Saturday May 15th 2021
Online Catalogue VIII
May 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 /AsianArtSociety
Cover Image: Noh theatre mask Presented by Cédric le Dauphin on p. 28
Table of Contents IntERVIEW Renaud Montméat
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CATALOGUE HIMALAYA JAPAN CHINA SOUTH-ASIA GANDHARA ISLAMIC ART INDIA
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MAY 2021 - 5 Warming Bowl China. Jingdezhen? Northern Song (960-1126) Stoneware with vegetal decoration moulded under ivory and blue cover D. 17.5 cm, H. 12.4 cm Provenance: Josette Schulmann collection, Paris, 1960-1970 The large dimensions of the bowl suggest that it is probably a "warming bowl". The decoration of intertwined flowers pattern inscribed in medallions of foliage is reminiscent of some Jingdezhen productions. The presence of the six spur marks probably made possible to fire a pot inside the bowl. Reference: Bonhams Hong Kong, The Feng Wen Tang Collection of Early Chinese Ceramics, 9th Oct. 2014. Lot 157. https://www.bonhams.com/auctions/22320/ lot/157/?category=list&length=12&page=5
RENAUD MONTMEAT Renaud Montméat has been dealing with Asian art since 1999. Dedicated to Indian, Himalayan and Southeast Asian art, the gallery is opened by appointment in the centre of Paris. Renaud Montméat also participates to major Asian art fairs in London, Brussels, Paris and New York. The gallery is delighted to collaborate with public institutions and distinguished collectors.
Contact: +33 6 17 61 21 60 montmeatartdasie@gmail.com www.montmeat-asianart.com
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MAY 2021 - 7 Nuo Mask of Heshang China, Guizhou, 18-19th c. Polychrome and lacquered wood H : 21,3 cm Reference: Philippe Fatin (Very grateful to his deep field knowledge and kind availability) Yves Créhalet, Le Masque de la Chine, P.48, 49, 133, 135, 137, 139 Actes Sud, 2007.
Let’s begin with the beginning. Did art play an important role in your childhood? Yes, very much so, it was first the old houses, churches and gardens that fascinated me. Then very quickly, I was attracted by objects from elsewhere, the arts of Africa and of course Asia. As a teenager I spent a lot of time with the dealers of old Bordeaux. You are part of the new generation of art dealers. What is your background ? How did Asian art come to you ? I'm not a so a "young dealer » anymore! I have been on the market for 22 years now! I first started at the Saint-Ouen flea market, as many Parisian merchants did when they started their activity. It's a good way of finding out if you're cut out for it or not! I then ran a gallery in the early 2000s for five years, in the centre of Paris, near the Louvre. Since 2008 I have been working from my office, preparing exhibitions, making appraisals and estimates and writing auction catalogues. HOW WAS IT TO ENTER THE ART SCENE AS A YOUNG ART DEALER ? WHAT HAS BEEN MOST CHALLENGING FOR YOU IN DEVELOPING YOUR GALLERY? This is a job where there is no shortage of challenges. There is no time to rest on your laurels! I will tell you about my current challenge which is to propose and confront the work of current ceramists with old works. Romuald Maurel and I are creating a new gallery website which will soon be online at this address: https:// montmeat-maurel.com. We will propose the works of contemporary artists who work with traditional
In the folk theatre which comes from the cult of Nuo, Heshang the Buddhist monk, with his crescent moon eyes and his broad, almost grimacing smile, plays a comic role, which through laughter drives out danger and gravity. This type of mask is worn during the dance known as the « Monk provoking a lion ». Other cultures, notably Nepal and Japan, also have this character of a laughing monk who nevertheless plays a different role.
