Sunday August 15th 2021
Online Catalogue XI
AUGUST issue
WHO WE ARE The Asian Art Society features an online catalogue every month listing quality works of Asian art that have been thoroughly vetted by our select members, who are the in-house experts. By bringing together a group of trusted dealers specializing in Asian art, our platform offers a unique collection of works of art that collectors will not find anywhere else online. To ensure the highest standards, gallery membership is by invitation only and determined by a selection committee of influential gallerists /AsianArtSociety
Cover Image: Head of Bodhisattva presented by Kapoor Galleries on p. 62
Table of Contents IntERVIEW Sanjay Kapoor
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CATALOGUE CHINA HIMALAYA S INDIA GANDHARA SOUTH-ASIA JAPAN
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SANJAY KAPOOR Gallery Director and owner of Kapoor Galleries since July 2012 . Since 1975, Kapoor Galleries Inc. has played an instrumental role in educating the public about Ancient and Classical Fine Arts of India and the Himalayas and encouraging interest in Indian art among collectors and institutions. For over forty years, they have been dedicated to building strong client-dealer relationships, earning the respect, loyalty, and trust of those with whom we build collections. Kapoor Galleries has guided some of the most significant public and private collections of the 20th century as an arbiter of connoisseurship in the field. Kapoor Galleries Inc. is consistently the privileged custodian of top-quality bronzes, sculptures, miniatures, and thangkas, many of which are now part of the collections of major museums, including The MetropolitanMuseumofArt,theLosAngelesCountyMuseumofArt,theArtInstituteofChicago,TheSanDiego Museum of Art, and the Virginia Museum of Fine Arts.
Contact: (212) 888.2257 Sanjay@kapoorgalleries.com www.kapoorgalleries.com
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Interior shot of Kapoor Galleries showcasing our 2020 God/ Goddess catalogue, a selection of Indian miniature paintings, and a grey schist head of a bodhisattva from the ancient region of Gandhara
Kapoor Galleries Inc. is consistently the privileged custodian of top-quality bronzes, sculptures, miniatures, and thangkas, many of which are now part of thecollections of major museums, Is collecting creative, in your opinion? There is certainly a level of creativity in collecting, as all buyers have autonomy in which objects they purchase. While some collectors focus on diversifying their assets from an investment standpoint, many have a genuine interest in the art and this informs which genres and themes they look for. Thus, it is their vision and creativity that ultimately determines the contents of their collection, making each collection unique. Furthermore, after acquiring the art, collectors must make decisions on how to display it - this introduces another level of artistry that informs how the art is viewed. The facts and points tie in nicely with my firm belief in the client/ dealer relationship, that extends far beyond business and into friendship as well. Professionals are needed to help in navigating new fields. You are the fourth-generation dealer with Kapoor Galleries with a wellrounded attention to detail. Is the research also some kind of art in itself? While the aim of research is to uncover and compile factual information about the objects, a kind of artistry does come into play when presenting such information. The first level of this comes in the writing itself, as any type of writing requires skill and creativity. Beyond this, however, is which aspect of the artwork’s narrative you choose to highlight - whether it be a formal analysis of the artistic style, the religious context, or the actual story behind an illustration. A scientific approach we take in conjunction with the above is done through the use of our digital and substantial print archives of records and publications.
These further tie into the single most important aspect of our process- Provenance comes first, and we take duediligence to the next step, personally guaranteeing your objects. WHOSE RECOMMENDATIONS DO YOU TRUST IF YOU HAPPEN TO BE HESITATING IN BUYING AN ARTWORK? Ramesh Kapoor (when he is talking to me) Dr. Pratapaditya Pal (also when he is talking to me) Unfortunately the list is a bit short- as the majority of the acquisitions and sales are made from both my own experience (in the present moment), but culminated by the decades of experience I have been blessed with access to thanks to pioneers in the field like Ramesh Kapoor, Dr. Pratapadity Pal, and numerousother friends, scholars, and clientssuch as: Dr. Daniel Ehnbom, Robert Del Bonta, Mitche Kunzman, Dr. Gursharan Sidhu, Dr. Amina Okada, Dr. Gautama Vajracharya, Jeff Watt, Pujan Gandhi, and Dr. Vidya Dehejia. Despite your need to research before making a purchase, has there ever been a time you wanted to buy a work on the spot? With the type of work my gallery specializes in, it is imperative that the pieces we buy have provenance documentation. However, this information is often presented with the object, and should the object have good provenance, I would be more enticed to make a quick decision. Also, working in this field as long as I have, I am often already familiar with particular objects that have circulated, and I have a keen eye to detect the worth of this art, as within the niche nature of this field the ability to identify important artists, schools, periods, and sets is imperative. There is no simple “signature” or artists catalog raisonne to reference. I find that although the education of working in the field (or “school of hard knocks”) is best, as you really do your research when putting your money on the line - the tuition is quite high, as everyone makes a mistake at some point or another. You are the gallery’s point person for all social media and digital communication. Do you browse works on Instagram? What
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are your thoughts on Instagram and the art scene? While I occasionally come across artworks on Instagram that I’d like to inquire about, any buyer should be extremely cautious with this, and in general I would say do not purchase an object without viewing it in person first or contacting the seller for more information unless you’ve already built a repertoire or have extensive knowledge of their history and reputation. Artworks will always look different in real life than in images, and Instagram abounds with accounts that are not reputable. So, while the platform may be a nice tool to get an idea of what type of art one would like to collect, it should not be viewed as a sure-fire way to secure fine works. However, it can be a very good tool for contemporary artists to amass a following, and nonetheless serves to propitiate the vital and important interest in classical and ancient Indian and Himayan Artmore so important to younger generations. What would you recommend beginner collectors to research on before making a purchase? This is a question I could talk for days about, and would be happy to guide anyone that wishes to begin: Sanjay@Kapoorgalleries.com It is very important that you keep an eye on the market, its trends, what sets are in vogue. A reputable dealer can help you to begin until you have enough confidence on your own. There simply is not enough book research that can be done without being exposed to a large amount of objects in person. How are you involving a younger audience into this Indian antique art scene? This is an issue I am very passionate about, as the longevity of such art will lay in the hands of the younger generations. With the internet and social media becoming more integral to our society over the years, especially in the midst of the pandemic, I am trying to secure a presence across all relevant platforms to reach a younger audience. -We have made a very cutting edge website - We have built several VR platforms and 3D walkthroughs - We produce extremely high quality and accessible catalogs,
An 18th century Mughal painting depicting women drawing Frieze Masters 2019 water from a well both digital and print - We are constantly engaging in all forms of social media - We work with non-profit organizations such as Himalayan art resources on a regular basis. YOUR COLLECTION INCLUDES CONTEMPORARY INDIAN ART. WHEN DID YOU START COLLECTING AND WHAT WAS THE REASON? Sometimes I will see a piece that I simply like - I recentlyboughtameijiperiodjapanesedragonwitharock crystal orb - the contemporary Indian art is along the same lines of reasoning. I have purchased Jamini Roys in the past, although modern, for resale. What you may call “contemporary” would be my collection of Indian Travel Posters, including ones of Air India, from which I have the largest collection in private hands. What are your thoughts on the current Indian art scene? I am very interested yet quite disappointed. The Indian economy is booming, yet I still have hardly seen any resources go into increasing and developing their museums and scholarly research institutions. I had hoped the younger generations would start to appreciate the classical arts, however it has sadly cometo be my experience that except for a handful of Indian collectors, the market has been growing maturely for quite some time, and is mainly in the interest of academics, institutions, and collectors in the USA and Europe. What is the most treasured item you have bought? The most recent example I can think of also ties into your “bidding on something in the heat of the moment” question. There was an Indian miniature painting of Chinnamasta at a small auction house in Texas estimated at 4-600 USD. I would end up winning it for almost 100k USD, but was lucky to have trusted my eye, as later on we found a signature by Nainsukh on the back.
