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A collection of Asian Art reference worksIncluding: HO, The Chinese Calligraphy Bible, 2007; SULLIVAN, Modern Chinese Artists, 2006; Chinese Paintings from the Shanghai Museum 1851-1911 (ex.cat.), 2000; GENG, Ancient China's Genre Painting Featuring Children, 2009; VAINKER, Chinese Paintings in the Ashmolean Museum Oxford, 2000; SHIJIA (ed.), Shen Shijia's Landscape, Bamboo and Rock Techniques, 1995; XIXIANG, Bamboo Manual of the Lofty Pine, 1962; FANG, Fang Zhaoling Painting and Calligraphy, (ex.cat.), 1981; RUSSELL and COHN, Wang Hui (Qing Dynasty), 2012; Selected Works of Cheng Cheng's Paintings, 2002; WANG, Oriental Brushwork, 1964; ZHANG, Zhang Daqian's Painting Album (2 vols. in slipcase), 2005; Yuan (ed.) Selection of Chinese Flowers and Bird Paintings from Past Dynasties, 1986; The Paintings of P'u Hsin-Yu (in slipcase), 1965; Ling-nian School Painting, 1986; Liu Zhijiu, 1965; Famous Paintings in Shanghai (ex.cat.); with four further volumes on Chinese painting and six Asian arts auction catalogues from Christie's, Sotheby's and Bonhams.

AN ASIAN PAINTING ON PAPER DEPICTING A BIRD ON A BAMBOO STALK37cm x 27cm

A 19TH CENTURY WATERCOLOUR PAINTING ON PAPER DEPICTING A TOPOGRAPHICAL COLONIAL EAST ASIAN VIEW OF INDIA, SINGAPORE OR MALAYSIADepicting a country residence, plantation with figures unloading cart horses and horse drawn carriage entering the buildings by the coast.25cm x 20cmPrivate UK Collection.

ASIAN ART REFERENCE BOOKS - TIBETAN AND BUDDHIST PAINTING Comprising: Latter Days of the Law, Images of Chinese Buddhism 850-1850, 1994; Special Exhibition - Buddhist Images of East Asia, Nara National Museum 1996; Early Sino Tibetan Art, Heather Stoddard, Orchid Press, 2008; The Nepalese Legacy in Tibetan Painting, David P. Jackson, 2010; Painted Images of Enlightenment, Early Tibetan Thangkas 1050-1450, Steven Kossak 2010; Complete Imagery of the Deities of Chinese Buddhism in the Ming and Qing Dynasties, Pan Jianguo, 2006, Chinese text (6) This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Ownership Statement: This item is offered for sale without disclosing the identity of the owner.

JAPANESE / KOREAN SCHOOL - A TIGER BENEATH A PINE TREE 18th/19th Century or earlier, ink and colour on silk, scroll backing, possible faint remains of a seal mark upper left 177 x 94cm excluding scroll backing Bonhams, San Francisco, Asian Art, 24 April 2006, Lot 8401 Condition Information: Many repairs, patching and touching up to the work, horizontal cracking across the length of the painting. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Ownership Statement: This item is offered for sale without disclosing the identity of the owner.

ASIAN ART AUCTION CATALOGUES - BUDDHIST SCULPTURE AND WORKS OF ART 24 Sotheby's, Christie's, Bonhams and Hanai catalogues of Indian & Southeast Asian Art; Buddhist Sculpture and Art, Buddhist Bronzes and related, including: Visions of Enlightenment, The Speelman Collection of Important Early Ming Buddhist Bronzes, Oct 7 2009; Ming Imperial Bronzes from the Collection of Tuyet Nguyet and Stephen Markbreiter, 7 Oct 2010; Masterpieces from the Zimmerman Collection, 15 Sep 2008; Masterpieces of Early Tibetan Painting from the Collection of Heidi and Helmut Newton, 19 March 2013The Doris Weiner Collection, 20 March 2012 (24) This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Ownership Statement: This item is offered for sale without disclosing the identity of the owner.

ASIAN ART REFERENCE BOOKS - CHINESE PAINTING AND CALLIGRAPHY A large selection of works relating to Chinese painting and calligraphy, including exhibition catalogues and reference works, to include: Seals of Chinese Painters and Collectors, Victoria Contag and Wang Chi-Ch'ien, Second Impression 1982 (poor condition); Chinese Calligraphy, Ouyang Zhongshi, Wen C. Fond, translated by Wang Youfen, 2008; Chinese Calligraphers and Painters Seals and Inscriptions, Cultural Relics Publishing House, 2007, 2 Vol., Chinese text; Li Ti, Richard Edwards, Freer Gallery of Art, 1967; The Calligraphy and Paintings of Zheng Banqiao, 2 Vol., 2007; (Approx 40) For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Ownership Statement: This item is offered for sale without disclosing the identity of the owner.

ASIAN ART REFERENCE BOOKS - CHINESE PAINTING Comprising: Studies in Connoisseurship, Chinese Paintings from the Arthur M. Sackler Collections, 1987; Chinese Painting Leading Masters Principles, Osvald Siren, Vol I and II, Hacker Books, 1973; Eight Dynasties of Chinese Painting, Cleveland Museum of Art, 1980; Three Thousand Years of Chinese Painting, 1997; Along The Riverbank, Chinese Paintings from the C. C. Wang Family Collection, Metropolitan Museum of Art, 1999; Landscapes Clear and Radiant, The Art of Wang Hui (1632-1717, Metropolitan Museum of Art, 2008; The World of Khubilai Khan, Chinese Art in the Yuan Dynasty, Metropolitan Museum of Art, 2010; Li Kung-Lin's Classic of Filial Piety, Metropolitan Museum of Art, 1993; Mandate of Heaven, Emperors and Artists in China - Chinese Painting and Calligraphy from The Metropolitan Museum of Art, New York - Museum Rietberg Zurich 1996; Along The Border of Heaven, Sung and Yuan Paintings from the C. C. Wang Family Collection, Metropolitan Museum of Art, 1983 (11) This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration. Ownership Statement: This item is offered for sale without disclosing the identity of the owner.

A Collection of Asian Art, mainly Chinese, including: three Qianlong Porcelain Famille Rose plates, similar tea bowl and saucer, a further bowl painted with phoenix under a band of bajixiang, mid-19th century pith painting portrait of a maiden, and a pair of carved soapstone buffalo groups, etc (two trays)Octagonal plate cracked and with a large flat chip.One circular plate with a stapled repair. The other circular plate free from cracks and repair, som fritting.Bowl and saucer - bowl cracked, saucer with a section re glued. Small imari saucers, one badly broken and re stuck, the other with some small chips.Famille rose bowl and stand with some edge chips. Painting with some discolouration, staining and fading. Soapstone carvings, one broken in two and re stuck, both with losses.

7 Large 19th-20th century examples including Asian pictorial. Here we have a selection of buttons in Earth tone colors including a large Bob Benson VI with a petrified stone center, a wonderful rich tones wood background of a boy and a sailing boat, a Russian painting on wood fish, a leather background Buddha, a tea dyed natural material background with ma steel and brass of Christopher and more. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Note: Antique buttons may show wear. Significant issues are noted, but shanks and backs on multi-button cards are not guaranteed. Contact us for details.

21 S/M/L 19th-20th century assorted material examples. Here we have a nice painting on natural material under glass, a transfer on paper under glass with paste border, a nice handkerchief corner, a scarce Veg Iv. Background Egyptian head steel cup, other natural material, a soft cream colored enamel background high relief Asian female, and more. A great lot!!!Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Note: Antique buttons may show wear. Significant issues are noted, but shanks and backs on multi-button cards are not guaranteed. Contact us for details.

This captivating mid-century modern oil painting depicts a ballet dancer adjusting her pointe shoes, a moment of quiet preparation before performance. The piece is rendered with dynamic brushstrokes, evoking movement and elegance. The muted green background contrasts sharply with the vivid red of the ballet shoes, drawing the viewer's eye to the dancer's poised concentration. The artwork is signed in the lower right corner with an intricate red monogram-style signature. The signature appears to be East Asian in origin, suggesting influence or origin from a contemporary Asian artist, though specific attribution is undetermined. The painting is framed in a simple wood frame that complements its minimalist aesthetic. This piece would make an excellent addition to any collection of dance, mid-century modern, or Asian-influenced artwork. Artwork dimensions with frame: 32.50"L x 27.75"H x 3"W.Issued: 20th centuryDimensions: See DescriptionCondition: Age related wear.

This lovely oil painting on wood board by artist Chang depicts a tranquil architectural scene framed by an arched colonnade. The composition leads the viewer's eye through a sunlit courtyard, where a figure in traditional Asian attire walks hand in hand with a child, evoking a sense of nostalgia and cultural heritage. Lush vegetation drapes over the structure, adding depth and contrast to the weathered stone. The artist employs a warm, earthy palette with expressive brushwork, capturing the interplay of light and shadow across the textured surfaces. Signed in the lower right, the painting is presented in an ornate, carved frame that complements its classical aesthetic.Artist: ChangIssued: c. 1970Dimensions: 28.25"L x 25.50"HCondition: Age related wear.

