950，至今仍保存在博物館。品相：狀況極好，有磨損和使用痕跡、一些鑄造不規則、小刻痕和缺損、輕微劃痕、腳底面有微小的填充物。錯金部分整體狀況非常好。錯銀部分變暗並顯示出光澤。 重量：5,200 克 尺寸：高 31.5 厘米

AN EXCEEDINGLY RARE BRONZE FIGURE OF GUANYIN, DALI KINGDOM, 12TH – MID-13TH CENTURYExpert’s note: A unique feature of copper alloys from Yunnan is the high content of arsenic, making the bronze quite soft, and leading to tiny holes in the material. Alloys from other regions do not develop this compelling tell which is clearly visible in the present lot.A metallurgic analysis of the present lot has shown an arsenic content of 1.5%, which is remarkably elevated. A comprehensive analysis of 32 Chinese copper alloy figures from the collection of the Metropolitan Museum of Art, New York, dating from the 4th to the 19th century, has found that only two statues had an arsenic content of above 1.2%. Both these statues are from Yunnan and date to the 11th-12th century. Only five of the other 30 figures showed an arsenic content between 0,5 and 1,2%, all others were below this value, most of them significantly. (1)A comprehensive metallurgic analysis of six near-identical copper alloy figures of Acuoye Guanyin from Yunnan in the collections of the Freer Gallery of Art, Washington, the San Diego Museum of Art, the Art institute of Chicago, and the collection of Robert Ellsworth, New York, has returned arsenic contents ranging between 0,53 and 3,08% with an average of 1.89%. (2)As Paul Jett notes, it seems more likely that the singularly high arsenic content in the copper alloys from Yunnan is of natural origin, instead of being a deliberate addition, because sulfide-deposits, where arsenic appears in combination with copper, are widespread in this specific region. (3)For the aforementioned reasons, it seems reasonable to assume that copper alloy statues with an elevated arsenic content of 1% or more are from Yunnan when they show stylistic traits characteristic of this region. Features typical of statues from the Dali Kingdom found on the present lot include for example the unusually elongated face, the minuscule yet razor sharp eye slits, the elaborate headdress with its distinct triple-topknot, the beaded floral jewelry medallions on the breast and the lengthy, almost frail hands that still show the undeniable influence of Indian and Southeast Asian Buddhist images, which at that time had already vanished from the more important centers of Chinese Buddhism.The metallurgic analysis of the present lot furthermore returned a copper share of 75% as well as contents of lead (10%) and zinc (10%). While a zinc content of 10% may be unusual at first glance, it must be noted that coins of the Song dynasty were found to contain Zinc (4) and copper alloys with high levels of zinc eventually became so popular during this period, that they were prohibited by the government for commoners. (5) The Song empire was the eastern neighbor of the Dali Kingdom, and Dali's relationship with the Song was cordial throughout its entire existence, with cultural and economic exchange taking place on multiple levels. In the early Ming dynasty, highly elevated zinc contents of up to 36,4% were found for example in Imperial Xuande period censers dating from 1426-1435. (6)References: (1) Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art, New York, Denise Patry Leidy and Donna Strahan, Yale University Press, 2010, appendix D, pages 206-207. (2) Der Goldschatz der drei Pagoden, Museum Rietberg Zürich, Albert Lutz, 1991 .Paul Jett: Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich, page 73. (3) Ibidem, page 71. (4) Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911), Wenli Zhou, University College London, 2012, page 26. (5) Ibidem, page 39. (6) Ibidem, page 46-47.China, Yunnan, Kingdom of Dali, 12th – mid-13th century. Superbly cast standing with her right hand lowered in varada mudra and her left held in front, wearing long flowing robes cascading in voluminous folds and billowing scarves, richly adorned with elaborate beaded and floral jewelry. Her elongated serene face with heavy-lidded, almost fully closed eyes centered by a prominent urna above gently arched brows. The hair falling elegantly in strands over the shoulders and pulled up into a distinct triple-topknot behind the pierced foliate tiara. Provenance: Old Viennese private collection, built over several generations between 1910 and 1975, thence by descent in the same family. Condition: Very good condition, commensurate with age and displaying remarkably well. Extensive wear, minor losses, nicks, scratches, minuscule dents, signs of weathering and erosion, remnants of lacquer priming with malachite and cuprite patina. Weight: 1,458 g Dimensions: Height 25.8 cm It was not until the American scholar Helen Chapin identified a group of bronzes in western collections as being of Yunnanese origin, based on a scroll painting known as the Long Scroll of Buddhist Images by the 12th-century Yunnanese artist Zhang Shengwen, which she published in 1944, that the origin of these distinctive Dali or Yunnanese bronzes was first realized. In the late 1970s, restoration work at the Qianxun Pagoda in Yunnan province uncovered a reliquary deposit which included a number of statues similar in style to those in the West, see A. Lutz, 'Buddhist Art in Yunnan', Orientations, February 1992. Literature comparison:Compare a seated Bodhisattva in “Der Goldschatz der Drei Pagoden“, Museum Rietberg, Zürich, pages 178-179, number 53 (Fig.1). The beaded floral jewelry medallions on the breast of this statue is near-identical to the jewelry on the present lot. Also compare a rare gilt-bronze figure of Avalokitesvara, Dali Kingdom, 12th century, at Bonhams London, 11 June 2003, lot 133, and note the similar tiny holes in the alloy, as well as the hairstyle with the near-identical yet unusual triple-topknot behind the foliate tiara (Fig.2). Literature comparison: Type: Related Auction: Christie’s New York, 25 March 2022, lot 748 Description: A magnificent and highly important gilt-bronze figure of Guanyin, Dali Kingdom, late 11th-early 12th century Expert remark: Compare the alloy with its characteristic remnants of lacquer priming and the distinct malachite and cuprite patina. Also compare the similar robes cascading in voluminous folds, elaborately beaded floral jewelry, billowing scarves, and manner of casting with similarly elongated face and hands. Note the significantly larger size (57.1 cm) and the highly important provenance.大理國罕見觀音銅像中國，雲南，大理王國，十二世紀至十三世紀中期。該像法相威儀，觀音跣足而立，右手低垂結與願印，左手置於胸前。身著飄逸的長袍，線條流暢，佩戴瓔珞。觀音面部平靜慈祥，雙眼微垂，雙眉之間有白毫。頭髮披肩，葉冠后高髻。專家注釋：大理國銅器的一個獨特之處是合金中的砷含量高，使銅質變得柔軟，並因合金產生微小的孔洞。後來的銅器和其他地區的銅器沒有這個特徵，這在本拍品和同類銅造像器中清晰可見（見拍賣結果比較）。大理銅造像的風格包括細長的臉、精緻的頭飾和纖柔的手，這些特徵仍然顯示出印度和東南亞佛教造像的影響。文獻參考： (1) Denise Patry Leidy，Donna Strahan，《Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art》，紐約，耶魯大學出版社， 2010年，頁206-207。 (2) Albert Lutz，《Der Goldschatz der drei Pagoden》，蘇黎世Rietberg博物館, 1991年。Paul Jett，《Technologische Studie zu den vergoldeten Guanyin-Figuren aus dem Dali-Königreich》，頁73。 (3) 同上本書，頁71。 (4) Wenli Zhou，《Distilling Zinc in China: The technology of large-scale zinc production in Chongqing during the Ming and Qing dynasties (AS 1368-1911)》，倫敦大學學院2012年，頁26。 (5) 同上本書，頁39。 (6) 同上本書，頁46-47。