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AUGUST ART WORKS
Pieces are published and changed each month. The objects are presented with a full description and corresponding dealer’s contact information. Unlike auction sites or other platforms, we empower collectors to interact directly with the member dealers for enquiries and purchases by clicking on the e-mail adress. In order to guarantee the quality of pieces available in the catalogues, objects are systematically validated by all our select members, who are the in-house experts.. Collectors are therefore encouraged to decide and buy with complete confidence. In addition to this, the Asian Art Society proposes a seven-day full money back return policy should the buyer not feel totally satisfied with a purchase. Items are presented by categories, please check the table of contents. Feel free to ask the price if the artwork is listed with a price on request.
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01 Bronze Buddhist Lion Incense Burner China Late Ming dynasty (Circa 1600) 17 1/4 x 22 in (44 x 56 cm) Price: 45.000 USD
Object Presented by: Michael Goedhuis M.: +44 (0)77 6062 5375 E.: london@michaelgoedhuis.com W: www.michaelgoedhuis.com
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02
A Guangxi Taihu scholar’s rock
China Carved stone Height: 30 cm fitted hongmu stand Price: 14.000 USD
Object Presented by: Rasti Chinese Art M.: + 852 2415 1888 E.: gallery@rastichineseart.com W: www.rastichineseart.com
The dark-grey stone with lighter veining, shaped in the form of an irregular arched cave entrance or eye of a needle, with large central opening and double-pointed base
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03
Tang Dynasty earrings
China Tang Dynasty (618 - 907) Baroque pearls, turquoises 4,5 cm x 2,5 cm Price: 3.500 euros
Object Presented by: Pascassio Manfredi M.: + 33 (0) 642195423 E.: pascassiomanfredi@orange.fr W.: www.pascassio-manfredi.com
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04
Boulder
China Wood stand Length: 21,5 cm Price: 12.000 USD
Object Presented by: Rasti Chinese Art M.: + 852 2415 1888 E.: gallery@rastichineseart.com W: www.rastichineseart.com
A large translucent brown and golden agate boulder naturally formed in the shape of a turtle, the top with markings remarkably similar to the reptile’s shell
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05 Bronze He and Cover China Han dynasty 206 BC - 220 AD Height: 11 in (28 cm) Price: 40.000 USD
Object Presented by: Michael Goedhuis M.: +44 (0)77 6062 5375 E.: london@michaelgoedhuis.com W: www.michaelgoedhuis.com
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06
Bridge scholar’s rock
China Fitted wood stand Width: 7,3 cm Price: 15.000 USD
Object Presented by: Rasti Chinese Art M.: + 852 2415 1888 E.: gallery@rastichineseart.com W: www.rastichineseart.com
A golden and russet agate bridge scholar’s rock, the gnarled translucent stone of twisted form
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07 Tibetan manuscript cover with Five Transcendent Buddhas and avatars Tibet Circa 13th century Wood 65.5 cm x 20.5 cm Price on request
Object Presented by: Hollywood Galleries M.: +852 2559 8688 E.: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com
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08 Five-pointed Spear Tibet 17th-18th century Length: 29 1/8 in (74 cm) Provenance: Jean Claude Moreau-Gobard. The Andrault Collection. Himalayan Art Resources (himalayanart.org), item no. 7653. Price: 80.000 USD
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W: www.kapoorgalleries.com
This five-pointed spear has stylized prongs that blaze with gilded scrolling flames, complementing the gilded skull set in its base. As a weapon in the hands of wrathful deities, the trident symbolizes, among other things, the destruction of the three poisons that drive suffering in samsara: ignorance, greed, and hatred. Trident banners are often used to decorate the roofs of protector chapels dedicated to such wrathful deities. The present spear with its five points, though symbolically synonymous with the trident, trisula, or mdung-rtse-gsum, most closely resembles that which accompanies an image of the state oracle of Tibet known as Nechung Chokyong or ‘Religious Protector of a Small Dwelling [a monastery]’ in the great collection of the Potala Palace in Lhasa. This Nechung Chokyong incarnation lineage has held great sway over the Ganden Phodrang since the seventeenth century and the ritual investiture of this figure--who has the power to transcend his human body and embody a protective retinue figure of Pehar Gyalpo installed as an important protector by the Fifth Dalai Lama and his minister—includes the present five-pointed spear. The present ritual object is certainly rare. However, a nearly identical trident resides within the Musée Guimet in Paris (acc. M15918).
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09 Green Tara with twenty one Taras thangka Tibet 18th century Mineral pigment on cloth 48 cm x 38 cm Price on request
Object Presented by: Hollywood Galleries M.: +852 2559 8688 E.: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com
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10 Dashavatara Ganjifa Game South India 19th century Papier-maché Diameter of cards: 5.5 cm The box: height and depth: 7 cm Length: 19.5 cm Provenance Private collection, Amsterdam Price:4.250 GBP
Object Presented by: Joost van den Bergh M.: +44 (0)20 7839 8200 E.: joost@joostvandenbergh.com W: www.joostvandenbergh.com
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11 Head of Kālī Central India Circa 10th century Pink sandstone Height: 22 cm Provenance: Collection Eskenazi, Milano, 1983. Collection Marco Polo Gallery Paris. Sotheby’s London, 21 October, 1993, lot 542. Sotheby’s New York, 24 september, 1997, lot 175. Price: 12.000 euros
Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com
The iconography of a wrathful deity Expression of the complex and ambiguous nature of Śiva, with bulging eyes, dilated pupils, the forehead surrounded by a diadem of heads (kapāla) and severed hands (chinnahasta), this figure could represent the feminine deity Kālī (“the black one”). This fierce figure (ugra) i carnates one of the multiple manifestations of the Great Goddess also called Mahādevī, consort of Śiva and mother of the Trimūrti, at the origin of all creation. The presence of a third eye is no doubt a fierce counterpart, personified energy (Śakti) of Śiva. As for the hair, treated in curls on the forehead and in the hairstyle, attests to the feminine character of this figure, potentially dismissing the identity of Bhairava, more represented with a bun (jaṭā-mukuṭa). Her association with the world of the dead, if not with the world of warlike forms, is confirmed by the imposing tiara of severed heads and hands, symbols of liberation from evil and vanity. A witness to the doctrinal evolutions in Northern India Kālī is particularly popular in northern India, where she remains one of the most worshiped deities in Bengal. Mentioned in Devī-māhātmyam as early as the 6th century, she appears during a battle between divine and demonic forces. The gods called upon her when they could not defeat the demon Raktabīja whose every drop of blood that fell to the ground gave birth to a new demon. In the battle against Raktabīja, after appearing from the third eye of Durgā, she used her tongue to prevent the demon’s blood from falling to the ground and managed to triumph over evil. Since then, Kālī is considered one of the most powerful forms of Śakti, or Mother Goddess who is believed to restore the balance between the forces of good and evil through destruction. Her identity is more associated with the mass grave, evoked by the representation of severed heads and hands placed in front of the hair.