mediums; like ink painting, ceramics and lacquer. In October you have run your first auction as appointed expert with Auction-Art Rémy Le Fur. What do you think the future holds for auction houses and the reliance between galleries and auction houses ? The auction market is doing very well, as everyone can see, and the complicated period we are going through allows collectors and dealers to continue to buy and sell. I don't think anyone is complaining about that. Moreover, dealers do not provide the same service as auction houses and clients are fully aware of this. The human relationships of trust and exchange that are built over the long term can only exist between dealers and collectors. Each has its place and its role to play. What is your experience with the online art market and how do you see it evolving? The online market is very strong indeed, we have seen it grow over the years and this is even more noticeable since the beginning of the sanitary crisis. It is likely that it will become more and more important in the future and that it will also make it easier for young amateurs to come and participate. For those who are not used to going to a gallery, the online market offers a completely different approach.And young people who are interested in art do know how to navigate the net In your opinion, what is the role of an art collector in the making of art history? I believe that it is collectors who « make works of art ». Without their interest and their passion for the objects,
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many works would have disappeared. And it is thanks to their generosity when they donate their collections to museums that the public can enjoy the works. Are you personally a collector and if so, do you collect the same kind of pieces you sell ? I don't consider myself a collector. I like above all to discover a work of art, to resituate it in its initial context, to have it restored when necessary, at which point my work is finished and the object can meet other hands. IS THERE ANY KIND OF ARTWORK THAT CAN MAKE YOU WRITE A CHEQUE WITHOUT ANY CONSIDERATION? An ink on paper work by the contemporary painter Lin Haizhong. He mainly paints traditional landscapes with a modern vocabulary. Could you present an artwork that is special for you ? Yes, I would like to show you a black chawan by Emmanuel Alexia which was created in 2020. D: 10.2 cm, H: 8 cm. It is a stoneware bowl, the clay was collected by the artist in the Dordogne, then shaped by hand and fired in a wood kiln. The glaze is obtained from crushed rocks.Emmanuel Alexia is a French ceramist who has been producing objects for the tea ceremony in the purest Japanese tradition for several decades. He regularly exhibits in Japan and the United States.
Frieze Masters 2019
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Guanyin China, Ming dynasty Circa 16th century Ink and pigments on silk 128x 73 cm The Bodhisattva is seated on a lion that has now disappeared. He is richly dressed in a purple robe decorated with brocades of cranes and dragons in medallions. He wears a red shawl on his shoulders, decorated with gold painted peonies. He also wears a tiara with a representation of Amitabha, as well as an archaistic gold necklace made of several elements. It seems to be inlaid with rubies and emeralds. Guanyin holds a jade ruyi in both hands, covered with floral and geometric motifs in grisaille. The deity is leaning against a several part throne, including a nimbus surrounded by peonies and flames.
Water dropper China, Henan, Jun ware, Yuan period (1279-1368) Blue lavander with purple splashes glazed stoneware. H : 8 cm. D : 7,8 cm Provenance : Old French collection. The fine water dropper is of lotus bud form with a very small mouth aperture, and standing on a low footrim. The buff-white body is covered with a lavander blue and purple aplashes glaze with find crackles, which extends over the footrim and concave base. Note : The rim of the mouth is restored with gold lacquer kintsugi. References : V&A : http://collections.vam.ac.uk/item/O461350/water-dropper-unknown/ British Museum : https://www.britishmuseum.org/collection/object/A_PDF-52 Metropolitan Museum, New York : https://www.metmuseum.org/art/collection/search/50736
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MAY 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 King Ralpachen Tibet Late 17th century Distemper on cloth 20 x 12 in. (52 x 31 cm.) Publication: Himalayan Art Resources (himalayanart.org), item no. 8078. Price: 60.000 USD
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W: www.kapoorgalleries.com
The king is depicted here with a slightly furrowed brow and an otherwise serene expression, with soft eyes that draw the viewer in. Discrete strands of hair billow upward, filling the lower portion of his aureole and conveying the energy of his practice. He holds a vajra and bell pointing to his shared identity with the bodhisattva Vajrapani. The enlightened figure, however, dons garments that match his earthly and royal status: flaming jewels, billowing sashes, and a large kirtimukha belt buckle decorate layers of gold-embroidered garments, each distinguished with a unique floral design. The figure depicted beside the large bowl of jewels before the king is likely a minister waiting to relay a message. The present painting is a rare depiction of King Ralpachen, as he is typically pictured with Songtsen Gampo and Trisong Detsen, who as a triad comprise the “Three Dharma Kings.” Under King Ralpachen (r.815-839), the forty-first king of Tibet, the Tibetan Empire reached its greatest expanse. Creating artworks such as the present, honoring Tibetan royalty of the past, became a popular practice under the period of consolidation under the Ganden Phodrang in the seventeenth century.