A STONE FIGURE OF VISHNU, PRE-ANGKOR PERIOD, PHNOM DA STYLEAncient region of Funan, Mekong Delta, 7th century. Well carved standing, holding a conch and disk in his uppermost hands, each connected by carved brackets to the cylindrical headdress, wearing a pleated sampot, the serene face with almond-shaped eyes and full lips forming a calm smile, flanked by long pierced pendulous earlobes.Provenance: From a notable collector in London, United Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Dimensions: Height 50 cm (excl. base) and 75 cm (incl. base)Mounted on an associated base. (2)The present figure encapsulates the subtle elegance of the late Funan style; the confident, noble presentation represents an established local aesthetic, although some aspects of its appearance recall the Indian Gupta tradition. Nevertheless, the embellishment one would find in north Indian sculpture of the period is absent, enhancing the svelte physique and cerebral strength, without reducing the sense of majesty. The slender body form replicates the ethnic Southeast Asian appearance, being both fine boned but physically powerful. Vishnu stands in a slightly relaxed pose, with his right knee bent; his chest and shoulder muscles are enlarged to accommodate the four arms and the effect is elegant both at the front and the back, illustrating an understanding of human anatomy, which is not always evident in sculptures of the period. The short, thick neck is widened further by the long ears and strengthens the otherwise vulnerable area around the head. The face has strong features, arched eyebrows and a generous, sensitive mouth encapsulating the beauty of the finest Funan images.Vishnu wears a knee-length garment, a practical local fashion, unlike the long robes of earlier sculptures that maintain the Gupta, Indian tradition. This garment, the sampot can kpin, is created from a long length of cloth wound once around the body and then pleated to form a scarf that passes between the legs from back to front, fastening at the waist. The central pleat provides additional reinforcement to the sculpture. Stone images from the late Funan period reflect an extraordinary degree of confidence and technical expertise; this suggests that sculptors followed prototypes evolved during earlier centuries that have not survived. Unlike their Indian contemporaries, who preferred to work in the relatively easily carved sandstones, Funan's sculptors seem to have deliberately chosen hard, difficult-to-work stones. There was a shortage of workable stone in the region; the earliest stone sculptures were possibly fashioned from boulders retrieved from the River Mekong and carried downstream during the annual floods. Later on, stone was carefully sourced and brought to the delta region.Almost all found stone sculptures in the Phnom Da style seem to belong to the realm of Vishnu and his incarnations, like this example. The Phnom Da style also seems rather homogenous compared to other stylistic phases.Expert's note: A detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Vishnu images in the Mekong Delta, and showing many further comparisons to examples in both public and private collections, is available upon request. To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison:Compare a related sandstone figure of Vishnu, attributed to Southern Vietnam and dated late 6th to early 7th century, 56 cm high, in the collection of the Fine Arts Museum, Ho Chi Minh City, reference number BTMT 187, exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014-July 27, 2014, cat. no. 67. Compare a closely related stone figure of Vishnu, dated to the second half of the 7th century, 96.5 cm high, also originally with structural supports between the crown and attributes which are lost, in the Metropolitan Museum of Art, accession number 1992.53. Compare a related stone figure of Harihara, dated to the first half of the 8th century, 94 cm high, in the Metropolitan Museum of Art, accession number 1993.387.5.Auction result comparison: Type: Closely related Auction: Christie's Paris, 20 November 2003, lot 407 Price: EUR 43,475 or approx. EUR 63,500 adjusted for inflation at the time of writing Description: A sandstone figure of Vishnu, pre-Angkor, Phom Da style, 7th century Expert remark: Note that the figure is carved from soft sandstone (unlike the present lot) and is of slightly smaller size (43 cm). 13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.