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12
Rama and Sita Enthroned
Punjab Hills, Guler Circa 1830 Gouache heightened with gold on paper Image: 9 x 6 ¾ in. (23 x 17.2 cm.) Folio: 9 ⅞ x 7 ¾ in. (25.1 x 19.6 cm.) Provenance: Christie’s South Kensington, 4 October 2012, lot 211. Price:26.000 USD
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W: www.kapoorgalleries.com
This scene illustrates the joyful conclusion of the great Hindu epic, the Ramayana. Rama, the seventh incarnation of Vishnu, sits alongside his beloved Sita upon a gold throne (gaddi) supported by tiger-shaped legs within a pavilion. Before the auspicious couple stands Hanuman, the monkey chief who had assisted Rama in killing the demon Ravana and recovering Sita. With a book opened in his hands, Hanuman looks up at them with a large toothy smile. The divine couple is enthroned on a deep red Mughal-style carpet with floral motif and surmounted by a parasol bedecked in jewels and made of gold. Above, fabric panels are raised and tied in between concisely modeled arches. A host of attendants and onlookers watch from both behind and from the foreground. Amongst the crowd, Lakshmana is pictured bearing a fly whisk (chauri) alongside Jambavan, the king of the bear army. Exceptional detail is given to the blooming tree which stems from behind Jambavan. A creeping vine gracefully winds its way up the knots and texture of the trunk, leading the eye to the lush green foliage with blooming flowers interspersed with small birds. For another illustration of this subject, see The San Diego Museum of Art, Accession no. 1990.1283.
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13 A leaf from the Devi Mahatmya: Homage of the Gods Guler Circa 1850 Opaque watercolor heightened with gold on paper 8 ¾ x 12 ⅔ in. (22 cm x 32 cm) Provenance: Collection of the Marquess of Tweeddale. Sotheby’s New York, 16 & 17 September 1998, lot 561. Private collection, United States Price: 15.000 USD
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W: www.kapoorgalleries.com
This bright and striking painting depicts a delegation of gods, led by Indra and Agni, who worship the various forms of the great goddess Devi: Indrani, Lakshmi, Brahmani, Maheshvari, Varahi, Bhairavi, Narasimhi, Kaumari, and Kali at the forefront. The painting is in the Kangra style, which became well established in the Guler State by the mid-eighteenth century. The detailed rendering of each figure, with bright orange, green and light pink hues, reflect the evolution of the Guler style throughout the nineteenth-century. The distinct orange horizon is particularly telling of its date.
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A WHITE SAPPHIRE AND SPINEL NECKLACE South India 19th century Price: 8.000 GBP
Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
Two lines of white sapphires set in the kundan style on either side of a central floral element. Each petal is finished with a single spinel. The reverse is plain gold.
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A DIAMOND RUBY AND EMERALD PENDANT South India 19th Century Length: 5cm Price: 2.800 GBP
Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
A lovely tikka pendant depicts a flower in the crescent moon. The pendant set with Basra pearls. The reverse plain gold.
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16 A Drunken Prince Led to Bed Lucknow, North India 18th century Gouache heightened with gold on paper Image: 9 5/8 x 7 1⁄2in. (24.5 x 19cm.) Folio: 13 x 11 1⁄4in. (33 x 28.5 cm.) Provenance: Christie’s, London, 4 October 2012, Lot 178. Price: 40.000 USD
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W: www.kapoorgalleries.com
Lucknow, the Indian capital of Uttar Pradesh, had a reputation for decadence and over indulgence which permeated throughout their poetry, art, and culture. The present painting illustrates this zeal, showing a finely dressed prince who has reveled into the early morning hours and has consequently become intoxicated. He is led to his bedchamber by female attendants and musicians as dawn is heralded by the cockerel and the grey half-light of the new day. The Nawabs of Awadh (the region where Lucknow is located) were originally appointed as governors of the rich agricultural province by the Mughal empire during the 18th century, but gained independence as Mughal power faltered. In the latter part of the century, many Mughal artists, poets, and nobility fled to Awadh in search of stability amidst uncertain times for the Mughal empire. This socio-political climate, along with a growing European presence, prompted the development of an Awadh substyle. Artists took inspiration from European styles, paying attention to spatial depth and figural volume, hoping to escape the Mughal standards of painting in search of their own. One characteristic and widespread feature applied across Awadh paintings is the aerial perspective, exemplified in the current work which is viewed slightly above eye level. The Awadhi region saw itself as a cultural successor to the Mughal dynasty when they showed signs of decline in the 18th century, providing a pool of patrons for artists to work for who commissioned pieces like the painting illustrated here. With gracefully patterned, gold illuminated margins, this work demonstrates the skill and precision possessed by the artists of Awadh before they conformed to the popular Company style in the 19th century.
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17 head of a bodhisattva Ancient region of Gandhara 2nd-3rd Century Height: 13 in (33 cm) Provenance: Private collection, Belgium, acquired in the 1960s, by repute Art Loss No. S00156710. Himalayan Art Resources (himalayanart.org), item no. 7774. Price: 175.000 USD
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W: www.kapoorgalleries.com
The bodhisattva’s serene expression belies strong features and bow-shaped lips reminiscent of classical Greek sculpture. His broad forehead offset with a small circular urna is his most overt Buddhist feature. His precious jewelry, mustache, and elaborate hairstyle are typical of bodhisattvas, who are always richly attired. His ears, now lost, would have hung distended with the weight of heavy earrings. His wavy hair is drawn into a split chignon by a pearl and rectangular beaded ornament; a hairstyle typically reserved for the future buddha Maitreya. The sculpture is made of schist, a widely used material in the Gandharan period, which allows for detailed carving, as exemplified by the deep definition of the hair and jewelry. The features of this sculpture are representative of bodhisattvas from the early Gandharan period. Compare this head to that of a large standing figure of Maitreya at the Metropolitan Museum of Art (acc. 13.96.17).