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02 Milarepa (1052-1135) Sculpture Tibet, Kagyu 16th century Copper alloy Height: 11,5 cm Provenance: Dr. Peter Elliott collection Dr. Phillip and Patricia Adams, Australia Price on request
Object Presented by: Hollywood Galleries M.: +852 9311 2577 E.: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com
Milarepa was one of the most famous Tibetan yogis and poets, a student of Marpa (1012–1097). With the use of “black magic”, Milarepa caused a huge destruction and massive death to his own people. Milarepa suffered a great deal from his action. He rose above the miseries, with the help of his teacher, Marpa Lotsawa, Milarepa took to a solitary life of meditation until he had achieved the enlightened. Milarepa is depicted in his signature posture, with his right hand raised to his ear in a listening gesture, symbolizes his way of teaching the Buddhist wisdom through songs. His left hand holds skull cup as a symbol of transient nature of existence.
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03 Vajradhara Sculpture Nepal Khasa Malla 14th century Gilt copper Height: 14,8 cm Provenance Dr. Phillip and Patricia Adams, Australia Price on request
Object Presented by: Hollywood Galleries M.: +852 9311 2577 E.: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com
This charming Vajradhara is seated crosslegged on a double lotus throne with his hands crossed in front of his chest holding his characteristic attributes the vajra and the ghanta. He wears elaborate Bodhisattva ornaments, a Nepalese ritual helmet, and a dhoti engraved with a floral pattern. The richly gilded sculpture is heavily cast, and is sealed with a now disturbed copper plate engraved with a double dorje.
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04 Shiokawa Bunrin (1808-1877) A pair of sugido doors with a tiger and two horses Japan Edo/Meiji period 19th century Ink and colour on cedar wood Height: 183cm Width: 188cm Price : 26.000 euros
Object Presented by: Gregg Baker Asian Art M.: +32 468 00 56 85 E.: info@japanesescreens.com W: www.japanesescreens.com
A pair of sugido (cedar wood doors) painted in ink and colour on both sides. One side depicts a tiger beneath a pine tree and the reverse depicts two horses standing beneath wisteria. Both sides signed and sealed Bunrin. Shiokawa Bunrin lived in Kyoto, and studied under Okamoto Toyohiko (1773-1845), a leading Shijō School artist. He served as painter in attendance to the Yasui family for much of his career, and had many patrons among the Kyoto aristocracy. Bunrin learned nanga (southern style) painting, and was also influenced by Western style painting. He founded the Jounsha art society in 1866 which served as an important source of support for Kyoto artists of all schools during the difficult period of transition from the Edo period to the Meiji Restoration. The tiger is a symbol of strength, courage and longevity and is also accredited with the ability to fend off demons, ill-fortune and disease. Japan's early artistic treatment of tigers is usually highly stylised. With no indigenous specimens to study, artists of the pre-modern period constructed their notions of the tiger from skins imported into the country. This has resulted in a rather cat-like depiction of this noble feline beast. In the traditional cosmology of China, the tiger is one of the Four Sacred Creatures, it represents the west, autumn and wind. Horses entered Japan from the continent in the prehistoric period and were used initially for domestic purposes. Military use of the horse in Japan began centuries later, in the end of fourth century. Thereafter, even in eras of peace, horsemanship was an important attribute of the court and military elite. In Shinto it is believed that horses carry messages between the temporal and heavenly realms and kami (gods) appear on horses. In this regard, white horses were initially kept at important shrines as sacred animals, but when this became prohibitively expensive,largecarvingsorpaintingsofhorseswereoften substituted. Ema (picture horses) are votive plaques where horses are depicted and are placed at shrines and temples to convey one’s prayers and petitions to the gods. Works by the artist are held in the collections of: The Ashmolean, Oxford; Freer Gallery of Art, Washington; Metropolitan Museum of Art, New York; Tokyo National Museum; Museum of Fine Arts, Boston.