AN INDIAN MINIATURE DRAWING OF A PRINCE AND PRINCESS ENJOYING A MUSIC RECITALIndia, Delhi, 18th century. Ink and watercolor on paper. A Ragamala illustration to the musical mode Pancham Ragini, depicting a prince and princess seated in a pavilion on a terrace, a female attendant holding a fly-whisk behind them, the royal couple listening to two female musicians playing string instruments.Inscriptions: To the top border, 'Pancham Ragini'. To reverse with a lengthy inscription and (in English), 'Indian. Mughal. 42:16.481'.Provenance: Collection of Arthur B. Michael, 1942. Albright-Knox Art Gallery, Buffalo, acquired from the above, accession number 42:16.481. The reverse of the mat with a handwritten paper label from the Albright-Knox Art Gallery, stating the accession number and, “Indian, mid 18th century. Group of People. […] watercolor and ink on paper […] Bequest Arthur Michael”.Condition: Good condition with old wear, minor soiling, few small tears and losses, possibly with minuscule old touchups. Matted.Dimensions: Image size 12.6 x 8.3 cm, Folio size 16.3 x 11.8, Mat size 25.4 x 20.4 cmNote the extremely fine drawing, which holds up to even very strong magnification, and would have made appropriate coloration impossible at the time.Auction result comparison:Type: RelatedAuction: Sotheby's London, 6 October 2015, lot 91Price: GBP 6,250 or approx. EUR 9,000 converted and adjusted for inflation at the time of writingDescription: Two studies for Ragamala illustrations, Basohli, circa 1680Expert remark: Compare the related material, verso, and recto of the same folio. Note the lost consists of two studies