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STUCCO HEAD OF BUDDHA SHAKYAMUNI Ancient region of Gandhara, Pakistan Circa 4th century Height: 52 cm Provenance: Private collection, Japan Price on request
Object Presented by: Joost van den Bergh M.: +44 (0)20 7839 8200 E.: joost@joostvandenbergh.com W: www.joostvandenbergh.com
This larger than life-size stucco head of Buddha originates from the Gandhara region, the area that is present-day Afghanistan-Pakistan. The sensitive modelling of this head is distinguished by great attention to detail, this was achieved by working in stucco, giving it a more expressive quality compared to the formal, somewhat harder, images in stone. The technique of stucco was an invention of the late Hellenistic period in Alexandria, where gypsum was first used as a cheaper substitute for marble. As trade relations with the Roman West intensified in the early first century, the technique spread from there to Iran and India. Heads of statues were constructed on a rough core of lime plaster mixed with straw and small stones, which was then covered with an outer layer of finer stucco for the modelling of the features and hair.
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A RUBY AND GOLD HAIRPIN Sri Lanka 19th century Length: 8 cm Price: 900 GBP
Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
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20
Seated Buddha
Śrī Lanka 10th century (Late Anurādhapura period) Gilt copper alloy Height: 8 cm Provenance: Private collection, US, since 1957 Exhibition: Guardian of the Flame: Art of Sri Lanka, Phoenix Art Museum, 8 February – 11 May 2003 The Cantor Art Center, Stanford University, 2 March – 12 June 2005 University of Virginia Art Museum, 21 January – 19 March 2006. Publication: Phoenix Art Museum, Guardian of the Flame: Art of Sri Lanka, Phoenix, 2003, p.84. Price: 30.000 euros
Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com
Very rare bronze from Śrī Laṅkā, dating back to the 10th century, representing Buddha Śākyamuni – the historical Buddha – here represented sitting in meditation with his hands in his lap (dhyāna mudrā). He is in the so-called noble pose (vīrāsana), his legs simply crossed one over the other, with only the sole of the right foot visible. From the top of his head is emerging the flame ornament (siraspata) which indicates his spiritual transcendancy. The monastic garment, here rendered plain, covers only his left shoulder and fine incisions highlight the folded shawl (saṃghāṭi) that falls to the waist and also on his back. Similar incisions are visible on the hem elegantly edging the robe and running across the chest and calves. Admirable example of the Sinhalese Buddha style, this beautiful object presents a perfect balance of stylized shapes and finished with extreme refinement. The face, almost circular, shows the evident desire to reflect individualized features: the small and well-designed eyes, the large and flat nose and the fleshy mouth give a very lively expression. We are also very enthusiastic about the soft modeling of the torso and the very graphic geometry, created by the broad and robust shoulders, the slender waist and the angular knees. Main subject of the sacred iconography, this representation of the Blessed One is part of the exceptional production, at the end of the second period of Anurādhapura (459-993), of small gilded bronzes destined for private oratories or to be used as ex-votos. It also fits harmoniously into the series published by Ulrich von Schroeder. This rare Buddha comes from a private American collection since the late 1960s and was published and exhibited in 2003 at the Phoenix Museum of Art in the United States to illustrate the arts of Śrī Laṅkā
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21 Padaung earrings Padaung, Burma 19th century 4,2 cm x 2 cm For related samples, see: Colette Ghysels A World of Earrings Skira 2001 Price: 2.200 euros
Object Presented by: Pascassio Manfredi M.: + 33 (0) 642195423 E.: pascassiomanfredi@orange.fr W.: www.pascassio-manfredi.com
The shape is reminding a "Kedi"
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STANDING TORSO OF VISHNU Khmer 11- 12th Century Baphuon Style Sandstone Height: 64cm Price: 16.000 USD
Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
Finely carved wearing a short sampot, the folds falling in neatly arranged pleats in the front and secured with a belt, the stone finely polished. Vishnu is the second god of the Trimurti, along with Brahma and Shiva. The Trimurti embodies the cycle of manifestation, conservation and dissolution in the universe where Brahma is the creator, Vishnu the protector and Shiva the destroyer.
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23 Short Sword Vietnam Dông Son culture 3rd – 1st century BC Bronze L.ength: 40 cm or 15 ¾ in Provenance: Private collection, France Art Loss Register Certificate, ref. S00091781 Price: 32.000 euros
Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com
This sword is exceptional in more than one way: in its rarity while we only know a few ones in the Dong Son sculpture and by the sculpture that ornaments its hilt. Archaeologists are used to call this short sword as “Nui Nua sword”, because a very similar Dongsonian one was found in Nua mount of Thanh Hoa province. It is now exhibited in the Museum of Thanh Hóa, a city in the North Central Coast region of Vietnam. The rarest feature of this sword is its representation of a woman, identifiable by her long sarong. Men, for their part, wore short loincloths. These anthropomorphic pieces effectively played a precious role in furthering knowledge of apparel in times past. The sarong is decorated with spirals and hatching, both very typical of Dong Son bronzes. One can also distinguish a belt with a band of cloth. Another interesting detail is the axe held in the right hand. If women are regularly represented in Dong Son iconography, if only because of the role they played throughout the centuries – let us mention the legend of Au Co, spouse of King Long Quan, considered being the founding and protecting mother of the country – it is very rare to find feminine figures carrying weapons. Even if there is a heavy archaeological patina, the face is highly expressive. The details are finely worked and great emotion streams out, through the wide eyes that dominate a narrow face, which inscribes itself harmoniously in the lines of the sword.Jewellery was very important for Dong Son men as much as for women. This woman is wearing a heavy necklace and large earrings. Even more impressive is her high headdress in a cone shape that brings to light the great mastery of the Dong Son bronze smiths. The force of the object and the richness of its decoration suggests a ritual (or sacrificial) use during important events or ceremonies, that seem to have been very frequent in Dong Son society, if we judge by the numerous representations of dancers and musicians on ritual objects such as drums, situlas and knives.
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A GOLD AND DIAMOND RING Bali 19th century Diameter: 1,7 cm Size: US6, 8.1 grams Exhibition: Markbreiter Collection Price: 3.000 GBP
Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
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25
Hinggi, Man’s shoulder or hip cloth with dragons
East Sumba Early 20th century Cotton; warp ikat, gold staining 295 x 119 cm / 116 x 47 in Provenance: Dutch Collection Price: 15.000 USD
Object Presented by: Thomas Murray M.: + 1 415.378.0716 E.: thomas@tmurrayarts.com W: www.tmurrayarts.com
This rare five color hinggi features Ming jar-style dragons, and a fifth color of yellow staining symbolizing gold; these types of cloth could only be used by a Raja.
