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AN INDIAN VULTURE
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Description
AN INDIAN VULTURE
INDIA, COMPANY SCHOOL, CALCUTTA OR BARRACKPORE, CIRCA 1803
gouache on paper, inscribed in ink to the top of the sheet in Persian: vibyati kwik, which translates as “Foreign vulture or provincial vulture”, mounted, glazed and framed
47cm x 29.5cm
George Annesley, 9th Viscount Valentia (1769-1844).Collection of Stuart Cary Welch, New England, 1994.
A mysterious and macabre creature, the vulture has long been a point of interest for bird enthusiasts, as well as art enthusiasts. With the vulture’s association with death and their presence in multiple continents, they are an interesting subject matter that can be found in the art of many cultures. The birds whose features have led us to classify them as vultures, inhabit Asia, Africa, Europe, North and South America. New World and Old World vultures have slight differences including wing length, the length of the hind claws and the structure of the nostrils but were nevertheless assumed to be related. Today, New World vultures are currently considered to be a sister-group to the large family which includes hawks, eagles and Old-World vultures. It is an important reminder that, just because different animal groups are adapted to the same ecological niche and therefore look the same, it does not mean that they are necessarily related; this is called convergent evolution. The vulture pictured here is something of an enigma. The large wings with relatively short primary flight feathers which do not extend beyond the tip of the tail, and its relatively long hind toe suggests that it should be an Old-World vulture. The fact that it is the subject of an Indian painting one would expect it to be an Asian species. But it is not. The closest Old-World species is the African Hooded Vulture Necrosyrtes monachus, but their “hood” consists of pale brown down and not black feathers. The black colouration and red head are reminiscent of an American Turkey Vulture or another of the genus Cathartes, but the nostril shape and wing markings do not fit these either. The bill is unhooked, the fleshy cere on the bill is behind, and not surrounding the nostril, and, although the head is coloured red, it gives every indication of being covered in feathers which surround the bill and eye and completely mask the ear opening. Neither are there any slender-billed vulture species with anything resembling a wing bar, though it is possible that this marking is intended to represent a line of shiny iridescence. This is a bird which does not exist, possibly painted from a description or recollection of a vulture once seen. It is an amalgamation of different species, possibly inspired by famous paintings of vultures, such as those of the Mughal artist Mansur in the celebrated Kevorkian Album. It was not drawn from direct observation of a vulture but is, nevertheless, a beautiful and interesting painting. This painting comes from an important series of natural history studies made for George Annesley, 2nd Earl of Mountnorris and Viscount Valentina, when he made a private tour of India from 1802-1806. He was a keen amateur natural historian and visited many botanists and zoologists during his trip, chronicling his travels in three volumes published in 1809 entitled Voyages and Travels to India, Ceylon and the Red Sea, Abyssinia and Egypt in 1802-06. In Calcutta there were a number of English residents who shared his passion in natural history, and Annesley’s visits to local aviaries and menageries inspired him to commission many natural history drawings, mostly of birds, several of which have subsequently found their way into other collections. Annesley gifted two paintings to Lord Wellesley when he stayed with him in 1803 and saw the menagerie in Barrackpore. These are now in the British Library in London and published in Mildred Archer, Natural History Drawings in the India Office Library, 1962, p. 96. There is another painting in the Chester Beaty Library published by Linda York Leach, Mughal and other Indian Paintings from the Chester Beaty Library, 1995, vol. ii, pp. 761-762.
INDIA, COMPANY SCHOOL, CALCUTTA OR BARRACKPORE, CIRCA 1803
gouache on paper, inscribed in ink to the top of the sheet in Persian: vibyati kwik, which translates as “Foreign vulture or provincial vulture”, mounted, glazed and framed
47cm x 29.5cm
George Annesley, 9th Viscount Valentia (1769-1844).Collection of Stuart Cary Welch, New England, 1994.
