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Angas, G. F.

The Kafirs Illustrated

Capetown: A. A. Balkema, 1974. Folio (39x56cm), 131pp, 30 plates, in full leather binding, title in gilt on spine and front cover, excellent condition.

A Facsimile reprint of the original 1849 edition of hand-coloured lithography with a new introduction by Frank R. Bradlow.

Archer, Mildred

Company Paintings; Indian Paintings of the British Period

Ahmedabad: Victoria and Albert Museum and Mapin Pulishing, 1992. 4to (29x22cm), 240pp, 152 colour & 7 b/w illustrations, in original binding with dust jacket.

Archer, Mildred

Company Drawings in the India Office Library

London: Her Majesty's Stationery Office, 1972. First Edition, 4to (25x19cm), 298pp, 74 illustrations, in original binding with dust jacket.

Baillie, Mrs. W.W.

Days and Nights of Shikar

London: John Lane The Bodley Head Ltd., 1921. First Edition, 8vo (14x22cm), 241+6pp, grey cloth binding, A very decent reading copy.

Bartholomew, R.L.

Nandalal Bose, A Collection of Essays, Centenary Volume

New Delhi: Lalit Kala Akademi, 1938. 4to (19x25cm), 93 pages, 65 plates, in original cloth binding with dust jacket, good condition.

Bartholomew, R.L.

Jehangir Sabavala

New Delhi: Lalit Kala Akademy, 1984. 4to (25x25cm), 44pp, 35 plates, in original binding with dust jacket.

Best, J.W.

Indian Shikar Notes

Allahabad: The Pioneer Press, 1922. 8vo (13x19cm), 237+xvi pp, 1 map, in original green cloth binding, good condition.

Bradley Birt, F.B.

Bengal Fairy Tales

New York: John Lane, The Bodley Head. 1920. First Edition, 4to (20x26cm), 209+viii pp, 6 plates, cloth binding, gilt decoration on spine and front cover, good Condition.

Burke, W. S.

The Indian Field Shikar Book

Calcutta: Thacker, Spink & Co., 1920. Fifth Edition, 8vo (18.5x12.5cm), 585+v pp, in original green cloth binding, good condtion.

Chakravorty, Ramendranath

Abanindranath Tagore His Early Work

Calcutta: Indian Museum, 1951. 4to (31x24.5cm), 19+xiii pp, 13 color plates, in paperback pictorial binding.


This album presents art-lovers and students of art early pictures of paintings and frescoes of Abanindranath, the master-artist, and are steeped in emotion. They breath the simplicity of a child, the bashfulness of a village bride, and the pathos of a pastoral flute.Latterly in his pictures from Meghaduta and Omar Khayyam and lastly in those from the Arabian Nights, this note of the pastoral flute seems to have flourished into the resonant melody of the Vina. The close of the Vrndaban cycle seems to have birth to the cycle of Mathura.But heart of the artist, rich in emotion and sympathy, delights more in Vrndaban phase. I seeks to pierce through the veil of technique in order to reveal in art the fullest expression of emotion and love.It is also remarkable how he has endeavored to liberate Indian art from the trammels of ancient and medieval technique - the technique of Ajanta, Mughal, Kangra and other schools of painting.

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