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26
Lau Pahudu, Royal Skirt with ancestors, trees and birds
Pau Kingdom, East Sumba, Indonesia Circa 1900 Cotton: supplementary warp, yellow dye daubing 150 x 63 cm Provenance: Dr Laurence Moss Collection, East Indonesia Research Anthropologist Exhibition: The Textile Art of East Indonesia, U.B.C., Fine Arts Gallery, Vancouver, 1984 Fabric Traditions of Indonesia Museum of Art, Washington State University, Pullman, WA, 1984 The Bellevue Art Museum, Bellevue, WA, 1985. Publication: Fabric Traditions of Indonesia, 1984, pg 44 (fig. 62). Price:15,000 USD
Object Presented by: Thomas Murray M.: + 1 415.378.0716 E.: thomas@tmurrayarts.com W: www.tmurrayarts.com
This is an old queen's sarong, with a human figure, showing shamanic X-Ray vision through his ribs, a tree with birds and royal gold color stained on.
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27 Hinggi, Man’s shoulder or hip cloth with deer motif East Sumba 19th or very early 20th century Cotton; warp ikat 269 cm x 104 cm Price:15.000 euros
Object Presented by: Thomas Murray M.: + 1 415.378.0716 E.: thomas@tmurrayarts.com W: www.tmurrayarts.com
With great color and fine graphics, we see a royal deer motif and extremely beautiful central zone known as patola ratu. This textile was perfectly preserved in a Dutch colonial family for 100 years.
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28 KENDI Water container East Java Late 19th century Brass engraved with shadow puppet forms, flowering plants and inscriptions in Jawi. Height: 22cm. Price: 5.500 euros
Object Presented by: Jonathan Hope M.: 44 77 11 961 937 E.: jonathan.glenhope@virginmedia.com IG.: @tribalartandtextiles
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29
A LIFE-SIZE IVORY OKIMONO OF A MIKAN (CLEMENTINE-LIKE FRUIT) Japan Taisho-period Early 20th century Coloured ivory Diam. : 5,5 cm, Height: 2,3 cm Price: 4.500 euros
Object Presented by: Kitsune Gallery M.: + 32 476 87 85 69 E.: arie.vos@kitsune.be W: www.kitsunegaroo.com
A very attractive Japanese trompe l’oeil sculpture simulating a partly pealed mikan. In good condition, with some classical ivory age cracks.
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30 Kannon (Guanyin) Sculpture Japan Edo period 17th century Bronze Figure: Height: 24,5cm Stand: Height: 2cm Provenance: Shukutsu-san Kannon-in temple, Saitama Prefecture, Japan Price: 6.000 euros
Object Presented by: Gregg Baker Asian Art M.: +32 468 00 56 85 E.: info@japanesescreens.com W: www.japanesescreens.com
A bronze figure of Kannon Bosatsu (Guanyin, Avalokiteśvara), wearing flowing robes and holding a lotus flower in the left hand, the right hand in the yogan-in (granting of wishes) mudra, the hair is arranged in a tall standing top knot, standing before a mandorla, with wood stand The mandorla inscribed: Chichibu sanjuichi ban (Chichibu, no. 31) Shuganji (Shukutsu-ji temple) Kukei The inscription indicates that this figure was originally at Shukutsu-san Kannon-in, the 31st temple of the Chichibu 34 Kannon Sanctuary, a pilgrimage route which started in 1234 in the Chichibu area, present-day Saitama Prefecture, Japan. Kannon, the Bodhisattva of mercy, personifies compassion and is one of the most widely worshipped Buddhist divinities in Japan. The name Kannon, meaning 'watchful listening' is the shortened version of the original title, Kanzeon, meaning 'the one who constantly surveys the world listening for the sounds of suffering'. According to Pure Land Buddhism the task of Kannon is to witness and listen to the prayers and cries of those in difficulty in the earthly realm and to help them achieve salvation. Veneration of Kannon began in Japan in the late 6th century, soon after Buddhism had been introduced to Japan by way of China and Korea. Kannon serves various functions including protecting the Six Realms of Karmic Rebirth, acting as patron of motherhood and children, and protecting the souls of infants lost during childbirth. The result of Oxford Authentication Ltd thermoluminescence test, N119f87, is consistent with the dating of the object.
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31 A white laced lacquered nerigawa tosei gusoku armour (“batman”) Japan. Late 18th century Price: 36.000 euros
Object Presented by: Kitsune Gallery M.: + 32 476 87 85 69 E.: arie.vos@kitsune.be W: www.kitsunegaroo.com
This nerigawa was designed to enhence mobility, yet preserving maximum protection. Heavy weight metal parts were substitued for lacquered leather; the lacquer finish imitating the skin texture of a reptile like creature. The creation of this armor set must have been an expensive and time consuming activity. It also explains why this type of tosei gusoku (armour) is rarely seen. The bear fur “Yaro” kabuto (helmet) is adding a powerful look to the entire configuration. It comes with a moonshaped maedate (forecrest) depicting a bat. Both the mabisashi (peak) and shikoro (neck guard) attached to the kabuto are matching all other parts from this armour. The hoate (face protection mask), is correspondingly to the kabuto, covered with bear fur and has a kusari yodarekake (chainmail throat guard). The nimai do (two-part cuirass) has a kusazuri (skirt) done in the same manner as the sode (shoulder guards). Finally the sangu (kote (armoured sleeves)/ suneate(shin guards) / haidate(thigh armour)) are all matching with the rest of the armour. A splendid armor in very good condition (the ears were replaced and the mabizashi possibly had a lacquer restoration somewhere in the past). This armour comes with its original storage box. We have baptized it “batman”.
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32 Ōtagaki Rengetsu: Tea Cup with Wild Geese Painting and Poem Japan Signed by Rengetsu Late Edo Period 19th century Glazed stoneware with underglaze iron-brown painting 3,8 cm x 7 cm Inv. No. 19.038 Price: 6.500 euros
Object Presented by: Galerie Kommoss M.: +49 (0)30 9854 1123 E.: info@galeriekommoss.com W: www.galeriekommoss.com
A small teacup made by Buddhist nun, poet and artist Ōtagaki Rengetsu for the Japanese sencha tea ceremony. This tiny but sublime item is a wonderful example for Rengetsu’s excellent skills in rendering synesthetic impressions. The hand-modelled teacup is inscribed in iron-brown underglaze with one of her poems that echoes the sketch-like painting of three flying birds: こゑなくば かれも雲かと いとはまし 月にくまなす 天つかりがね Dark clouds across the moon unwelcome until I hear their cries – a sky full of wild geese. Here, Rengetsu describes a scene of a darkening sky that first seems to be threatening and unpleasant, just until the moment one hears the voices of clamoring wild geese – a fortunate symbol in Japan. While combining poetry, calligraphy and painting in just one small everyday item, she is creating a meaningful, complex artistic work of art. By integrating the abbreviated images of three birds between her written words on the cup's surface, Rengetsu is echoing the tension from her poem between the invisible and the visible, the imaginary and the concrete, the holy and the secular.