A mysterious and macabre creature, the vulture has long been a point of interest for bird enthusiasts, as well as art enthusiasts. With the vulture’s association with death and their presence in multiple continents, they are an interesting subject matter that can be found in the art of many cultures. The birds whose features have led us to classify them as vultures, inhabit Asia, Africa, Europe, North and South America. New World and Old World vultures have slight differences including wing length, the length of the hind claws and the structure of the nostrils but were nevertheless assumed to be related. Today, New World vultures are currently considered to be a sister-group to the large family which includes hawks, eagles and Old-World vultures. It is an important reminder that, just because different animal groups are adapted to the same ecological niche and therefore look the same, it does not mean that they are necessarily related; this is called convergent evolution. The vulture pictured here is something of an enigma. The large wings with relatively short primary flight feathers which do not extend beyond the tip of the tail, and its relatively long hind toe suggests that it should be an Old-World vulture. The fact that it is the subject of an Indian painting one would expect it to be an Asian species. But it is not. The closest Old-World species is the African Hooded Vulture Necrosyrtes monachus, but their “hood” consists of pale brown down and not black feathers. The black colouration and red head are reminiscent of an American Turkey Vulture or another of the genus Cathartes, but the nostril shape and wing markings do not fit these either. The bill is unhooked, the fleshy cere on the bill is behind, and not surrounding the nostril, and, although the head is coloured red, it gives every indication of being covered in feathers which surround the bill and eye and completely mask the ear opening. Neither are there any slender-billed vulture species with anything resembling a wing bar, though it is possible that this marking is intended to represent a line of shiny iridescence. This is a bird which does not exist, possibly painted from a description or recollection of a vulture once seen. It is an amalgamation of different species, possibly inspired by famous paintings of vultures, such as those of the Mughal artist Mansur in the celebrated Kevorkian Album. It was not drawn from direct observation of a vulture but is, nevertheless, a beautiful and interesting painting. This painting comes from an important series of natural history studies made for George Annesley, 2nd Earl of Mountnorris and Viscount Valentina, when he made a private tour of India from 1802-1806. He was a keen amateur natural historian and visited many botanists and zoologists during his trip, chronicling his travels in three volumes published in 1809 entitled Voyages and Travels to India, Ceylon and the Red Sea, Abyssinia and Egypt in 1802-06. In Calcutta there were a number of English residents who shared his passion in natural history, and Annesley’s visits to local aviaries and menageries inspired him to commission many natural history drawings, mostly of birds, several of which have subsequently found their way into other collections. Annesley gifted two paintings to Lord Wellesley when he stayed with him in 1803 and saw the menagerie in Barrackpore. These are now in the British Library in London and published in Mildred Archer, Natural History Drawings in the India Office Library, 1962, p. 96. There is another painting in the Chester Beaty Library published by Linda York Leach, Mughal and other Indian Paintings from the Chester Beaty Library, 1995, vol. ii, pp. 761-762.
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AN INDIAN VULTURE
INDIA, COMPANY SCHOOL, CALCUTTA OR BARRACKPORE, CIRCA 1803
gouache on paper, inscribed in ink to the top of the sheet in Persian: vibyati kwik, which translates as “Foreign vulture or provincial vulture”, mounted, glazed and framed
47cm x 29.5cm
George Annesley, 9th Viscount Valentia (1769-1844).Collection of Stuart Cary Welch, New England, 1994.
A mysterious and macabre creature, the vulture has long been a point of interest for bird enthusiasts, as well as art enthusiasts. With the vulture’s association with death and their presence in multiple continents, they are an interesting subject matter that can be found in the art of many cultures. The birds whose features have led us to classify them as vultures, inhabit Asia, Africa, Europe, North and South America. New World and Old World vultures have slight differences including wing length, the length of the hind claws and the structure of the nostrils but were nevertheless assumed to be related. Today, New World vultures are currently considered to be a sister-group to the large family which includes hawks, eagles and Old-World vultures. It is an important reminder that, just because different animal groups are adapted to the same ecological niche and therefore look the same, it does not mean that they are necessarily related; this is called convergent evolution. The vulture pictured here is something of an enigma. The large wings with relatively short primary flight feathers which do not extend beyond the tip of the tail, and its relatively long hind toe suggests that it should be an Old-World vulture. The fact that it is the subject of an Indian painting one would expect it to be an Asian species. But it is not. The closest Old-World species is the African Hooded Vulture Necrosyrtes monachus, but their “hood” consists of pale brown down and not black feathers. The black colouration and red head are reminiscent of an American Turkey Vulture or another of the genus Cathartes, but the nostril shape and wing markings do not fit these either. The bill is unhooked, the fleshy cere on the bill is behind, and not surrounding the nostril, and, although the head is coloured red, it gives every indication of being covered in feathers which surround the bill and eye and completely mask the ear opening. Neither are there any slender-billed vulture species with anything resembling a wing bar, though it is possible that this marking is intended to represent a line of shiny iridescence. This is a bird which does not exist, possibly painted from a description or recollection of a vulture once seen. It is an amalgamation of different species, possibly inspired by famous paintings of vultures, such as those of the Mughal artist Mansur in the celebrated Kevorkian Album. It was not drawn from direct observation of a vulture but is, nevertheless, a beautiful and interesting painting. This painting comes from an important series of natural history studies made for George Annesley, 2nd Earl of Mountnorris and Viscount Valentina, when he made a private tour of India from 1802-1806. He was a keen amateur natural historian and visited many botanists and zoologists during his trip, chronicling his travels in three volumes published in 1809 entitled Voyages and Travels to India, Ceylon and the Red Sea, Abyssinia and Egypt in 1802-06. In Calcutta there were a number of English residents who shared his passion in natural history, and Annesley’s visits to local aviaries and menageries inspired him to commission many natural history drawings, mostly of birds, several of which have subsequently found their way into other collections. Annesley gifted two paintings to Lord Wellesley when he stayed with him in 1803 and saw the menagerie in Barrackpore. These are now in the British Library in London and published in Mildred Archer, Natural History Drawings in the India Office Library, 1962, p. 96. There is another painting in the Chester Beaty Library published by Linda York Leach, Mughal and other Indian Paintings from the Chester Beaty Library, 1995, vol. ii, pp. 761-762.