A SILVER-INLAID BIDRI HOOKAH BASE, 18TH CENTURY Bidar, central India, 18th century. Of typical bell form tapering to a thin neck with flanged collar and flaring mouth, the body decorated with silver inlays, depicting bands of scrolling flowers above the shoulder and foot, the internal ring with bands of teardrops, the main body and neck with a diaper pattern.Provenance: French trade. Condition: Very good condition with some old wear and traces of usage, few surface scratches, little losses to the inlays, the base drilled with a minuscule hole. Some casting flaws, such as pitting to base.Weight: 1,698 g Dimensions: Height 17.4 cmLiterature comparison: Compare with a bell-shaped hookah with large stylized floral motif on a plain ground, illustrated by Zebrowski, Gold, Silver & Bronze from Mughal India, 1997, p. 236. For an example with an allover 'star form' pattern, see Simon Ray, Indian & Islamic Works of Art, November 2010, no. 28, p. 64.Auction result comparison:Type: Near identicalAuction: Christie's London, 6 October 2011, lot 426Price: GBP 4,750 or approx. EUR 7,300 converted and adjusted for inflation at the time of writingDescription: A bidri hookah base, bidar, central India, 18th centuryExpert remark: Compare the near identical form as well as the closely related silver inlays and size (17.2 cm)

A DUCK-HEADED PAINTED POTTERY VESSEL, HAN DYNASTYChina, 2nd century BC to 2nd century AD. The bulbous body raised on a spreading foot ring and surmounted by an arched neck terminating in a duck head, neatly detailed with round eyes and a long beak, a rimmed aperture in the top of the head, the vessel finely painted in red, black, and white with feathers and geometric decorations between horizontal bands.Provenance: From the collection of Joseph Rondina (1927-2022), who was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Excellent condition, commensurate with age. Old repairs and minor touchups as generally expected from authentic Han dynasty excavations. Wear, flaking, losses to pigment, small nicks, minor chips, light scratches, soil encrustations.Weight: 3,364 g Dimensions: Height 31.5 cmLiterature comparison: Compare a related goose-headed vessel, 34.8 cm high, dated to the Western Han dynasty, in the Metropolitan Museum of Art, accession number 1994.605.17. A closely related vessel in the Nelson-Atkins Museum of Art is illustrated in A Handbook of the Collection, New York, 1993, p. 286 (upper left). Compare the smaller (21 cm) pair of painted pottery ducks dated to the Han dynasty, 1st century BC or 1st century AD, in the Meiyintang Collection, illustrated by Regina Krahl in Chinese Ceramics in the Meiyintang Collection, London, vol. 1, London, 1994, p. 49, fig. 14. Like the present vessel, the Meiyintang vessels also have apertures at the top.Auction result comparison: Type: Closely related Auction: Christie's, 21 March 2000, lot 239 Price: USD 6,900 or approx. EUR 11,500 converted and adjusted for inflation at the time of writingDescription: A grey pottery duck-headed vessel, Warring States period/Western Han dynasty Expert remark: Compare the closely related form with a similar aperture in the top of the head. Note this vessel shows only faint traces of pigment as opposed to the present lot. Note the similar size (33 cm).漢代彩繪鴨頭陶器中國，公元前二世紀至公元二世紀。鴨頭陶器，圓圓的眼睛和長長的嘴巴，頭頂有一個孔，頸部彎曲，彩繪，羽毛和幾何紋飾，圈足。來源：Joseph Rondina (1927-2022年) 私人收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：狀態極佳，小修補，磨損、彩繪剝落、小劃痕、小缺口、小刻痕、污垢與結殼。 重量：3,364 克 尺寸：高 31.5 厘米 文獻比較： 比較一件相近的西漢鵝頭陶器，34.8 厘米高，收藏於大都會藝術博物館，館藏編號1994.605.17。一件非常相近的瓶，收藏於Nelson-Atkins Museum of Art ，見《A Handbook of the Collection》，紐約，1993，頁286 (左上)。比較一對尺寸較小(21 厘米)的公元前一世紀至一世紀漢代彩繪鴨頭陶器，收藏於Meiyintang Collection，見《Regina Krahl in Chinese Ceramics in the Meiyintang Collection》，倫敦，卷1，1994，頁49，圖14。Meiyintang收藏的陶器和現拍品一樣，頭頂有孔。 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2000年3月21日，lot 239 價格：USD 6,900（相當於今日EUR 11,500） 描述：戰國時期 / 西漢灰陶鴨頭器 專家評論：比較非常相近的外形和頭頂相似的孔。請注意此陶器只有不明顯的彩繪色，以及相似的尺寸(33 厘米)。