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33 A seated skeleton and calligraphy A kakemono (hanging scroll) by Hyakunyo Jihō (1731 – 1804) Japan Edo period 18th century ink on paper Scroll: H. 181cm x W. 30cm Painting: H. 105.5cm x W. 27.5cm Signed: Hyakunyo Seals: Senkai sambō (one thousand worlds, a room in a mountain), Jihō, Ji Price: 3.200 euros
Object Presented by: Gregg Baker Asian Art M.: +32 468 00 56 85 E.: info@japanesescreens.com W: www.japanesescreens.com
Inscribed: Vow your devotion to Shakyamuni Buddha and Amida Bodhisattva. You must not be frightened by the ebbing of Kalpa (Aeon) and the many Sufferings, nor should you wish for Ease and Comfort. Beware of the approaching threat of kataku (the Burning House) as no day passes in which smoke does not rise from bodies being cremated and burnt to ashes. A Buddhist monk Hyakunyo was born in Omi-cho, Shiga prefecture, and entered the Tendai sect complex on Mount Hiei where he spent most of his adult life before returning to his home at Omi-cho. After his return he built a small temple, an important part of the local community. Hyakunyo often painted for his supporters as a token of his gratitude. The inscription on this scroll refers to the kataku (burning house) otherwise known as the Three Carts and the Burning House parable, featured in the Lotus Sutra. The main character in this parable is a wealthy old man who has many children living in an immense mansion. One day his house catches fire and quickly engulfs the whole building while all his children were playing inside totally absorbed by their game, unaware of the imminent danger approaching. Their father, who was outside the house, tried to warn them to come out at once but to little success; the children showed no understanding of the danger and continued playing. On his second attempt to save his children, the rich man lured them out by promising the three kinds of animal-drawn carts the youngsters had always wanted. He said he had goat, deer and ox-drawn carts waiting for them outside the house to play and that they should hurry out. Hearing this they rushed out and escaped the fire. Nevertheless, once his sons and daughters were outside the father presented each one of them with a cart of identical size, quality and greater value than the ones originally promised. They were adorned with fine rare jewels, covered by canopies, lined with carpets and cushions; each carriage was drawn by a handsome and strong white ox attended by an array of servants. Buddha then asks his disciple if this father can be held responsible for lying to his children and not keeping his word, and they both conclude that it is agreeable to use white lies to awaken people and help them attain Buddhahood. This parable is heavy with analogies and symbolisms
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where the burning house is the world and the flames are the sufferings of birth and death. The rich man stands for the Buddha who appears in this troubled world to save people, the children are all living beings and the games in which they are so absorbed in are worldly pleasures. The three kinds of carts originally promised represent the three provisional pre-Lotus sutra teachings, and the great white ox-drawn cart symbolises the supreme vehicle of Buddhahood which is the Lotus Sutra. For more details, please visit: http://japanesescreens. com/catalogue/scrolls/7182/
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34 Utagawa (Ichiyūsai) Kuniyoshi (1797-1861) Title: Watanabe no Tsuna (渡邉綱) battles the demon Ibaraki at Modori Bridge From the series A Mirror of Warriors from our Country (Honchō musha kagami - 本朝武者鏡) Woodblock print (nishiki-e); ink and color on paper Signature: Ichiyūsai Kuniyoshi ga (一勇 斎国芳画) Artist’s seal: kiri Censor’s seal: aratame Date: 1855 (4th month) Editor: Tsukiokaya Bunsuke Format: Ōban tate-e (35 (h) x 25 cm) Price: 2.300 euros
Object Presented by: Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery
"The 10th-century hero Watanabe Tsuna, one of the four retainers of Minamoto Yorimitsu (944-1021), is sent to destroy the female demon, Ibaraki, who haunts the Rashōmon, a city gate in Kyoto. He is seen here at the right grappling with the demon. He manages to cut off the creature's arm, which he conceals in a box. Later he is visited by an old woman who introduces herself as his former nurse. After talking about his exploits, she persuades him to show her the arm. As soon as he opens the box, she seizes the arm, assumes the form of a demon and flies away. Prints from the late period of Kuniyoshi's oeuvre, like this one, are often characterized by a rather 'stiff' drawing style." This print was originally issued by the publishers Izumiya Ichibei circa 1845. Catalogue Raisonné Robinson, Kuniyoshi: The Warrior-Prints (1961), Serie 87; Heroes and Ghosts: Japanese Prints by Kuniyoshi 1797-1861 by Robert Schaap, p. 114.
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35 Japanese Buddhist Sutra Japan Heian period, 12th century Gold ink on indigo-dyed paper folded accordion-style between stiff boards covered in gold brocade; with a fitted wooden box and a silk damask-weave paper-back textile wrapper 25 cm x 217 cm Price:
SOLD
Object Presented by: Alan Kennedy M.: + 1 646 753-4938 E: kennedyalan@hotmail.com W: www.alankennedyasianart.com
According to the inscription on the fitted wooden box, the gold ink text on indigo-dyed paper is Chapter 25 (Kannon-gyō in Japanese) of the Lotus Sutra. The Lotus Sutra is one of the most important East Asian Buddhist texts, and extolls the special qualities of the bodhisattva Kannon (Guanyin in Chinese). The use of precious materials for the writing of sacred texts is part of a long tradition in East Asian Buddhism. Gold ink is expensive, and its use creates the effect of reflected light in the written characters. The characters are beautifully set off by the indigo-dyed paper, and the use of indigo to dye paper can protect it from insect damage. There are 31 pages created by the vertical folds across the length of the sutra text, and the first and last pages are attached to stiff boards that are wrapped in silk and gold brocade textiles patterned with clouds and Buddhist treasure symbols. A damask-weave silk textile backed with paper serves are a wrapper for the sutra text, and a fitted wooden box provides further protection for the sacred text. Techniques: Dyeing and brushwork for the 31 pages of the sutra.