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KANTAN OTOKO Noh theatre mask signed MitsuYasu Japan 17th century Wood Publication: Noh Masks - the Bernard Le Dauphin Collection, ISBN 978-046-462066-2 Blurb Exhibited in Rotterdam 2013 at the Wereld Museum for the Samurai exhibition and published in the catalogue: .ISBN 9789081816427 908181642X Exhibited in Leiden 2017 at the Japanese Sielbold Museum for the “Masked Warriors – The battle stage of the Samurai” by Bas Verberk exhibition and published in the catalog of the same name: Leiden University Press. p196. ISBN 978-90-8728-290-5 Price on request © van Bussel Photography
Object Presented by: Cédric le Dauphin M.: +33 6 07 82 95 08 E.: c.ledauphin@gmail.com
The mask is used for the rôle title of the homonymous play: « Kantan Otoko », “The man from Kantan”. He is a young man inclined to philosophy who meditates about the illusions brought by life, and being deceived, starts in search of the truth. So, the mask expresses when its polychromy is present, melancholy and scepticism, as well as the clear glance of someone having received a revelation, out of a dream. The frown of the eyebrows is quite the echo of this quest and of his doubts. It is specified in the Umewaka’s catalogue that, according to this family tradition, this mask is sometimes used for rôles wearing usually a Chujo mask. Our mask, being cleared of its polychromy, let the strength of it sculpture express itself without obstacle or any influence, and one can only acknowledge its subtlety and the fitting to the character. The nearly feminine mouth expression, echoing the frown succeeds to transmit, if one has in mind the behavior of the actor, the ambiguity of the feelings of this young man from Kantan. As far as the sculptor himself is concerned, he is but the second master of the Ono Deme family lineage: MitsuYasu, son of the great Zekan, and his hot brand iron seal is found inside our mask: “Ten ka IchiYukan”. He died in Shoho 1 (1652). This mask has its twin in the Umewaka collection, equally hot sealed “Ten ka IchiYukan” and illustrated page 82- plate 52- and page 175 in the collection book. The artist’s gouge work is typical of this artist. This mask came to Brussels for the Europalia manifestation in 1989, and is reproduced in the exhibition catalogue, plate 31.As we mentioned earlier, it is sometimes used in that company in place of Chujo.
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06 Miyajima-kago Tanabe Chikuunsai II (1910-2000) Circa 1944-1955 Bamboo madake and lacquer 31 (h) x 21.5 x 21.5 cm Tomobako, box signed by the artist and otoshi Price on request
Object Presented by: Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery
Tanabe Chikuunsai II (Ichichikusai) (1910-2000) Tanabe Chikuunsai II was the son of Tanabe Chikuunsai I and was based in Osaka and Sakai. He was the second artist of the Tanabe dynasty to bear the name of Chikuunsai which means "bamboo cloud. Tanabe Chikuunsai II was among the first artists to sign their works. On the death of Chikkunsai I, he assumed the name of Chikkunsai II. In 1991 he transferred his studio name to his eldest son, who became Chikkunsai III and took the name of Icchikusai.
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07 Hōryō (Abundant catch of Fish) Tanabe Chikuunsai II (1910-2000) Circa 1944-1955 Hōbichiku bamboo 16(h) x 43 x 25 cm Price on request Tomobako, box signed by the artist and otoshi
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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08 Hisago-gata hanakago Tanabe Chikuunsai II (1910-2000) Circa 1955 - 1960 Madake bamboo, rattan, lacquer 61 (h) x 18 x 18 cm Price on request Tomobako, box signed by the artist and otoshi
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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Susudake Hanakago
Hashimoto Sensetsu (1918-2008) Sometime after 1970 Susudake smoked bamboo 46 x 14 x 13 cm Price on request Tomobako, box signed by the artist and otoshi
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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10 Large Bronze Dragon and Phoenix Tray Japan Edo Period 18th century Diam.: 20 inches (51 cm) Price on request
Object Presented by: Michael Goedhuis M.: + 44 (0)77 6062 5375 E.: london@michaelgoedhuis.com W: www.michaelgoedhuis.com
A large bronze Edo period moulded bronze offertory tray of five-petaled foliate form. The centre has a dragon, phoenix and flaming pearl rondel in high relief (originally Daoist influenced imagery), which is extremely similar to samurai breastplates of the period. The back has a well-defined scooped foot with a pouring plug fashioned into a flower in the centre of the underfoot.