INDIA, COMPANY SCHOOL, CALCUTTA OR BARRACKPORE, CIRCA 1803
gouache on paper, inscribed in ink to the top of the sheet in Persian: vibyati kwik, which translates as “Foreign vulture or provincial vulture”, mounted, glazed and framed
47cm x 29.5cm
George Annesley, 9th Viscount Valentia (1769-1844).Collection of Stuart Cary Welch, New England, 1994.
A mysterious and macabre creature, the vulture has long been a point of interest for bird enthusiasts, as well as art enthusiasts. With the vulture’s association with death and their presence in multiple continents, they are an interesting subject matter that can be found in the art of many cultures. The birds whose features have led us to classify them as vultures, inhabit Asia, Africa, Europe, North and South America. New World and Old World vultures have slight differences including wing length, the length of the hind claws and the structure of the nostrils but were nevertheless assumed to be related. Today, New World vultures are currently considered to be a sister-group to the large family which includes hawks, eagles and Old-World vultures. It is an important reminder that, just because different animal groups are adapted to the same ecological niche and therefore look the same, it does not mean that they are necessarily related; this is called convergent evolution. The vulture pictured here is something of an enigma. The large wings with relatively short primary flight feathers which do not extend beyond the tip of the tail, and its relatively long hind toe suggests that it should be an Old-World vulture. The fact that it is the subject of an Indian painting one would expect it to be an Asian species. But it is not. The closest Old-World species is the African Hooded Vulture Necrosyrtes monachus, but their “hood” consists of pale brown down and not black feathers. The black colouration and red head are reminiscent of an American Turkey Vulture or another of the genus Cathartes, but the nostril shape and wing markings do not fit these either. The bill is unhooked, the fleshy cere on the bill is behind, and not surrounding the nostril, and, although the head is coloured red, it gives every indication of being covered in feathers which surround the bill and eye and completely mask the ear opening. Neither are there any slender-billed vulture species with anything resembling a wing bar, though it is possible that this marking is intended to represent a line of shiny iridescence. This is a bird which does not exist, possibly painted from a description or recollection of a vulture once seen. It is an amalgamation of different species, possibly inspired by famous paintings of vultures, such as those of the Mughal artist Mansur in the celebrated Kevorkian Album. It was not drawn from direct observation of a vulture but is, nevertheless, a beautiful and interesting painting. This painting comes from an important series of natural history studies made for George Annesley, 2nd Earl of Mountnorris and Viscount Valentina, when he made a private tour of India from 1802-1806. He was a keen amateur natural historian and visited many botanists and zoologists during his trip, chronicling his travels in three volumes published in 1809 entitled Voyages and Travels to India, Ceylon and the Red Sea, Abyssinia and Egypt in 1802-06. In Calcutta there were a number of English residents who shared his passion in natural history, and Annesley’s visits to local aviaries and menageries inspired him to commission many natural history drawings, mostly of birds, several of which have subsequently found their way into other collections. Annesley gifted two paintings to Lord Wellesley when he stayed with him in 1803 and saw the menagerie in Barrackpore. These are now in the British Library in London and published in Mildred Archer, Natural History Drawings in the India Office Library, 1962, p. 96. There is another painting in the Chester Beaty Library published by Linda York Leach, Mughal and other Indian Paintings from the Chester Beaty Library, 1995, vol. ii, pp. 761-762.