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36 Utagawa (Ichiyūsai) Kuniyoshi (17971861) Title: Nissaka, on the moonlight a ronin (warrior) receives his child from the ghost of his murdered wife. From the series,"Tokaido Gojusan tsugi" 53 Stations of the Tokaido Road (26) Date 1843/45 Woodblock print (nishiki-e); ink and color on paper Signature: Ichiyūsai Kuniteru ga Publisher: Iba-ya Sensaburo Format: Ōban tate-e (36.3 (h) x 24.9 cm) Publication: Schaap, R., Heroes and Ghosts , Hotei; Leiden , Amsterdam/ Philadelphia , page 73, nr. 48 Price: 1.600 euros
Object Presented by: Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery
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37 Utagawa Kunisada I (Toyokuni III) (17861864) Title: Poem by Ariwara no Narihira Ason: Actor Ichikawa Danjūrō VIII as the ghost of Seigen Date seal: Ne-ju (year of the rat [1852], 10th month) Woodblock print (nishiki-e); ink and color on paper The actor Ichikawa Danjuro VIII (18231854) is in the role of the Ghost Seigen, who haunts his former lover Sakurahime. From the series, Comparisons for Thirty-Six Selected Poems (Mitate sanjūrokkasen no uchi) Signature: Toyokuni ga, in toshidama cartouche (豊国画(年玉枠) Publisher: Iseya Kanekichi Carver’s seal: Yokokawa Hori Take Censor's seals: Muramatsu & Fuku Format: Ōban tate-e (37 (h) x 25 cm) Price: 2.300 euros
Object Presented by: Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery
Catalogue Raisonné MFA, Kuniyoshi & Kunisada (2016), #25; Mueller et al., Competition and Collaboration (2007), #136; Osaka Castle Museum, Mitate no sekai (exh. cat., 2004), #8; Izzard, Kunisada's World (1993), #91; Addiss, Japanese Ghosts and Demons (1985, 2005), p. 67; Helen Craig McCullough, Kokin Wakasha: The First Imperial Anthology of Japanese Poetry (1985), p.24 ; Ota Memorial Museum of Art, Specters, Ghosts, and Sorcerers in Ukiyo-e (2014), p. 116, no. 152 Inscription Poem: Yo no naka ni/ taete sakura no/ nakariseba/ haru no kokoro wa/ nodokekaramashi If ours were a world/ where blossoming cherry trees/ were not to be found/ what tranquility would bless/ the human heart in springtime
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38
Yoshimura Kōkei: Resting Tiger
Japan Signed and sealed by Kōkei Edo period, Early 19th Century Ink on silk 109 x 44,5 cm Inv. No. 20.003 Price: 9.500 euros
Object Presented by: Galerie Kommoss M.: +49 (0)30 9854 1123 E.: info@galeriekommoss.com W: www.galeriekommoss.com
Fine, intimate ink painting of a tiger by Yoshimura Kōkei (1769-1836). Kōkei was the son of Yoshimura Ranshū (17391816) and one of Maruyama Ōkyo's famous ten pupils. He worked for Kyōto's Nishi Hongan-ji temple, which has commissioned some large screen paintings. Kōkei gained some recognition in his time and his work was therefor included in several contemporary painting anthologies like the Bijin Awase 1809 and the Kakusei Chō in 1828. Praised as a master of flower-bird painting (kachō-ga), he was also versed in rendering other images popular in his time, such as tigers. Since the majority of painters from the mid-Edo period were not able to observe real tigers, they used to study common house cats for their lifelike paintings. In this work too, one gets a good impression how the painter draw inspiration from these domesticated animals. Kōkei caught an intimate moment of a resting cat that is observing the painter with highly ambiguous gaze. In his excellent brushwork, he masterfully expressed the typical characteristics of the moody animal.
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39 Utagawa (Ichiyūsai) Kuniyoshi (1797-1861) Title: Onoe Kikugorō III as Usugomo with the cat-ghost Okabe. Right part of the triptych The Lifetime of Onoe Kikugorō III (Onoe Kikugorō ichidai banashi) Date: 1847-1850 Woodblock print (nishiki-e); ink and color on paper Signature: Ichiyūsai Kuniyoshi ga (一 勇斎国芳画) Editor: Waka-u Format: Ōban tate-e (36,5 (h) x 25,3 cm) Provenance: B. W. Robinson collection Price: 1.600 euros
Object Presented by: Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery
This triptych commemorates a performance at the Ichimura Theater in the seventh month of 1847. The scene with the giant cat monster appears to take place in a dilapidated old temple. This image is illustrated in color in 1) Ukiyoe Museums in Japan (Nihon no ukiyoe bijutsukan - 日本 の浮世絵美術館), vol. 1, p. 36. That example is from the collection of the Sendai City Museum (仙台市博物 館). This entry erroneously gives the wrong date for this triptych. They say it is 1887, which is clearly wrong. Also illustrated in color in 2) 原色浮世絵大百科事典 (Genshoku Ukiyoe Daihyakka Jiten), vol. 1, p. 88. And 3) in black and white in Chimi moryō no sekai : Ukiyoe : Edo no gekiga--reikai, makai no shujinkō-tachi (浮世絵魑 魅魍魎の世界: 江戶の劇画 : 霊界魔界の主人公た ち) by 中右瑛 (Nakau Ei), Ribun Shuppan, Tokyo, 1987, p. 81. [The text is entirely in Japanese.] **** There is another copy of this triptych in the Worcester Art Museum. end unit Catalogue Raisonné Robinson, Kuniyoshi: The Warrior-Prints (1961), Serie 87; Heroes and Ghosts: Japanese Prints by Kuniyoshi 1797-1861 by Robert Schaap, p. 114. Collection: Naprusuteku Museum; Metropolitan Museum of Art - center and right panels only; Museum of Fine Arts, Boston - center panel only; Waseda University - left panel; Waseda University - center panel; Waseda University right panel; Waseda University - center panel; Manggha Centre of Japanese Art and Technology, Krakow - right panel; National Gallery of Victoria; Museum of Fine Arts, Houston; Hankyu Culture Foundation - right panel; Hankyu Culture Foundation - center panel; Hankyu Culture Foundation - left panel;
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40 Utagawa Kunisada I (Toyokuni III) (1786– 1864) Title: Miya Station: The Grave of the Returning Spirit (Miya no eki, Hangonzuka) The ghost of the lady Fuji no Tsubone appearing to her husband Taira no Tsunemuri Date: 1845 / 46 Woodblock print (nishiki-e); ink and color on paper Signature: Ōju Kunisada Censor’s seal: Mura Editor: Enshua Matabei Format: Ōban tate-e (35 (h) x 24.9 cm) Station 42 from the series Fifty-Three Pairings for the Tōkaidō Road (Tōkaidō gojūsan tsui), series jointly designed by Hiroshige, Kunisada & Kuniyoshi. Price: 1.200 euros
Object Presented by: Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery
Catalogue Raisonné Ôta Mem. Mus., Edo yôkai dai zukan (2014), #149; Marks, Kunisada's Tôkaidô (2013), #T78-42; Robinson, Kuniyoshi: The Warrior-Prints (1982), list #S44.43 The Tōkaidō gojūsan tsui (1844-1847, 東海道五十 三対) is a Japanese ukiyo-e prints series created in collaboration by three of the foremost Japanese print artists of the nineteenth century: Hiroshige (1797-1858), Kuniyoshi (1797- 1861), and Kunisada (1786-1864). The Tōkaidō gojūsan tsui differs from other, mostly earlier, series on the theme of stations along the Tōkaidō Road such as landscapes, or beauties set in landscapes, by taking historical legends and folklore as its predominant subject matter, and combining figures and landscape. (https://openjournals.library.sydney.edu.au/ index.php/LA/article/viewFile/7617/7928) The image here is captivating. Lady Tsubone appears to be floating out of a small teacup. There are three parts to the print, the main and lower panel which here depicts the supernatural scene of Lady Fuji no Tsubone appearing to her husband. Above and to the left, a pair of rigid fans which have the story of the scene written on them. To the upper right is the series title in the black rectangle. In this print, the Lady Fuji no Tsubone is appearing to her husband, Taira no Tsunemori, a minor member of the Taira (Heike) clan, and the nephew of the clan leader, Taira no Kiyomori. She came from a prominent samurai family and made her way through society and the echelons of the Imperial Court, becoming a powerful figure in seventeenth century Japan.