GANDHARAN HEAD OF BUDDHA GANDHARA, 4TH - 5TH CENTURY A.D. dark grey stucco, Buddha is depicted with a serene countenance, his almond-shaped eyes half closed and mouth set with a gentle smile, the hair rises in waves to form a bun-shaped ushnisha, the earlobes characteristically elongatedDimensions:19.8cm high excl. standProvenance:Provenance:With Spink & Son Ltd. from at least July 1989Private Japanese Collection, kept in Switzerland, acquired from the above on 27th July 1989With David Aaron Ltd., London, since 23rd December 2010. Imported from Switzerland to London in February 2011Private Collection of Mr. L., acquired from the above on 30th August 2017 (D2083)Note: Note: For a similar example please see Victoria and Albert Museum, London, accession number IM.3-1931 The substitution of stucco and terracotta for the traditional grey schist of earlier Gandharan sculptures allowed for greater artistic innovation and creative freedom. The use of these raw materials allowed for sculptures to be moulded and sculpted while still malleable, rather than requiring intensive chiselling from hard stone, drastically reducing production times. This masterfully crafted sculpture, depicting the Buddha as a young man and originally part of a large-scale figure carved in high-relief, exhibits a wonderfully evocative image. Excavations at various archaeological sites throughout Gandhara have uncovered examples of moulds for similar Buddha heads, suggesting that they were created at the monasteries where they were installed. The Gandhara kingdom, located in the Peshawar Valley and the Potohar Plateau, was a deeply Buddhist province with strong ties to the teachings of the Buddha since his death in 480 B.C. This ancient province was a melting pot of Greco-Roman, Chinese, Indian, and Central Asian influences, resulting in the evolution of a diverse yet idiosyncratic form of Buddhist art. The Kushan Empire, which ruled Gandhara from 30-375 AD., was skilled at assimilating cultures, ruling trade routes, and maintaining close diplomatic ties with the Roman, Chinese, and Sasanian Empires. This sculpture, along with other opus of Kushan Buddhist art from the area, can be dated to between the 4th and 5th centuries A.D. and depicts a fusion of Hellenistic motifs with Orientalist traditions, resulting in a new form of Buddhist iconography where western stylistic signatures such as curled hair and heavy drapery begin to appear prevalent on eastern-like forms.

Various items of militaria comprising Indian Kukri knife on stand, brass bugle inscribed 'Earlham', a trench art brass cap, two letter openers and a brass cigarette box / dispenser.

Colonial School. Mexico. 18th century."Personification of the four continents".Set of four oil paintings on canvas. 34 x 31 cm each.Unusual portrayal of the set of the Four Continents that were then known in Europe, in which one of the first European personifications of the American continent appears.Introducing: Europe, America, Africa and Asia.Four Continents, four women.Europe is dressed as a queen, and clearly the leader of the group.As in Cesare Ripa's Iconologia, she appears as the most nobly dressed, almost Roman, as well as being surrounded by relics of art, science and music, with an owl at her feet, like the goddess Pallas Athena, a symbol of "wisdom".America, dressed as a noble savage or Indian princess, holds a bow.One of the oldest and most persistent attributes for the Americas, which appears on this canvas, is the parrot. Some of these birds were brought to Europe at the beginning of the 16th century and were highly valued. The painting also portrays the feather headdress, with the feathers in a vertical position, which reflects the royal headdress of some Indigenous peoples. There are fruit trees with bananas, and some peaceful and curious animals that contemplate us.Africa is half-dressed, with the exoticism and dryness of the landscape: desert pyramids, ivory as the gold of Africa, and the lion as the great king of the savannah.Asia is richly and fully dressed, displaying jewellery, spices, incense and the famous Burmese tiger.These four canvases would be a colourful delight for any great decorator.  They are universal, magical, full of dreams of catching the whole world on four walls or in a beautiful corner of any home.

Three various artworks to include painting of royalty riding on an elephant, painted by an Indian Art Student in Jaipor.Hand painted Mogul style horse painting on silk paper within a frame. Along with hand painted drawing of an Indian man playing a musical instrument.

An Indian folk art style painted cupboard with single drawer under - length 56cm, depth 29cm, height 101cm

A LARGE TW0-HANDLED SILVER RACING TROPHYunmarked, probably Indian, circa 1925 Of spherical form, Art Nouveau inspired, the domed pull-off cover embossed with acanthus leaves and Celtic decoration to the border, the globular body on a knopped baluster stem, strapwork between polished borders, with embossed roses and classical motifs against a matted ground, a circular cartouche inscribed 'KOLHAPUR RACES SHRIMANT AAI SAHEB MAHARAJA CUP 1925', atop a spreading circular foot, edged with an embossed geometric and floral border, mounted on a detachable wooden plinth, height without plinth 53cm, weight 61.5oz.For further information on this lot please visit Bonhams.com