Islamic & Indian Art
Sale Date(s)
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22 Connaught St
London
W2 2AF
United Kingdom
Purchase collections for Islamic & Indian Art (Sale 850)
Purchases will be availble for collection from our London Venue at 22 Connaught St, London, W2 2AF until Wednesday 25th June. After that they will be divided as below.
Contact london@lyonandturnbull.com / calll 0207 930 9115 to book an appointment.
Click here to find out more about suggested carriers
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COLLECTIONS & STORAGE OF PURCHASED LOTS FOR INTERNATIONAL BUYERS & UK (OUTSIDE SCOTLAND) BUYERS
STORAGE: Items will be stored at 22 Connaught Street, until Wednesday 25th June at 5pm.Thereafter we will store items at Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD.
Telephone +44(0)20 8832 2222. Items will be available to collect from 9am on Friday 27th June.
Please ensure payment has been made prior to collection. This can be done online, bank transfer or in person at our London office - details will be shown on your invoice also. Please note we are unable to accept cash or payments over the phone.
COST: Please note from Friday 27th June you will be charged by our storage partners.
Insurance 0.25% (all items)
Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day.
Furniture pieces - £5.50 admin fee then £2.50 per day.
FOR SCOTTISH BUYERS
STORAGE: Items will be stored at 22 Connaught Street, until Wednesday 25th June at 5pm.
Thereafter items will be transported to our Edinburgh saleroom and will be available to collect by appointment from 11th July.
All collections will be by appointment only (this applies to both carriers and personal collections).
CALL 0131 557 8844
EMAIL info@lyonandturnbull.com
Important Information
A £6,500 spend limit has been applied to this auction. Bidders intending on spending above this amount will need to provide photo identification to have the spend limit removed. To help manage this, you will be asked to confirm your projected spend as part of the auction registration process. You may receive a request to provide photo ID. We ask that you provide this at your earliest convenience on request, to ensure you are free to bid above the £6,500 spend limit on sale day . Please note it is Lyon and Turnbull’s discretion to ask for identification – you will be also asked to provide this if you have no bidding history.
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25% from £20,001 to £500,000
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REMOVAL OF PURCHASES
Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. See Collections & Storage section for more info specific to this particular auction.
COLLECTIONS & STORAGE OF PURCHASED LOTS FOR INTERNATIONAL BUYERS & UK (OUTSIDE SCOTLAND) BUYERS
STORAGE: Items will be stored at 22 Connaught Street, until Wednesday 25th June at 5pm.Thereafter we will store items at Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD.
Telephone +44(0)20 8832 2222. Items will be available to collect from 9am on Friday 27th June.
Please ensure payment has been made prior to collection. This can be done online, bank transfer or in person at our London office - details will be shown on your invoice also. Please note we are unable to accept cash or payments over the phone.
COST: Please note from Friday 27th June you will be charged by our storage partners.
Insurance 0.25% (all items)
Smalls (paintings and objects) - £2.50 admin fee then £1.00 per day.
Furniture pieces - £5.50 admin fee then £2.50 per day.
FOR SCOTTISH BUYERS
STORAGE: Items will be stored at 22 Connaught Street, until Wednesday 25th June at 5pm.
Thereafter items will be transported to our Edinburgh saleroom and will be available to collect by appointment from 11th July.
All collections will be by appointment only (this applies to both carriers and personal collections).
CALL 0131 557 8844
EMAIL info@lyonandturnbull.com
CATALOGUE DESCRIPTIONS
All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. Our specialists will be happy to prepare condition reports and additional images. These are for guidance only and all lots are sold ‘as found’, as per our Conditions of Sale.
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Iranian origin ‘informational materials’ (including fine art by recognised artists and books and manuscripts) may be imported into the United States and purchased by US persons, but Iranian origin ‘works of conventional craftsmanship’ (works that are not by a recognised artist and/or that have a function) may not. If you are a US person, you are responsible for checking that you do not bid on prohibited Iranian origin property. US persons include US citizens and US permanent residents (‘greencard holders’) wherever these individuals are located, US entities and any other persons temporarily resident or located in the US.
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UK - CONDITIONS OF SALE FOR BUYERS
These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.
Special terms may be used in Catalogue descriptions of particular classes of items (Books, Jewellery, Paintings, Guns, Firearms, etc.) in which case the descriptions must be interpreted in accordance with any glossary appearing in the Catalogue. These notices and terms will also form part of our terms and conditions of sales.
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Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (