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41 Lacquer Screen Ko (Spreading Water) By Onaga Tamotsu (b. 1932) Japan Circa 1989 Gold, silver and black lacquer, motherof-pearl 176.5 cm x 171 cm Exhibition: 11-19 May 1991, Nagisa no Genso – Hyomon Makie Onaga Tamotsu Shitsugeiten (Illusions of the Coast: hyomon and makie lacquer, Onaga Tamotsu Exhibition), Gallery Yusentei, National Park Yashima Sanjo, Takamatsu City, Kagawa Prefecture Signed by Tamotsu. An original label with the title, signature Onaga Tamotsu and seal Tamotsu is attached to the reverse. Price: 55.000 euros
Object Presented by: Gregg Baker Asian Art M.: +32 468 00 56 85 E.: info@japanesescreens.com W: www.japanesescreens.com
Onaga Tamotsu was born in Himi City, Toyama prefecture, and studied lacquer under Yamazaki Ritsuzan (1895-1969). In 1951 he began exhibiting at a national level with Nitten (the Japan Fine Art Exhibition). In 1964 his entry to the Nitten won the Tokusen (Nitten Speciality Prize) as well as the Hokuto award. The following year he was awarded mukansa (non-vetted status). During his career he also assisted as a judge for the Toyama Prefectural exhibition. Onaga participated in numerous international exhibitions including the 1965 Berlin Fine Art Festival and in the same year he was honoured with a membership to the Gendai Kōgei Bijutsuka Kyōkai (Association of Contemporary Craft Artists). In 1966 he exhibited in Rome with the Nihon Gendai Kōgei Ten (Japan Contemporary Art Craft Exhibition) and again in London the following year. In 1968 his work for the Gendai Bijutsu ten (Exhibition of Contemporary Fine Art) won both the Member’s ward and the Minister of Culture Award. His work also won the Kikka sho (Chrysanthemum Award) at the 1969 Nitten. From 1970 until 1976 Onaga continued to exhibit at the Nitten and the Gendai Kōgei Bijutsu Ten (Modern craft and art exhibition). In 1976 he received a commission from His Highness the Emperor, one of Japan’s greatest honours. A similar example of a lacquer screen Choryu (Tidal current) is housed in the Takaoka City Museum, Toyama prefecture. Other works by the artist can be found in the collections of: Nitten Association, Tokyo Prefectural Government, Tokyo; Toyama Prefectural Government, Toyama.
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42 Hayakawa Shōkosai IV: Bamboo Basket for Serving Food
Japan Taishō period 1926 Bamboo, rattan 27,5 cm x 32 cm Signed underneath with fitted, inscribed, signed and sealed wooden box. Inv. No. 20.022 Price: 17.000 euros
Object Presented by: Galerie Kommoss M.: +49 (0)30 9854 1123 E.: info@galeriekommoss.com W: www.galeriekommoss.com
Rare early bamboo basket by Hayakawa Shōkosai IV (1902-1975). Resting on a flat hexagonal woven base, the walls were knitted by finely split bamboo stripes in twill plating. This type of basket is called morimonokago and was used to serve food or sweets. The attached handle is made of two benched and twisted young bamboo stems which give the otherwise more formal appearance of the basket a creative, more informal Japanese touch. Combining these two characteristics of formal and informal qualities is one of the key elements in the works by the masters of the Hayakawa family, which are considered to be the founding fathers of modern Japanese bamboo basketry. Shōkosai IV was trained under his father, Hayakawa Shōkosai III (1864-1922), a very strict teacher who destroyed all of his son’s works during his training. However, Shōkosai's life was also marked by the early death of his father in 1922, which put him then suddenly in the position of the official heir of the family workshop. This work is dated by Shōkosai IV on the wooden box to a winter’s day in 1926. It is therefore a rare, well-documented early work.
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Ippyōsai VII : Maki-e Tea Caddy with Six Gourds
Japan Signed by Ippyōsai Heisei period 1990s Wood, lacquer, gold, aokin, mother of pearl 7 cm x 4,5 cm Inv. No. 19.016 Price: 7.000 euros
Object Presented by: Galerie Kommoss M.: +49 (0)30 9854 1123 E.: info@galeriekommoss.com W: www.galeriekommoss.com
With fitted, inscribed, signed and sealed wooden box, extra black lacquered cedar box and sealed wrapping cloth (tomogire). Excellent tea caddy (natsume) made by the 7th Ippyōsai, Ippyō Eizō (*1942). The exterior is finished in polished jet-black lacquer (roiro) and decorated in gold maki-e with twines of gourds (hisago or hyōtan). Gourds are the very symbol of the family of traditional Kyōto lacquer artists since their name 'Ippyō' means literally 'one gourd'. Therefore, Ippyōsai VII spend much artisticconcentrationtogiveeachofthesixgourds,shown on the tea caddy, an individual layout with taka- and hiramaki-e, mother-of-pearl inlays, golden dots and cut gold leaves. To contrast, for example, the veins of the leaves, he used an alloy of gold and silver, called aokin, or 'blue gold', in Japanese. The interior and base are luxuriously sprinkled with gold. The image of six gourds is a symbol of good luck, since the word for 'six gourds', mubyō, is a homophone in the Japanese language and can also be understood in the meaning 'no sickness'. Also, the flourishing vines and the ripe fruits are a symbol for prosperity and representing the birth of numerous descendants, meaning, that the family line will never break. Toyotomi Hideyoshi, for instance, chose the symbol of 'One Thousand Gourds' as his battle standard. Three stylized gourds are still used today in the official flag of the city of Ōsaka. Ippyō Eizō has been the 7th generation of one of the leading lacquer master families in Kyōto. He has studied under his father, Ippyōsai VI (1908-2001), and Shimizuya Kōmin and is well known for his excellent, three-dimensional compositions on the limited space of natsume tea caddies. His family workshop is now lead by the 8th Ippyōsai, Ippyō Ryō.
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