A ROYAL POLO MATCH Possibly Tabriz or Qazvin, Safavid Iran, mid to late 16th centuryOpaque pigments heightened with gold on paper, the fragmentary horizontal-format illustration depicting a royal polo match with a gold-clad princess on her white steed, snatching the ball from her opponent, a distinctively dressed prince, both wearing tall and heeled Central Asian boots, flanked by two players on each side, the characters on the left hand-side wearing tall cusped headdresses and fur-lined hats, the others with turbans, indicating a difference not only in attire but also origin, possibly a match between royals belonging to different parts of the Indo-Persianate world, the reverse bearing stamps of at least four seals, some with Persian characters, now rubbed off or hardly legible, pasted on a cream-coloured mount.The painting 11.5cm x 15cm, 23.7cm x 27.5cm including the mount The painting 11.5cm x 15cm, 23.7cm x 27.5cm including the mount Qty: 1

ASIAN BARRED OWLET (NOCTUA CUCULODIES), 19TH CENTURY painting on rice paperframed and under glass34cm high x 24cm wide overall

Mia Wilkinson Chesty Bird, 2024 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I toy with western stereotypes of the domestic female in my art. I undermine the performative nature of woman as 'the angel in the house', electrifying my figures with a grotesque, playful sexuality, and situating them in caricaturised, lurid domestic settings. I was born into a single parent, working-class family in the North-East. I don't know my Asian father and have little experience of one aspect of my racial heritage. Moulded by a strong but complex matriarchy I learned that a female body has both a social currency and a relative social invisibility. My experience of paternal absence and the ramifications of that for my racial identity, combined with the dominant female forces that raised me, find presence and voice in the bawdiness of the females I depict, skewing and skewering culturally imposed expectations and artistic traditions. I find myself as 'subject' deeply discomforting, and therefore increasingly turn the gaze onto myself, in attempt to further worry traditions of depicting women, and the female relationship with art. Education 2024-2025 Royal College of Art MA Painting 2011-2014 Wimbledon College of Art UAL Bachelors painting Solo Exhibitions 2023 DOMESTICALTED HINNY, KoKo Camden, London, UK 2018 THIS IS NOT PORN, Public Gallery, London, UK 2016 PLUS SIZE, Espacio Gallery London, UK Group Exhibitions 2025 In Fleeting Moments, Secession Gallery, Hastings 2024 Kunsthall UG, Augsburg, Germany REJECTS, Art Friend, London Lilacs out of the Dead Land, Donya Gallery, London The Way of all Flesh, SAATCHI, London 2023 Sweet Potion, Artistellar Gallery, London 2022 Two Doors, The House of st Barnabas, London Retrespect, The Art Bypass Gallery, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Bryony Bensly Meadow, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born in Thailand and raised mainly in Hong Kong and England, Bryony Bensly experienced a multicultural upbringing, with artistic influences that ranged from Asian religious art to postmodernism. She had forays into installation art, made sculptures out of organic matter, and then circled back to her first love: drawing and painting. Bensly's work is a juxtaposition of conceptual ideas and realism, manifesting in surreal imagery with a narrative that focuses on our internal and external life. Her current body of work focuses on our interdependence, responsibility, and attitudes towards nature and the environment. She earned her BFA in "Art and Social Context," from Dartington College of Arts and her MFA from the New York Academy of Figurative Art, graduating cum laude. She has shown extensively in Museums and Galleries in England and the US, notably Sotheby's and the annual exhibition of The Royal Society of Portrait Painters. Bensly was a recipient of an artist-in-residence, for 3 years, from the Historic Santa Fe Foundation, and has won awards from the Portrait Society of America and Art Renewal Center, among others. Her work has been chosen to be part of the Luna Codex Collection. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Mia Wilkinson Untitled, 2024 Lino print and oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I toy with western stereotypes of the domestic female in my art. I undermine the performative nature of woman as 'the angel in the house', electrifying my figures with a grotesque, playful sexuality, and situating them in caricaturised, lurid domestic settings. I was born into a single parent, working-class family in the North-East. I don't know my Asian father and have little experience of one aspect of my racial heritage. Moulded by a strong but complex matriarchy I learned that a female body has both a social currency and a relative social invisibility. My experience of paternal absence and the ramifications of that for my racial identity, combined with the dominant female forces that raised me, find presence and voice in the bawdiness of the females I depict, skewing and skewering culturally imposed expectations and artistic traditions. I find myself as 'subject' deeply discomforting, and therefore increasingly turn the gaze onto myself, in attempt to further worry traditions of depicting women, and the female relationship with art. Education 2024-2025 Royal College of Art MA Painting 2011-2014 Wimbledon College of Art UAL Bachelors painting Solo Exhibitions 2023 DOMESTICALTED HINNY, KoKo Camden, London, UK 2018 THIS IS NOT PORN, Public Gallery, London, UK 2016 PLUS SIZE, Espacio Gallery London, UK Group Exhibitions 2025 In Fleeting Moments, Secession Gallery, Hastings 2024 Kunsthall UG, Augsburg, Germany REJECTS, Art Friend, London Lilacs out of the Dead Land, Donya Gallery, London The Way of all Flesh, SAATCHI, London 2023 Sweet Potion, Artistellar Gallery, London 2022 Two Doors, The House of st Barnabas, London Retrespect, The Art Bypass Gallery, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Mia Wilkinson Untitled II, 2024 Lino print and oil pastel on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I toy with western stereotypes of the domestic female in my art. I undermine the performative nature of woman as 'the angel in the house', electrifying my figures with a grotesque, playful sexuality, and situating them in caricaturised, lurid domestic settings. I was born into a single parent, working-class family in the North-East. I don't know my Asian father and have little experience of one aspect of my racial heritage. Moulded by a strong but complex matriarchy I learned that a female body has both a social currency and a relative social invisibility. My experience of paternal absence and the ramifications of that for my racial identity, combined with the dominant female forces that raised me, find presence and voice in the bawdiness of the females I depict, skewing and skewering culturally imposed expectations and artistic traditions. I find myself as 'subject' deeply discomforting, and therefore increasingly turn the gaze onto myself, in attempt to further worry traditions of depicting women, and the female relationship with art. Education 2024-2025 Royal College of Art MA Painting 2011-2014 Wimbledon College of Art UAL Bachelors painting Solo Exhibitions 2023 DOMESTICALTED HINNY, KoKo Camden, London, UK 2018 THIS IS NOT PORN, Public Gallery, London, UK 2016 PLUS SIZE, Espacio Gallery London, UK Group Exhibitions 2025 In Fleeting Moments, Secession Gallery, Hastings 2024 Kunsthall UG, Augsburg, Germany REJECTS, Art Friend, London Lilacs out of the Dead Land, Donya Gallery, London The Way of all Flesh, SAATCHI, London 2023 Sweet Potion, Artistellar Gallery, London 2022 Two Doors, The House of st Barnabas, London Retrespect, The Art Bypass Gallery, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Mia Wilkinson What a Catch, 2024 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I toy with western stereotypes of the domestic female in my art. I undermine the performative nature of woman as 'the angel in the house', electrifying my figures with a grotesque, playful sexuality, and situating them in caricaturised, lurid domestic settings. I was born into a single parent, working-class family in the North-East. I don't know my Asian father and have little experience of one aspect of my racial heritage. Moulded by a strong but complex matriarchy I learned that a female body has both a social currency and a relative social invisibility. My experience of paternal absence and the ramifications of that for my racial identity, combined with the dominant female forces that raised me, find presence and voice in the bawdiness of the females I depict, skewing and skewering culturally imposed expectations and artistic traditions. I find myself as 'subject' deeply discomforting, and therefore increasingly turn the gaze onto myself, in attempt to further worry traditions of depicting women, and the female relationship with art. Education 2024-2025 Royal College of Art MA Painting 2011-2014 Wimbledon College of Art UAL Bachelors painting Solo Exhibitions 2023 DOMESTICALTED HINNY, KoKo Camden, London, UK 2018 THIS IS NOT PORN, Public Gallery, London, UK 2016 PLUS SIZE, Espacio Gallery London, UK Group Exhibitions 2025 In Fleeting Moments, Secession Gallery, Hastings 2024 Kunsthall UG, Augsburg, Germany REJECTS, Art Friend, London Lilacs out of the Dead Land, Donya Gallery, London The Way of all Flesh, SAATCHI, London 2023 Sweet Potion, Artistellar Gallery, London 2022 Two Doors, The House of st Barnabas, London Retrespect, The Art Bypass Gallery, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Oil Painting by T. Trucban, 2004 This is an expressive oil painting on canvas, signed "T. Trucban 2004" in the lower-right corner. The composition features a reclining woman in a long-sleeved red dress, posed dramatically on a golden-toned chair or cushion, her head tilted back with a contemplative expression. The painting employs a modern and textured technique, likely created with palette knives or heavy brushstrokes, resulting in a tactile surface. The colour palette includes deep reds, oranges, gold, and earthy tones. The artwork is framed in a wide rectangular dark wooden frame. The dimensions of the frame are provided, with an ergonomic design typical of contemporary presentation. The backing includes a brown paper cover secured with archival tape. A white hanging cord is affixed to metal screws for wall mounting. On the reverse side, there is handwritten text reading "HAKEN-OLSON," and a label marked "ARTACT" with an Australian contact number, indicating a possible connection to an art service or gallery. This piece demonstrates characteristics of modern art movements, possibly influenced by expressionism or contemporary Southeast Asian art styles. Dated to 2004, it holds collector and research potential based on the artist's identity and provenance.

**Hand-Painted Double-Gourd Chinese Snuff Bottle**Hand-painted porcelain snuff bottle in a double-gourd shape. Crafted from white-glazed porcelain, this small vessel features detailed depictions of swallows in flight. The birds are adorned with delicate black ink strokes and pink accents on their breasts, showcasing fine East Asian artistry reminiscent of traditional Chinese ink painting techniques.The decorative motifs, combined with the symbolic double-gourd form, suggest cultural themes of prosperity and protection. The bottle stands approximately 7cm high and lacks its original stopper. Despite this, the glazed surface remains in excellent condition with vibrant, intact artwork. A charming example of Chinese decorative and functional craftsmanship.

Framed Mid-20th Century Oil or Acrylic Landscape PaintingThis framed artwork depicts a serene waterscape, likely rendered in oil or acrylic on canvas. The composition features a waterway with traditional boats, including one with a figure in red seated aboard, and dense natural surroundings marked by rocks, greenery, and trees with expressive foliage. A muted, cloudy sky forms the backdrop. Reflections on the water suggest a tranquil scene. The painting exhibits impressionistic influences, and its style and subject matter may reflect mid-20th-century East Asian or Southeast Asian inspiration. The gold-toned frame, complemented by a dark brown textured inner border and cream-coloured inset, exhibits a mid-20th-century style (circa 1950–1970s), consistent with the aesthetic of the piece. A string affixed to the back facilitates wall hanging. The reverse bears auction marking stickers from "Appleyards" with "LOT NO. AA1040" and the item number "058." The frame measures approximately 74 cm in height and 44 cm in width based on images. Further provenance or inspection may reveal additional details.

3 barocke Fayence-Walzenkrüge. Thüringen. 18. Jh. Weiß glasiert, farbige Scharffeuerfarbenmalerei, teils mangangeschwämmelt. H 21,5 bis 25,5 cm. Kartuschenkrug mit bekrönter Chinoiserie, 2 Figurenkrüge mit einem tanzende Paar und einem Asiaten in Landschaft. Jeweils mit graviertem Zinndeckel mit Kugeldrücker, 1x Zinnstandring und 2x Zinnstand. Mit Defekten, teils restauriert, Alters- und Gebrauchsspuren. Aufrufzeit 28. | Feb. 2025 | voraussichtlich 10:06 Uhr (CET)3 baroque faience jugs. Thuringia. 18th century White glazed, colored hot-fire painting, partly mangled. H 21.5 to 25.5 cm. Cartouche jug with crowned chinoiserie, 2 figure jugs with a dancing couple and an Asian in a landscape. Each with engraved pewter lid with ball pusher, 1x pewter stand ring and 2x pewter stand. With defects, partly restored, signs of age and use. Call time 28 | Feb. 2025 | probably 10:06 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Teller mit Chinoiseriemalerei. KPM Berlin. Zeptermarke KPM, 1837-1844. Ohne Malereimarke. Bemalung wohl um 1900. Polychrom bemalt. Ø 21,5 cm. Im Stil asiatischer Porzellan in überwiegend Rot und Blau bemalt mit einer chinesischem Landschaft mit Häusern und Personenstaffage. 1 Randbestoßung. Aufrufzeit 28. | Feb. 2025 | voraussichtlich 11:41 Uhr (CET)Plate with chinoiserie painting. KPM Berlin. KPM sceptre mark, 1837-1844. Without painter's mark. Painting probably around 1900. Polychrome painted. Ø 21.5 cm. Painted in the style of Asian porcelain in predominantly red and blue with a Chinese landscape with houses and people. 1 edge bump. Call time 28 | Feb. 2025 | probably 11:41 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Barocker Becher mit Chinoiseriemalerei. Meissen. Becher: aufglasurblaue Schwertermarke und Weißdreherzeichen ●● (= Johann Martin Kittel Junior, *1706-† 1762), vor 1739. Untertasse: ungemarkt, beriebene Goldmalerziffer "4.", um 1740. Polychrom bemalt, goldstaffiert. Becher (H 7,5 cm), Untertasse (Ø 13,5 cm). Glockenbecher mit Untertasse. Beidseitig und im Spiegel der Untertasse eine große, von Goldrocaillen gerahmte Vierpasskartusche mit asiatischen Figurenmotiven. Chip am Becherrrand, 3 leicht beschliffene Chips am Untertassenrand. Aufrufzeit 28. | Feb. 2025 | voraussichtlich 11:54 Uhr (CET)Baroque mug with chinoiserie painting. Meissen. Cup: glazed blue sword mark and white turner's mark ●● (= Johann Martin Kittel Junior, *1706-† 1762), before 1739. Saucer: unmarked, rubbed gold paint number "4.", c. 1740. Polychrome painted, decorated in gold. Cup (h 7.5 cm), saucer (Ø 13.5 cm). Bell-shaped cup with saucer. On both sides and in the mirror of the saucer a large quatrefoil cartouche framed by gold rocailles with Asian figure motifs. Chip to the rim of the cup, 3 slightly ground chips to the rim of the saucer. Call time 28 | Feb. 2025 | probably 11:54 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

***RE-OFFER IN OUR MARCH SALE AT £400-£600*** A large religious Painting by John Lamont Brodie. Oil on canvas Signed and dated 1861 lower left. Likely depicting St Gerome - Titled the Confession to verso. The painting has been re-lined and reframed (the original frame was arched and you can see the shadow of this on the canvas) The painting is crazed with blooming and 'flea bite' paint loss to the lower quarter. 128cm x 111cm

Ralph Thompson - Asian Elephant, sepia watercolour, 41x27cmPainting and frame both very good.

This is a delicate and serene Chinese panoramic watercolor and ink painting on paper featuring a botanical scene of blooming white lotus flowers and lush green leaves, accented by dragonflies in flight. The artwork captures a tranquil natural setting, showcasing intricate details such as the fine veining of the leaves, the texture of the lotus pods, and the translucent wings of the dragonflies. The muted earthy tones and precise brushwork evoke the aesthetics of traditional Asian art, specifically inspired by nature scenes. The piece is framed in an elegant gold-tone wood frame with a beaded inner edge, complementing the soft tones of the painting. The horizontal orientation makes it a striking decorative piece, ideal for adding a sense of peace and refinement to any space. Artwork dimensions with frame: 76"L x 17.75"H x 1.50"W. Dimensions: See DescriptionCountry of Origin: ChinaCondition: Age related wear. Minor color loss on upper right center.

Antique watercolour painting of an asian village signed Donne - frame 54cm x 42cm ~ Benjamin John Merifeld Donne ??

WILLIAM JOHNSTONE O.B.E. (SCOTTISH 1897-1981) DARK BORDERS LANDSCAPE, 1925 Signed and dated to canvas verso, oil on canvas 63.5cm x 76cm (25in x 30in) If you have had the pleasure of visiting the long-anticipated, newly re-opened Scottish Art wing at the National Gallery of Scotland in Edinburgh (re-opened 2023), the first painting you are likely to have set eyes on is the monumental masterpiece ‘A Point in Time’ (1929/37) by William Johnstone. The huge canvas is a formidable sight; with abstract twists of black, blues and greens creating fathomless caverns. It is hung against a bold, blood-red wall immediately facing the entrance. In this phenomenal artwork the curators of the National Galleries found the key visual within the collection to challenge tired perceptions. The re-hang’s opening statement could not be clearer: 20th century Scottish art was seriously accomplished, outward-looking and Modern with a capital ‘M’. This curatorial choice also elevates Johnstone himself emphatically and with purpose; literally centralising his significance within the story of Scottish art – not to say international modernism - as never before. Born in the Borders in 1897 to a farming background, Johnstone, a powerful personality, mixed with other radical thinkers in the Edinburgh College of Art in the 1920s. Alongside the poet Hugh MacDiarmid, Johnstone was pivotal within the conception of the “Scottish Renaissance”. This was a cultural movement spanning art and literature that looked to move away from the perceived stagnancy of the centralised British cultural self-view, advocating instead a modernisation - and independence - of Scottish political and cultural values. Though Johnstone’s origins were immutably tied to the Scottish landscape, his burgeoning career soon took a decisively international direction. In 1925 he was awarded a Carnegie Travelling Scholarship which enabled him to study in Paris with André Lhote at the Académie de la Grande Chaumière, as well as the Atelier Colarossi. In 1926 he travelled further afield to Spain, Italy and North Africa, accompanied by Max Bernd-Cohen, an American lawyer-turned-artist who become a lifelong friend. His circle of acquaintances in Paris at that time included the artists Alberto Giacometti, Fernand Léger, and the eminent collectors Leo and Gertrude Stein. In 1927, Johnstone married the American sculptor Flora MacDonald, spending subsequent years in America and Scotland. They settled in London in the 1930s, with intermittent teaching commitments enabling him to return to America sporadically for the next twenty years. Indeed, it was teaching that became his major life’s work and he was no less innovative within this field than within his art practice. He held the position of Principal at the Camberwell School of Art and Design between 1938 and 1945 and later at the Central School of Arts and Crafts. In this capacity he is credited with evolving the ideologies of each school, bringing them more in line with Continental art and design principles akin to the Bauhaus and creating teaching opportunities for exciting young avant-garde artists including Richard Hamilton, Victor Pasmore, Alan Davie and Eduardo Paolozzi. His services to education within the arts earned him an O.B.E. Sojourns teaching in America included positions as Fulbright Lecturer and Director of the Colorado Springs Fine Art Centre Summer School. He also lectured at the Frank Lloyd Wright Foundation in Taliesin, Wisconsin, in 1949 and 1950.  Johnstone’s friend and colleague, the artist and theorist Anton Ehrenzweig, identified three stylistic phases in Johnstone’s painting career. Firstly, a surrealist phase of the 1930s, a cubist phase of the 1940s and finally his calligraphic or tachist phase of the 1950s. ‘Dark Borders Landscape’, dated 1925, can be read as a psychological take on the Scottish landscape; a brooding, abstract suggestion of elemental forces, mood and place. His Borders landscapes are often executed in the darkest of tones, as here. Art historian Beth Williamson has suggested a psychological interpretation of the tumultuous dreichness inherent within these early Scottish landscapes; perceiving a troubled relationship with the soil he and his kin sprang from and laboured over so tirelessly, but which offered only the scantest living in return. She also notes the sense of alienation Johnstone felt upon his return to his home farm after having been conscripted in World War I. Despite fortunately never seeing active duty, the distress caused by the exposure to traumatised front-line soldiers, paired with the sense of his own fate hanging perilously in the balance while waiting for the call up, forever changed the young artist. Even as early as the 1920s, Johnstone had developed an innovative and unique paint application that embraced expressive, totally intuitive brushwork. This expressionistic take on abstraction - “dripping” his paint as early as the 1920s - latterly saw his work referred to in the context of American Abstract Expressionism (the so-called “action painters”). Johnstone’s work in fact pre-figures this school of artists and his approach has, as Ehrenzweig indicated, much more in common with the ‘automatic drawing’ techniques of the Parisian Surrealist school in Paris: psychological forces made tangible in paint. The goal of Johnstone’s art practice was to assimilate his interests and fields of influence to totally unique effect, evolving an entirely personal style. His reference points were diverse but always drawn to that which is distilled and instinctual over pre-meditated: from the Pictish carving of his Scottish homeland to the New Mexico school, and from Asian calligraphy to Primitivism and the artwork of children. At the heart of his paintings, whatever the period, you will always find expressive, intuitive mark-making.This creative belief-system was extrapolated to its extreme in the plaster relief series he created in 1970, as an elderly man. In these works, from one of the most celebrated decades of his artistic career, the physical and metaphysical combine to create extraordinary sculptural objects that read as simultaneously ancient and futuristic. “The earth has been a very great creative mother for the artist, the poet, the composer; but the material of the soil can produce its own art. With these thoughts I made my plaster reliefs in order to find confirmation of my conviction that the medium of plaster would itself reveal its own miracle. I knew that in myself I must produce a condition, relaxed and free from thought or deliberation; that which would be produced through my hands would then be from my inner self and be completely unconscious. I throw the lump of crude, wet plaster on the smooth polished surface; a gesture pf creation... and the plaster sets.”  – William Johnstone, in the catalogue introduction for ‘Genesis’, ten plaster reliefs exhibited by the Scottish National Gallery of Modern Art in 1973.

1.Pablo Picasso:•This book focuses on the life and works of Pablo Picasso, one of the most influential artists of the 20th century. It likely covers his various artistic phases, including Cubism and Surrealism.2.Picasso Vol. II (Black and White Art):•A continuation of Picasso’s work, possibly emphasizing his monochromatic pieces and sketches, showcasing his abstract and surreal explorations.3.Picasso Vol. I (Color Portrait):•Another volume on Picasso, featuring his colorful and expressive paintings, including works from his Blue and Rose periods.4.Picasso: The Sculptures:•This book focuses on Picasso’s lesser-known but significant work in sculpture, highlighting his creativity beyond painting.5.Botero:•A book about Fernando Botero, known for his distinctive style featuring inflated, exaggerated figures. It showcases his colorful paintings and sculptures.6.Dalí:•A Taschen edition dedicated to Salvador Dalí, covering his surreal and dreamlike art. Dalí’s works are known for their striking and bizarre images.7.Le Cahier Dessiné:•A collection of drawings and illustrations, possibly featuring various artists. The title suggests a focus on the sketchbook or drawing aspect of art.8.Chagall:•This book covers the works of Marc Chagall, known for his poetic, dreamlike paintings. Chagall’s art often features vibrant colors and whimsical, fantastical scenes.9.Unknown Title (Warrior Mask Cover):•This book features a cover with a warrior mask, likely focusing on Asian or African art, potentially related to masks and traditional sculptures.10.Ai Weiwei:•A book about contemporary artist Ai Weiwei, known for his provocative and politically charged installations and sculptures. It likely explores his work in activism and modern art.11.Murakami:•This book is dedicated to Takashi Murakami, a contemporary Japanese artist known for his “Superflat” art style, blending pop culture with traditional Japanese art.These books together represent a broad spectrum of 20th and 21st-century art, from classic painters like Picasso and Dalí to modern artists like Ai Weiwei and Murakami.

A vibrant, original gouache painting on rice paper depicting a traditional Japanese Kabuki theater character, with red kumadori makeup. Signature on lower left. Housed in a silver-toned frame. Includes Asian calligraphic characters. Artwork dimensions: 13"L x 19"H. Frame dimensions: 16"L x 0.25"W x 20"H. Dimensions: See DescriptionCondition: Age related wear. Minimal foxing throughout.

Ink and pigments on paper.It shows a beautiful still life, presided over by the central image of a glass vase filled with white and yellow chrysanthemums in bloom, which creates a compositional triangle with the two fruit bowls arranged on either side, containing appetizing pears and apples of vibrant yellow. The background, created with a palette of cool dark colours, purples, blues and greys, gives greater prominence to the vivid flowers and fruit, directing the viewer's gaze towards them.  The chromatic palette used, together with the loose brushstrokes and the elements without contours, have clear fauvist influences, which inevitably evoke the blue period of Pablo Picasso, among others. Likewise, the work shows a strong and undoubtedly personal character, visible in the outline of the petals, the morphology of the fruits, and the multiple lines arranged in the background, which reveal Fengmian's calligraphic discipline during his training, thus creating a unique fusion between traditional Chinese aesthetics and European pictorial currents.  Signed and stamped ‘???’ in the left margin. Size painting: 70 x 70 cm; Size with frame: 83 x 84 cmAttached is a certificate issued by Gerald Markowtz, grandson of the artist.  Provenance:- Hong Kong private collection. 1977, Lin Fengmian fled to Hong Kong where he gave the work to a friend, in whose collection it remained for generations until its final sale.- Current private Spanish collection (to the present day).    References: - Christie's. Fine Chinese Modern and Contemporary Ink Paintings. Lot 1084: Lin Fengmian ‘Dahlia’. 02 Dec. 2022. - Sotheby's. Beyond Legends: Modern Art Evening Sale. Lot 1044: Lin Fengmian ‘Still life’ April 18, 2021- The MET. Asian Art Collection. Accession Number: 1986.267.375 ‘Gladioli’.  Catalogue note:Lin Fengmian was born in Guandong province in the year 1900, and has a childhood marked by a traumatic event, the sale of his own mother into slavery. Shortly afterwards, a fortuitous chance event changed his life completely, as his lottery ticket won; with it, he travelled to Shanghai and later to France, thus receiving a complete artistic education, which marked his personal style. Over the years, and thanks to his constant work and undoubted talent for painting, he managed to make a name for himself on the international art scene, which was cut short during the Sino-Japanese war and the Cultural Revolution, for which he had to destroy a large part of his work and suffer a period of imprisonment. All the vicissitudes he suffered did not put an end to his passion for art, and that is why he left China in 1977 to settle with his family in Hong Kong, where his production did not cease, even attempting, on occasions, to recreate the first paintings he had to destroy. Lin Fengmian died in 1991 in Hong Kong at the age of 90.  Notice to interested bidders. Please complete the premium registration in our auction room for this lot. Please contact us at: info@subastasdarley.com or (0034) 960 46 16 88

Original Asian painting on Rice paper. Kacho-ga style which depicts bird and flower. Writing on the back of the work is illegible. Artwork dimensions: 4"L x 14"H. Mat dimensions: 7.5"L x 17.5"H. Artwork can be rolled for shipment. Issued: 20th centuryDimensions: See DescriptionCountry of Origin: JapanCondition: Age related wear.

Antique Asian Erotic scene painting. 19th century. Fitted within an antique frame. [Frame- 24x26.5cm]

AN ILLUSTRATION FROM A RAGAMALA SERIES: BAIRADI RAGINI INDIA, RAJASTHAN, MEWAR, CIRCA 1635-45 gouache heightened in gold on paper, red border with rules in black ink, depicting a night scene with a couple caressing against bolsters under a canopy in a pavilion, a white bed by their side, a female attendant offering them wine on the right, palm tree landscape in the background, vases and floral sprays in the foreground  26.1cm x 19.3cm Formerly, the collection of Nasli Heeramaneck (1902-1971).Heeramaneck was a Parsi-American art dealer who specialised in Pre-Columbian and Asian art. Born in Bombay, he moved to New York in the 1920s and remained there until his death in 1971. He and his wife had a substantial collection art, of which the majority is held in the Los Angeles County Museum of Art and The National Museum of Delhi.  This painting is in the style of Sahibdin and Manohar. Both artists used strong , vibrant colours typical of Rajasthani painting in their palettes, illustrating not only ragamala series but other Hindu texts too. Sahibdin, a Muslim, was a major artist at the court of Mewar in the seventeenth during the reign of Maharana Jagat Singh (r.1628-1661) along with the slightly later artist Manohar.  For comparison and further discussion on Sahibdin and Mewar painting see:E. Binney, Rajput Miniatures from the collection of Edwin Binney 3rd., Portland, 1968, no.5.A. Topsfield, Court Painting at Udaipur, Zurich,2001, pp. 7,9-10,16,32-33,35,55-78,86-87,89-96,100-101,109-10,143-44,158.277.C. Glynn, R. Skelton and A.L. Dallapiccola,  Ragamala Paintings from the Claudio Moscatelli Collection, London, 2011.

Sadequain (1930-1987)Untitled signed 'Sadequain 15/12/61' upper rightpen and wash on paper37.5 x 55.5cm (14 3/4 x 21 7/8in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired in the 1960s-1970s;Thence by descent.'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 during his time in Paris, 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 see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 11.For further information on this lot please visit Bonhams.com

Ahmed Parvez (1926-1979)Untitled (The Game) signed ad dated 'Ahmed Parvez 1954' lower right; title versooil on hardboard, framed58.8 x 58.5cm (23 1/8 x 23 1/16in).Footnotes:ProvenanceProperty from a private collection, France. Acquired in Karachi;Thence by descent.Note: There is another painting on the reverse.'Ahmed Parvez remains, even after death, one of Pakistan's most noted painters.' (Marcella Nesom Sirhandi, Contemporary Painting in Pakistan, Ferozsons, 1992, p.74)Pierre Augé (1895-1967) was French Ambassador to Pakistan from 1950 to 1955. A Doctor of law, seriously wounded at Verdun in April 1916, he entered a diplomatic career after the First World War. He was posted to Canada and Shanghai, then dismissed by the Vichy regime in December 1940. During the Liberation, in August 1944, he was appointed Prefect of Aude in 1944. He then resumed his diplomatic career by opening the French Embassy in Australia and then in Karachi as French Ambassador to Pakistan. He discovered Ahmed Parvez during his 1955 exhibition in Karachi during which he acquired two figurative oils on panel.A pioneering Pakistani modernist artist, Parvez was known for his emphasis on experimentation, abstraction, and modernist expressionism in his work, making him one of the most exhibited Pakistani painters abroad. Born in Rawalpindi, he started to dedicate himself to his passion for art at 26 in 1952, moving to Lahore to join his uncle studio, and started training in the European academic style at Punjab University.In Lahore, he became part of the 'Lahore Group,' a collective of emerging artists who aimed to challenge traditions and reshaping the art landscape in Pakistan. This group embraced artistic freedom, as noted by art critic Jaya Appasamy, 'The younger artists who attained individual styles in the 1960s inherited great freedom. Their art could be simply a matter of personal preference and evolution.' (Ebrahim Alkazi, Manifestations XI - 75 Artists 20th Century Indian Artp.20). Over time, many members of the Lahore Group dispersed, traveling abroad to expand their horizons; Parvez, too, left for Europe, eventually settling in London in 1955. His journey symbolized the spirit of a generation of Pakistani artists who pushed boundaries and sought inspiration beyond their homeland. These two lots were created a year prior to his move to London. Though primarily celebrated as a colourist known for his later vibrant, explosive approaches, these two works The Game and The man of sorrows reveal an intriguing side of the artist. Here, Parvez departs slightly from his usual emphasis on colour for colour's sake, allowing figuration to take a central role. The seemingly random brushstrokes, which might ordinarily erupt into a cacophony of images and colours, instead come together here in contemplative, modernist portraitures. In The Man of sorrows, the subject, a seated figure with stylized, elongated features and a prominent forehead, embodies a vivid yet restrained expressiveness. Dressed in red, the figure is set against a muted background of greens, blues, and earthy tones, lending the piece an atmospheric depth. All this enhanced the introspective feel of the composition, emphasizing the artist's focus on emotion over realism. In The Game, two men crouch, adorned in vibrant hues of yellow and green against a muted, moody dark grey background. They appear to be engaged in a traditional Indian tabletop game, Carrom. Although there are two players, the composition evokes a sense of loneliness, depicting a solitary game. In these two works, Parvez channels his signature intensity into more focused and melancholic depictions of expressive figures.To see a similar work sold at Sotheby's, see Indian and Southeast Asian Art, 22nd September 2000, New York, lot 238.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

Sayed Haider Raza (1922-2016)La Terre signed and dated 'Raza 85' lower centre; further signed, titled, dated and inscribed 'Raza/1985/200 x 200/'La Terre' verso acrylic on canvas, framed200 x 200cm (78 3/4 x 78 3/4in).Footnotes:ProvenanceProperty from a Corporate Collection, UK.The Collection of Vincent Grimaud, Paris;Christie's, Modern and Contemporary Indian Art Including Art from Pakistan And Sri Lanka, Sale 7501, 21st May 2007, London, Lot 7, Private CollectionChristie's, South Asian Modern & Contemporary Art, Sale 2336, 15th September 2010, New York, Lot 323. ExhibitedBombay, Gallery Chemould, Raza Anthology 1980-1990, 24th January – 10th February 1990.New York, Saffronart in association with Berkeley Square Gallery, Raza – A Retrospective, 21st September – 31st October 2007.PublishedSH RAZA: Catalogue Raisonné 1972 - 1989 (Volume II), New Delhi, 2022, p.402-403Pierre Sou-chand, L'age d'or de la peinture en Inde, Artension no. 11, September, Paris, 1989, p.18 (dated '1985') (illustrated) Geeti Sen, Raza, Lalit Kala Akademi, New Delhi, 1990, fig. 12 (illustrated).Exhibition catalogue, Raza Anthology 1980-1990, Gallery Chemould, Bombay, 1990, unpaginated (illustrated).Geeti Sen, Bindu: Space and Time in Raza's Vision, Media Transasia, New Delhi, 1997, p.135 (illustrated).Exhibition catalogue, Raza – A Retrospective, Saffronart in association with Berkeley Square Gallery, New York, 2007, Cat. no. 33, p. p 90-91, (illustrated).Alain Bonfand, Raza, Editions de la Difference, Paris, 2008, p.p. 124 – 125 (illustrated)Ranjit Hoskote, Ashok Vajpeyi, Yashodhara Dalmia and AVNI Doshi, S.H Raza: Vistaar, Art Musings, Mumbai, 2012, p.55 (illustrated).In La Terre, or 'The Earth', Sayed Haider Raza explores artistic inquiries centred on a pure visual order around line, tone, colour, texture and space, and the theme of nature. Painted in 1985, La Terre is a chef-d'oeuvre that marks a pivotal moment in Raza's career. After spending years immersed in the styles of the various currents of Western Modernism, his artistic journey reached a turning point as he began embracing key aspects of his Indian heritage into his body of work. Raza was born in rural Central India and studied art in Nagpur and Bombay before moving to Paris in 1950 to study at L'École des Beaux-Arts on a scholarship. The artistic scene that emerged in the latter half of the 20th century, influenced by the aftermath of World War II, sparked significant transformations for many artists in the French capital, as they sought new forms of expression. Among them, Raza, whose studies at Les Beaux-Arts led him to explore further on his journey towards abstraction. During his decades-long stay in France, his forms melted, and the artist progressively abandoned a desire to depict a tangible, constructed reality through his landscapes' interpretations. After delving into a variety of influences from Expressionism, Raza's abstract style evolved toward a more distinct geometric abstraction. By the late 70s, Raza had fully committed to the use of pure geometric forms in his work.Raza co-founded the Bombay Progressive Artists' Group (PAG) in 1947 alongside Krishna Hawlaji Ara and Francis Newton Souza, with the aim of diverging from the Western realist traditions taught in Indian art schools. The group sought to develop a modern artistic language that echoed India's essence. This marked the beginning of a broader shift, as artists sought to blend indigenous traditions with contemporary influences. By the 1970s and 1980s, Raza felt an increasingly strong emotional and spiritual connection to his native land. During this period, he began a series of paintings titled La Terre, including the work consigned here. Reflecting on this artistic journey, Raza stated: 'I was inspired to conceive a painting which could be a letter to my mother country, India, revealing my experiences, discoveries, and acquisitions. I hoped the painting could be evidence that I was never cut off from my sources. The memories, conscious and unconscious, were ever present' (Artist Statement, 1981, S. H. Raza, exhibition catalogue, London and New York, 2005).'I have never left India. I love my country, and I am proud of it, and it's not sentimental my friend. Don't think that it's only emotional. I have been linked with the profound spiritual, religious message that India has to give to Indians and to the world of which we are forgetful at times, even in India.' (Raza cited in 'A Conversation with Raza', Raza: A Retrospective exhibition catalogue, New York, 2007, unpaginated). Indeed, while much of the work produced by emerging abstract artists in the second half of the 20th century was shaped by Western influences, a distinct artistic language emerged. This new form of abstraction, described by Ashish Anand as 'a native language, qualified by Indian roots and steeped in an abstract lexicon that dates to the past, whether historical or mythological' (Indian Abstracts: An Absence of Form, Notes from the Director, New Delhi, 2014, p. 7), blended India's rich cultural heritage with modern abstract forms, embodying the evolution of artists like Raza.In La Terre, Raza's abstract work, is profoundly shaped by his early experiences in the forests of his native village, Barbaria, Madhya Pradesh. This 1985 work synthesizes an imagery of his homeland landscape through elements of nature, spatial expression, and spiritual geometry into a cohesive composition. In La Terre, Raza embraces abstraction as a creative catalyst to evoke the grandeur and lyrical subtleties of the Indian landscape. This work is emblematic of Raza's oeuvre, characterised by its recurring leitmotifs: a square canvas meticulously divided through the application of a distinct earthy colour palette and the use of intersecting horizontal, vertical and diagonal lines that create intricate triangular segments. This structure is deeply informed by the principles of Hindu philosophy, reflecting Raza's commitment to intertwining his artistic practice with his cultural heritage. Ultimately, this synthesis of form and meaning not only showcases Raza's distinctive style but also highlights the spiritual and philosophical underpinnings that define his artistic vision.'My work is my own inner experience and involvement with the mysteries of nature and form, expressed through colour, line, space, and light' (Artist Statement, 1981, S. H. Raza, exhibition catalogue, London and New York, 2005).P indicates that this is a Premium Lot. If you wish to bid on this lot, please refer to (page 2 /Auction Information) for bidding information.For further information on this lot please visit Bonhams.com

A Ramachandaran (1935-2024)Visions of Ramdev, Song of the Shimbul Tree (Diptych) signed and dated 'Ramachandran 2001' lower rightoil on canvas, framed202.01 x 142.9cm (79 9/16 x 56 1/4in).Footnotes:ProvenanceProperty from a Corporate Collection, UK.Born in 1935, Ramachandran was a prolific Indian artist whose career, spanning from the mid-20th century to the early 21st century, masterfully blended modern dramatic representations with imagery and aesthetics deeply rooted in Indian classical art, engaging lyrically with life and nature. In 1957, Ramachandran studied under the guidance of renowned masters like Ramkinkar Baij and Benodebehari Mukherjee at Viswa Bharati University in Santiniketan. The vibrant cultural and intellectual atmosphere of Santiniketan deepened his connection to the art traditions of India and other Eastern civilizations, sparking a lifelong fascination with and exploration of the mural paintings of Kerala temples. His studies extended to Rajasthani miniature traditions, which significantly reshaped his visual language. As a result, Ramachandran seamlessly integrated various elements of Indian classical art into his oeuvre, embracing composite motifs, decorative features, and the exuberance of forms and colours. His artistic journey includes a diverse range of influences, such as muralist traditions, watercolours, tempera, silkscreen painting, Tibetan tangkas, and the frescoes of Ajanta and Jaipur.In the diptych, Visions of Ramdev, Song of the Shimbul Tree, Ramachandran drew extensively on his research and background in the Kerala muralist tradition, as well as influences from Japanese screen paintings, inspiring him to segment his canvases into panels. Ramachandran has occasionally been viewed as a contentious figure within the Indian modern art scene, mistakenly labelled by some as a 'neo-revivalist' or 'anti-modernity' artist. These claims arise from his powerful figuration and innovative use of Indian mythology, alongside his enduring fascination with Asian artistic traditions.In the present lot, the colours and forms of the murals in Kerala temples depicting Hindu mythology significantly influenced Ramachandran visual expression. The themes of Hindu myths became a rich resource for his creativity and artistic style. The title of the work references Ramdev Pir, a revered character in Indian mythology who was celebrated for helping the oppressed and advocating for the equality of all people. This present lot also reflects Ramachandran's focus on tribal community life, particularly among the tribes from Rajasthan, whose way of life and cultural background profoundly fuelled his creativity. This diptych depicts a peaceful, rural setting and features a group of four seated figures beneath a large, vibrant tree. The tree, prominently positioned across both panels, is adorned with foliage and bears fruits. The figures, dressed in traditional Indian attire, are arranged in calm, seated postures, giving the scene a serene and reflective atmosphere. Each wear richly patterned clothing in earthy tones of orange, purple, green, and yellow. The warm, muted colours unify the scene, and the repetitive patterns, both in the figures' clothing and the tree's branches, create a sense of harmony and rhythm. The painting explores themes of nature, tradition, and spirituality, with its calm composition and traditional elements inviting contemplation. As such, decorative elements, dramatic atmospheres and myths have become an integral part of his work along with his strong lines, dynamic compositions and a refined understanding of colour theories. However, while Ramachandran draws profound inspiration from Indian traditional art and temple murals, his work cannot simply be categorized as decorative. 'My decorativeness is a very sophisticated part of a visual language. It is not the ordinary sense of decorativeness,' says Ramachandran, in Open Magazine, A Ramachandran: 'I am an artist who paints by the acre', to Rosalyn D'Mello in 2019. Instead, it transcends conventional ornamentation to create visual drama that captivates the viewer. His vibrant canvases are imbued with a sense of blossoming life that celebrates nature and existence in its countless manifestations. In this work Ramachandran evokes a sense of movement and vitality, inviting the audience to engage with the complexity of life itself and the interconnectedness of all living things. This perspective elevates his art beyond mere decoration to a powerful expression of the human experience.'You see, just by sitting and observing alone doesn't help you. As an artist, the process of painting for me is to look at nature, and then, when I draw, starting from clear lines, I am trying to get an inner rhythm of each image. They are not just leaves. There is a flow of life that passes through each image. Now that gives a painting its own life.' ( A. Ramachandran)Finally, inspired by the natural surroundings and people of rural areas outside Udaipur in Rajasthan, Ramachandran weaves lyrical narratives adorned with motifs of flora and fauna to celebrate the beauty of these landscapes and their inhabitants. His art seeks to provide a reprieve, offering a soothing escape from the burdens of everyday existence. Rather than exacerbate their struggles, Ramachandran intends to bring solace to viewers. 'Instead of shouting slogans and fighting, why not console people? Why not, you know, sing them a lullaby and put them to sleep, like a mother to a child, or sing a song which is soothing, which lets people forget their miseries?' (A. Ramachandran)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

Sadequain (1930-1987)Untitled (Figures in a forest) signed and dated 'Sadequain 19/3/62' lower rightpen on paper32.5 x 56.1cm (12 13/16 x 22 1/16in).Footnotes:ProvenanceProperty from a private collection, UK. Acquired in the 1960s-1970s;Thence by descent.'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 during his time in Paris, 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 see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 11.For further information on this lot please visit Bonhams.com

Ahmed Parvez (1926-1979)Untitled (The man of sorrows) signed and dated 'Ahmed Parvez 54' lower centre left; title, artist name and size versooil on hardboard, framed62.8 x 45.4cm (24 3/4 x 17 7/8in).Footnotes:ProvenanceProperty from a private collection, France. Acquired in Karachi;Thence by descent.'Ahmed Parvez remains, even after death, one of Pakistan's most noted painters.' (Marcella Nesom Sirhandi, Contemporary Painting in Pakistan, Ferozsons, 1992, p.74)Pierre Augé (1895-1967) was French Ambassador to Pakistan from 1950 to 1955. A Doctor of law, seriously wounded at Verdun in April 1916, he entered a diplomatic career after the First World War. He was posted to Canada and Shanghai, then dismissed by the Vichy regime in December 1940. During the Liberation, in August 1944, he was appointed Prefect of Aude in 1944. He then resumed his diplomatic career by opening the French Embassy in Australia and then in Karachi as French Ambassador to Pakistan. He discovered Ahmed Parvez during his 1955 exhibition in Karachi during which he acquired two figurative oils on panel.A pioneering Pakistani modernist artist, Parvez was known for his emphasis on experimentation, abstraction, and modernist expressionism in his work, making him one of the most exhibited Pakistani painters abroad. Born in Rawalpindi, he started to dedicate himself to his passion for art at 26, moving to Lahore to join his uncle's studio, and started training in the European academic style at Punjab University.In Lahore, he became part of the 'Lahore Group,' a collective of emerging artists who aimed to challenge traditions and reshaping the art landscape in Pakistan. This group embraced artistic freedom, as noted by art critic Jaya Appasamy, 'The younger artists who attained individual styles in the 1960s inherited great freedom. Their art could be simply a matter of personal preference and evolution.' (Ebrahim Alkazi, Manifestations XI - 75 Artists 20th Century Indian Artp.20). Over time, many members of the Lahore Group dispersed, traveling abroad to expand their horizons; Parvez, too, left for Europe, eventually settling in London in 1955. His journey symbolized the spirit of a generation of Pakistani artists who pushed boundaries and sought inspiration beyond their homeland. These two present lots were created a year prior to his move to London. Though primarily celebrated as a colourist known for his later vibrant, explosive approaches, these two works The Game and The man of sorrows reveal an intriguing side of the artist. Here, Parvez departs slightly from his usual emphasis on colour for colour's sake, allowing figuration to take a central role. The seemingly random brushstrokes, which might ordinarily erupt into a cacophony of images and colours, instead come together here in contemplative, modernist portraitures. In The Man of sorrows, the subject, a seated figure with stylized, elongated features and a prominent forehead, embodies a vivid yet restrained expressiveness. Dressed in red, the figure is set against a muted background of greens, blues, and earthy tones, lending the piece an atmospheric depth. All this enhanced the introspective feel of the composition, emphasizing the artist's focus on emotion over realism. In The Game, two men crouch, adorned in vibrant hues of yellow and green against a muted, moody dark grey background. They appear to be engaged in a traditional Indian table top game, Carrom. Although there are two players, the composition evokes a sense of loneliness, depicting a solitary game. In these two works, Parvez channels his signature intensity into more focused and melancholic depictions of expressive figures.To see a similar work sold at Sotheby's, see Indian and Southeast Asian Art, 22nd September 2000, New York, lot 238.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

Ismail Gulgee (1926-2007)Untitled (Calligraphic) signed and dated 'Gulgee 98' lower rightoil on ceramic tile, framed30.5 x 30.5cm (12 x 12in).Footnotes:ProvenanceProperty from a private collection, Pakistan.Acquired from the artist.Renowned for his versatility and innovation, Gulgee's foray into ceramic art represents a captivating departure from his more traditional works in painting and calligraphy. He has masterfully used oils in rich hues of blues, reds, whites, yellows, oranges and blacks to create an aesthetically unique work. The subtle variations in texture add further dimension to the piece, inviting viewers to explore the tile's tactile qualities. Beyond its aesthetic beauty, Gulgee's ceramic tile also carries deeper symbolic significance, serving as a testament to the artist's reverence for tradition and his commitment to preserving and celebrating the cultural heritage of his homeland.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, London, 5th June 2024, lot 53.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

Maqbool Fida Husain (1915-2011)Ganesh Darbar signed and dated 'Husain '92' lower rightacrylic on canvas, framed90.7 x 151cm (35 11/16 x 59 7/16in).Footnotes:ProvenanceProperty from a private collection, London. Acquired from the artist.'...another favourite animal figure of Husain is the elephant with its myriad associations for the pre-globalised ordinary Indian. In the Indian mythology Airavat, the four-tusked white elephant that emerged from the churning of the ocean, is the mount of the Rain God Indra. The elephant is also a symbol of prosperity because of its association with goddess Laxmi. There are other mythological associations of the elephant, such as with Ashwatthama of Mahabharata and with Ganesha. In the Indian classical literature the elephant also stands for sensuous grace. That is why in the Sanskrit literature, a beautiful woman is described as gajagamini, the one who walks with the sensuous gait of an elephant. Finally, right from the ancient times up to the end of the twentieth century, the elephant was a ceremonial mount for the Royals of India...'The elephant's association with Ganesha is a part of the religious belief of the Hindus.' (K. Bikram Singh, Maqbool Fida Husain, Rahul & Art, 2008, pg. 192)Untitled (Ganesh Darbar) is a vivid and striking painting that seamlessly weaves together the artist's distinctive modernist aesthetic with deeply rooted Indian cultural and religious symbolism. In this piece, Husain places Lord Ganesha, the beloved elephant-headed god, at the centre of the composition, surrounded by two additional representations of Ganesha and three elephants. This arrangement reflects the multi-dimensional nature of the deity, who is revered not only as the remover of obstacles but also as a symbol of wisdom, prosperity, and new beginnings. The painting is a vibrant celebration of Indian spirituality and tradition, seen through the lens of Husain's dynamic, abstract style.At the heart of Untitled (Ganesh Darbar) is Ganesha, whose iconic figure dominates the composition. Husain portrays the deity with a fluid, almost gestural quality, using broad, sweeping brushstrokes to evoke Ganesha's elephantine features. The central Ganesha appears powerful yet approachable, an embodiment of divine energy and wisdom. His posture and placement exude a sense of calm authority, while the vibrant colours—deep reds and oranges surround him, radiating a sense of life and celebration. The two other Ganesha figures, slightly smaller in scale, mirror the central figure but add to the painting's sense of repetition and rhythm. Their presence suggests the multiplicity of Ganesha's aspects and roles in Hindu mythology, where he is often depicted in various forms and manifestations.The inclusion of three elephants around the central figures further amplifies the symbolism of strength, wisdom, and power. In Hindu tradition, elephants are revered for their association with majesty and calm strength, qualities that Ganesha, as the elephant-headed god, embodies. Husain's depiction of the elephants is characteristically bold and abstract, with their forms reduced to essential shapes and lines, yet still recognisable. These elephants, placed towards the bottom on either side of Ganesha, reinforce the sense of balance and stability within the composition, grounding the painting in an almost sacred symmetry. They also echo the central deity's own elephantine form, creating a visual dialogue between the divine and the earthly, the mythological and the real.Husain's use of colour and form in Untitled (Ganesh Darbar) is key to the painting's emotional and spiritual impact. The halo that surrounds Ganesha—in gold, conveys a sense of reverence. The oranges and reds that feature heavily on the canvas, are often associated with Hindu rituals and festivals, and create a festive atmosphere, suggesting that this is not just a static portrayal of Ganesha but a dynamic darbar, or court, where divine presence is celebrated and honoured. The rich, textured layers of paint reflect Husain's modernist approach, where the interplay between abstraction and figurative elements becomes a vital part of the visual narrative. The painting is not constrained by realism but instead allows for a more expressive, emotional portrayal of its subject.Untitled (Ganesh Darbar) also reflects Husain's broader approach to religious and mythological subjects throughout his career. Known for his deep engagement with Indian culture, Husain often turned to themes from Hindu mythology, despite his own Muslim background, demonstrating his belief in the universal nature of spiritual and cultural symbols. In this painting, Husain does not simply depict Ganesha as a religious icon; rather, he reinterprets the deity through his modernist vision, blending traditional iconography with his unique artistic style. The result is a work that feels both ancient and contemporary, deeply rooted in Indian tradition yet open to global, modernist interpretations.To see a similar work sold in these rooms see Bonhams, Modern & Contemporary South Asian Art, 14th November 2023, lot 6.For further information on this lot please visit Bonhams.com

A group of 20th century Asian artworks, to include: A pair of Mughal style paintings depicting figurative scenes and stories, 22 x 30 cm each; with a gouache painting of a kingfisher on a Jaipur stamp and two contemporary Chinese embroideries, framed and glazed (5)

A large Chinese painted Cizhou jar, Ming Dynasty, 14th/15th century, the broad-shouldered jar decorated in brown and reddish-rust on a white slip with three shaped panels enclosing a scholar in a garden, a crane standing amidst grasses bird, and a floral display, all above a band of upright lappets and beneath a band of leafy floral scroll, 34cm highProvenance: From the Collection of a Lady and Gentleman in Buckinghamshire, no. 4.13 A jar of this shape with a similar style of painting, including lozenge-shaped panels of scholars, was excavated in 1976 from a tomb in Yuncheng county, Shandong province, and is illustrated in Wenwu, 1988:6, pl. 7, no. 6. Compare with a similar jar sold at Christie's, 24 July 2020, Lot 59. See another example of very similar size and shape in the Asian Art Museum, San Francisco (no.390, He Li, Chinese Ceramics 1996), which shows three scenes of the poet Li Bai enjoying wine in a garden. 明 磁州窯開光高士圖罐拍品來源：英國白金漢郡伉儷私人收藏，編號4.13  Condition Report: Body crack repair mainly on the shoulder and minor kiln flawCondition Report Disclaimer

ASIAN AND INDIAN ART INTEREST: 5 Titles: MULK RAJ ANAND, LOTIKA VARADARAJAN ET AL: HOMAGE TO KALAMKARI (WITH REFERENCE TO THE PAINTED CLOTHS OF INDIA, Bombay, Marg publications, 1979 reprint, with decorative cloth boards; CHEWON KIM AND G ST G M GOMPERTZ: THE CERAMIC ART OF KOREA, london, faber and Faber, 1961; W ZALF (Ed): BUDDHISM - ART AND FAITH, London, British Museum Publications, 1985; THE ART OF THE CH'ING DYNASTY FURNITURE, Taipei, national Museum of History, ND. Held within original slipcase; T C LAI: CHINESE PAINTING - ITS MYSTIC ESSENCE, Kowloon, Swindon Book Company, 1974. inscribed to half title by author (5)

Parviz Tanavoli (Iran, born 1937)Standing Heech fibreglasssigned 'Parviz' and dated '07' on the base, numbered 16/25, number 16 from an edition of 25, executed in 200759 x 28cm (23 1/4 x 11in).Footnotes:Provenance:Property from the Varzi Family Collection, SpainNote:This work is accompanied by a certificate of authenticity signed by the ArtistReflections of Persia: The Varzi Collection of Modern and Contemporary Iranian ArtThe Varzi Collection of Modern and Contemporary Iranian Art offers a thoughtfully curated selection of works that showcase the diversity and richness of Iran's artistic heritage. Built by Hamid Varzi, this collection reflects both the cultural depth of Iranian art and his personal journey of staying connected to his homeland while living abroad. With a range of works spanning from early modern pioneers to contemporary artists, the collection provides a comprehensive look at the evolution of Iranian art across time and borders.Hamid Varzi, born in Tehran, moved to the United Kingdom as an infant and pursued his education at Trinity Hall, Cambridge University. After completing his studies, he returned to Iran in 1972, where he served in the military and played for Iran's National Hockey Team at the 1974 Asian Games. Eventually, Varzi relocated to Germany, where he established several successful commercial ventures over the next two decades. His return to Iran in 2000 marked a new chapter as he took on leadership roles in banking and industry before settling in Spain in 2017. Today, Varzi is an accomplished writer, with published works in novels, poetry, and screenwriting.The Varzi Collection, built over many years in Tehran and now housed in a grand villa in Marbella, Spain, mirrors the experiences of so many Iranian artists who, like Varzi himself, have navigated life abroad but remain deeply connected to their cultural roots. This dynamic collection is not only a personal expression of Varzi's dedication to preserving Iranian heritage but also an embodiment of the broader reality faced by millions of Iranians in the diaspora—rebuilding their sense of Iranian-ness in foreign lands while always carrying the essence of their homeland with them.What sets the Varzi Collection apart is its extraordinary chronological breadth, encompassing works that span both the early pioneers of Iranian modernism and the emerging talents of contemporary Iranian art. The collection is a seamless blend of traditional motifs and avant-garde experimentation, offering viewers a comprehensive journey through the evolution of Iranian artistic expression.The Varzi Collection brings together an impressive range of media and subject matter, spanning both early pioneers and contemporary voices in Iranian art. From the works of renowned figures like Marcos Grigorian, Parviz Tanavoli, and Monir Farmanfarmaian—who were instrumental in shaping the trajectory of Iranian modern art—to the younger generation represented by Rokni Haerizadeh, whose iconic painting from the Divan restaurant in Tehran is a highlight, the collection is both diverse and cohesive. Among the standouts are two rare early works by Farideh Lashai, including an abstract work on paper from the 1970s and a dynamic, expressive tree composition from the 1980s. Additionally, Bahman Mohasses' ghoulish head of a minotaur, one of his most recognizable themes, offers a haunting presence in the collection. The Varzi Collection reflects a wide spectrum of Iranian art, representing both male and female artists, emerging and established figures, and those working within Iran and abroad. It truly captures the richness and breadth of Iranian artistic expression across different eras and styles.In Varzi's collection, one can read the collective narrative of Iranian artists —the ability to adapt, rebuild, and thrive despite the many challenges of displacement. Each piece serves as a visual homage to the nation's enduring spirit, while the collection as a whole celebrates the richness of Iranian art across generations and across borders. As it moves to auction, the Varzi Collection is not only a unique opportunity for collectors but also a profound statement of cultural continuity and pride. Parviz Tanavoli: Heech The Father of Iran modern sculpture, Parviz Tanavoli was born in 1937 in Tehran, Iran. In 1955, Tanavoli was one of the very first students to enrol in the newly established Tehran School of Fine Arts. A few years later, he left Iran to further his education in sculpting at the Brera Academy of Milan. Tanavoli returned to Iran and established Atelier Kaboud, which became the birthplace of the most significant and avant-garde Iranian modern art movement, the Saqqakhaneh movement.In 1965, Tanavoli created his first Heech sculpture. His signature Heech series is composed of three Farsi letters in the Persian calligraphy style of nastaliq. Tanavoli protested against the empty overuse of traditional forms by giving new depth to the two dimensional calligraphy on paper and transforming it into a three dimensional object. A pioneer of his practice, Tanavoli has produced numerous Heech sculptures in various mediums such as bronze, ceramic, fiberglass and neon and in many different shapes, sizes and colours to expose people with the concept of 'nothingness'.This present sculpture of the Heech is a fine example of Tanavoli's use of fiberglass, a medium he embraced during his later work and through which he found great versatility in form and freedom of expression. To Tanavoli, the concept of nothingness has multiple layers of meanings and is not necessarily an expression of despair and hopelessness. One interpretation relates to Persian Sufism, in which nothing is an aspect of God, who creates everything from nothing. The other is that the physical shape of the word has an appealing volume and a life like form. This repetition of design in his oeuvre is also reflective of the traditional Islamic practice of repeating a craft in the quest for perfection.Tanavoli's practice focuses on the intersection of both traditional Persian folk art and contemporary practices in a career spanning over six decades.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

Group of three Asian artworks including:One color on silk painting depicting a frog watching a butterfly or moth and a cricket perched on flowering branches.Tokuriki Tomikichiro (Japanese, 1902-2000). Woodblock on paper print titled "Mt.Kasagi," number 28 from the series "Seichi Shiseki Meisho (Famous Historic Places and Holy Places)," ca. 1940s.Utagawa Hiroshige (Japanese, 1797-1858). Reproduction print of "Suijin Shrine and Massaki on the Sumida River," number 35 from the series "One Hundred Famous Views of Edo."Height ranges from 15 1/2 in to 16 in; width ranges from 12 in to 19 1/2 in.Condition: Toning throughout. There is a large tears along the lower left quadrant of the cherry blossom print; another large tears along the upper left edge; a small tear along the upper right corner. The print is affixed to a cloth-bound mat. The sheet of the painting appears to have been trimmed. Old tape affixed to the verso of the painting. None of the works are framed.

Two sages seated on a terrace with vinas, perhaps a ragamala scene Pahari, Punjab Hills, circa 1840gouache and gold on paper, panel at bottom with three lines of text written in nagari script in black ink, floral inner border, lacking outer border 297 x 236 mm.Footnotes:The subject depicted may be Kanara raga, son of Megha. For another Pahari example (Bilaspur, circa 1700-20), which depicts two men with vinas seated facing each other, see Simon Ray, Indian and Islamic Works of Art, April 2006, pp. 132-133, no. 61. However, there both men are playing, which is not the case in our painting. Ray notes a Pahari drawing in K. Ebeling, Ragamala Painting, 1973, p. 293, no. 375, depicting Kanada Putra of Megha, in which one man plays the vina while the other, without an instrument, appears to clap his hands to the beat. The outstretched hand of the man on the right in our painting may imply a similar marking of the rhythm. On the other hand, his priestly appearance, and the religious marks on the faces of both, may suggest another interpretation.For another work perhaps from the same ragamala series, see Sotheby's, Modern and Contemporary South Asian Art including Indian Miniature Paintings, 8th June 2012, lot 14 (Bangali Ragini of Bhairava Raga); and the sale in these rooms, India in Art, 7th June 2022, lot 76 (depicting kanphat yogis).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

A scene from a Ramayana series (the 'Second' Guler Ramayana), depicting the battle between the monkeys, directed by Rama, and the demon army outside the walls of Lanka Guler, circa 1790-1800gouache and gold on paper, gold-decorated blue floral inner border, flecked pink outer border 257 x 359 mm.Footnotes:ProvenancePrivate collection, Germany.For another Ramayana battle scene from the same series, depicting Rama about to kill Ravana at the height of the battle, see the sale in these rooms, Bonhams, Islamic and Indian Art, 25th October 2022, lot 138.See also Bonhams New York, Indian, Himalayan and Southeast Asian Art, 11th September 2012, lot 89, in which Rama and Lakshmana confer with the monkey army while the battle rages in the background beneath the golden walls of Lanka.For two battle scenes from the series in which the large boulders used by the monkeys appear, and which in our painting has meant a violent end for at least two demons, see Sotheby's New York, Important Indian Paintings from the Gloria Katz and Willard Kuyck Collection, 22nd March 2022, lots 59 and 60.For discussion of the series with other examples, see the footnote to the previous 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

A scene from a Ramayana series (the 'Second' Guler Ramayana), depicting Vibhishana, younger brother of the demon king Ravana, together with a retinue of demons bearing gifts, in audience with Rama, the monkey army standing round about Guler, circa 1790-1800gouache and gold on paper, gold-decorated blue floral inner border, flecked pink outer border 255 x 358 mm.Footnotes:ProvenancePrivate collection, Germany.This painting is an illustration from the series known as the 'second' Guler Ramayana, attributed to the first generation of artists after Manaku and Nainsukh. The first section of the series is referred to by W. G. Archer as the Kangra Ramayana series, and is dated circa 1775-1780 (and also as the 'Bharany' Ramayana). This comprises illustrations from the first three books of the Ramayana. Our painting belongs to the second section of the series, comprising illustrations from Books Five and Six, and specifically to Book Six, the Yuddhakanda or the Book of War. Goswamy and Fischer date this second section to circa 1790 and list known paintings belonging to it (M.C. Beach, E. Fischer, B.N. Goswamy (ed.), Masters of Indian Painting 1650-1900, Zurich, 2011, p. 690).For other depictions of the figure of Vibhishana see, for example: Sotheby's New York, Indian and Southeast Asian Works of Art, 21st March 2012, lot 210, depicting Vibhishana bowing before Rama, surrounded by the monkey and bear army, with the fortress of Lanka in the background).In a quieter scene, depicting Sagara (personification of the ocean) appearing before Rama and others, see Sotheby's New York, Important Indian Miniatures from the Paul F. Walter Collection, 14th November 2002, lot 84.Other examples from this series have appeared at auction: particular comparison can be made with the following:Christie's, Arts of India, 12th June 2018, lot 26 (depicting Rama, Lakhshmana and Sita at the hermitage of Bharadvaja).Bonhams, New York, Indian, Himalayan and Southeast Asian Art, 11th September 2012, lot 89 (Rama and Lakhshmana conferring with the monkey army while other monkeys are in combat with the demon army).Sotheby's New York, Important Indian Paintings from the Gloria Katz and Willard Huyck Collection, 22nd March 2002, lots 59 and 60 (Guler or Kangra, circa 1790; the trees and branches carried by the monkeys are prominent - hints of Birnam Wood come to Dunsinane - and the decoration on the demon chariots is very similar).Sotheby's New York, Indian and Southeast Asian Works of Art, 20th March 2013, lot 319 (Rama and Lakhshmana wounded by the arrow of Indrajit).Sotheby's New York, Indian and Southeast Asian Art, 19th September 1996, lot 185 (the monkey army beginning their assault on Lanka under the direction of Rama).Sotheby's, Oriental Manuscripts and Miniatures, 23rd April 1997, lot 149 (Hanuman conducting a reconnaissance of the fortress of Lanka).Sotheby Parke Bernet, New York, Fine Oriental Miniatures, Manuscripts, Islamic Works of Art, and 19th Century Paintings, 14th December 1979, lot 225 (there attributed to Garwhal, circa 1800).Another painting from the series is in the LA County Museum of Art, illustrated in R. C. Craven, Ramayana: Pahari Paintings, Bombay 1990, pp. 98-99, fig. 8. Other pages are also found in the Mittal Collection, Shimla Museum, and the Metropolitan Museum of Art, New York.For other pages from the this series see: B. N. Goswamy and E. Fischer, Pahari Masters, Delhi 1997, nos. 143-145, pp. 340-343; D. J. Ehnbom, Indian Miniatures: the Ehrenfeld Collection, New York 1985, nos. 116-118; S. Kossak, Indian Court Painting, 16th-19th Century, New York 1997, no. 62.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 Silk painting with lady and a boy, China, 19th c.h cm 84 x l cm 44,5繪有仕女及童子絲綢画，中国，十九世纪PROVENANCEFrom the estate of the soprano Toti dal Monte (Antonietta Meneghel 1893-1975) acquired during her Asian tournée in 1928.

A painting on paper depicting a dignitary, China, 19th c.h cm 112 x l 52,5描绘朝官纸画，中国，十九世纪PROVENANCEFrom the estate of the soprano Toti dal Monte (Antonietta Meneghel 1893-1975) acquired during her Asian tournée in 1928.

A PAINTING ON PAPER DEPICTING A LADY, China, 19th c.h cm 112 x l 50 (defects)宮廷仕女纸画，中国，十九世纪初 PROVENANCEFrom the estate of the soprano Toti dal Monte (Antonietta Meneghel 1893-1975) acquired during her Asian tournée in 1928.

QIAN SHUN JU (attributed to, 1239 — 1299)Portraits of Periodical OfferingsChina, 18th century or earlierA handscroll containing two sections of painting in ink and colour on silk, each sealed, depicting foreign emissaries parading gifts of jade, coral and beautifully caparisonned horses, a title slip reading Yuan, Qianshun Ju, Zhígòngtú, and a section of calligraphy on paper with a title reading Zhígòngtú, dated December 11th 1385, stamped with five seals and signed with the name of Zhang Shen, a collector, scholar and calligrapher active at the turn of Yuan and Ming dynasties, explaining he appraised a Zhígòngtú and provided it with an introduction.31.5cm x 53cm; 35.5cm x 56cm; 35.5cm x 56cm Provenance: an English private collection, acquired in the 1990s.A very closely related painting dated to the Ming Dynasty is housed in the collection of the Smithsonian's National Museum of Asian Art, Washington DC, accession no F1915.16. The Smythsonian scroll is traditionally attributed to Han Gan (715 — 781), the Tang Dynasty painter renowned for his vivid and spirited depiction of horses from the Imperial stables. Throughout the history of the Chinese empire, the vassal states and tribes were obliged to deliver diplomatic gifts to the court on regular basis. Portraits of Periodical Offerings, Zhígòngtú, (職貢圖 / 职贡图) was a popular theme and a way of recording those foreign tributes arriving at the court and ambassadors delivering them. Each depiction was accompanied by a short description of the diplomat and their country of origin. Examples were commissioned since the Liang Dynasty (526 - 539) and copies made for circulation among the court officials. Horses played a crucial role in these tributary ceremonies as an important commodity and a symbol of status. In Tang dynasty they were imported from great distances as gifts to the Chinese emperors: there was a belief that the steeds form the Sogdian valeys in Central Asia (area roughly covering today's Kyrgyzstan, Tajikistan, Turkmenistan and Kazakhstan) have descended form dragons and have been called Tianma - Heavenly Horses. Some were said to sweat blood, a condition most likely due to a parasitic infection. Both horses and their foreign grooms were in high demand at the subsequent Chinese courts. 《元钱舜举职贡图》18世纪或更早 这幅画卷包含两部分，画布为丝绸，设色，分别有印章，画卷描绘外国使者向朝廷进贡玉器、珊瑚和装饰华丽的马匹。其中一部分为书法，带有简短的题词“洪武乙丑冬至前二日获观钱玉谭职贡图因书其首 ”和五个印章，题签上书有“职贡图”。来源：来自英国私人收藏，购于1990年代。 31.5cm x 53cm; 35.5cm x 56cm; 35.5cm x 56cm

Three prints comprising a print of Hassan El Berberi in Ottoman dress after A.S. Dujardin painting, in an oval 28x20cm, glazed and framed 45x37cm, and a pair of coloured engravings with Asian men in native costumes 22x14cm, glazed and framed 40x30cm. (3)Provenance: Chris Phylactou Collection.

A Chinese painted pottery jar Neolithic period, Majiayao culture, 2300-1800BCPainted in red and black pigment around the shoulder with four abstract human figures, 23cm high.新石器時代 馬家窯文化 马廠類型 人紋四大圈彩陶罐  Provenance: French private collection.The dating of this lot is consistent with Oxford Thermoluminescence test, sample no. C125e52, certificate dated 29 May 2024.來源：法國私人收藏此拍品年份與牛津熱釋光檢測報告第C125e52號一致。Footnotes: This burnished jar is painted with the most classic zigzags and back and red colours of Majiayao Culture. The elongated body may suggest that it is from late Banshan period or Machang Period. The bottom line of the major section of the painting consists of both a straight and a wavy lines, which are typical of these periods. The abstract patterns look like four half bodied human lifting their arms, hand in hand. Their faces are composed of well organised groups of net motifs. They may be derived from fishing nets, as the ancient people located next to the Yellow River were fishermen. It may also resemble the mat made of thick cords from plant fibre, where people at that time sat or slept on. This object may be used in a worship service as it is finely made with human figures. Looking from the top of the object, the shoulder part is covered by the symmetric four large circles, which is rather typical of Machang type pottery, later Majiayao phase.W. SHANSHAN is a London and Paris based gallery that is specialized in ancient art. The gallery exhibits a selection of rare artworks, particularly Asian ceramics, bronzes, stone sculptures from the Neolithic period to 10th century.Condition Report: Loss of pigment. Minot chip which extends to 20mm U shape hairline near the rim. Wear commensurate with age. Small areas near the rim and the lower bottom visible under UV but doesn't appear to be restoration.

Lot to include a reverse painted glass snuff bottle, collection of vintage Japanese prints, South East Asian painting on textile and other. [W]