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11 Heishi (Ritual Sake Bottle) Japan Edo period 17th - 18th century Negoro lacquer Height: 32,5cm Diam.: 24 cm Price: 8.000 euros
Object Presented by: Gregg Baker Asian Art M.: +32 468 00 56 85 E.: info@japanesescreens.com W: www.japanesescreens.com
These ritual vessels, normally made in pairs, were placed at the altars of Shino shrines and used to make offerings of sake to the gods. Heishi are constructed of three parts: the spout, shoulder and mid body, lower body and foot. All three parts are then assembled and turned on a lathe. Subsequently the bottle is given multiple coats of black lacquer before being finished entirely in red omitting the foot. The main characteristic of Negoro lacquer is its simplicity which exemplifies one aspect of Japanese aesthetics. The wood base is first coated with black lacquer and then with red or vermilion. Over time and constant use the red lacquer wears away to reveal the black ground beneath, producing the elegant surface characteristic of Negoro. Such rubbing, cracks and chips on Negoro from use and age, something usually regarded as imperfection in other parts of the world, have been admired and appreciated in Japan for centuries. Practical, durable and with sophisticated simplicity, Negoro lacquerware has been favoured by temples and shrines as well as aristocrats, before being sought after by tea masters from the 17th century. For more details, please visit: http://japanesescreens. com/catalogue/objects/7241/
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Bamboo basket with natural handle
Maeda Chikubōsai I (1872-1950) Madake bamboo, nemagari-dake, rattan 43 (h) x 17 x 17 cm Price on request
Object Presented by: Galerie Mingei M.: + 33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W: www.mingei.gallery
Maeda Chikubōsai I was one of the most important bamboo artists working in the first half of the 20th century. Late in the Taishō era (1912-1926), he made presentation baskets on behalf of the Imperial Household, for which he became famous. Chikubōsai held a series of one-man exhibitions at the Mitsukoshi Department Store in Tokyo from 1926 until the late 1930s. He was pivotal in promoting individual expression in the bamboo arts. .
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13 Flower Vessel Japan Edo period 17/18th century bronze Height: 22,5 cm Diam. 14, 5 cm 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
A bronze flower vessel with a low bulbous body and flaring neck. The two small handles seen on each side of the shoulder are cast as stylised ‘lion masks’ and the neck has four evenly spaced triangles with further stylised designs in low relief.
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Stucco head of bodhisattva
China Yuan Dynasty, 14th century Height: 12 in (30.5 cm) Provenance 來源: Charles Grosbois Collection (1893-1972) Price: 36.000 USD
Object Presented by: Rasti Chinese Art M.: + 852 2415 1888 E.: gallery@rastichineseart.com W: www.rastichineseart.com
A large painted stucco head of a bodhisattva, with feminine features and serene expression, half-closed eyes inlaid in glass, wide forehead, prominent nose above pursed lips, the hair tied in a high chignon Charles Grosbois was General Delegate of Alliance Française in China from 1920 and later held other positions in China until 1951.
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Agate stone
Height and width of first formation: 29 x 31 cm, fitted hongmu stand Height and width of the second formation: 23.5 x 31 cm, fitted hongmu stand Price: 32.000 usd
Object Presented by: Rasti Chinese Art M.: + 852 2415 1888 E.: gallery@rastichineseart.com W: www.rastichineseart.com
A large caramel brown agate strange stone formation, viewable in two angles, the first with the smooth rippled stone forming a mountain curving inward at both ends to create a cove-like area beneath a sheer face, the second on two feet creating a further cove beneath a dome-like rock formation.
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Scholar's rock
Height: 53.3 cm Provenance: Private English collection Price: 18.000 usd
Object Presented by: Rasti Chinese Art M.: + 852 2415 1888 E.: gallery@rastichineseart.com W: www.rastichineseart.com
A large black Taihu scholar’s rock of vertical form, the lustrous and waxy stone with buff veining containing shaped openings creating crevasses and overhangs above a pointed tip to the base, fitted into a gnarled wood stand
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A Bronze Buddhist lion censer and cover
China Ming dynasty Height: 8 in. (20.5 cm) Price on request
Object Presented by: Michael Goedhuis M.: + 44 (0)77 6062 5375 E.: london@michaelgoedhuis.com W: www.michaelgoedhuis.com
This is one of the favourite scenes of decorative sculpture throughout eastern civilisations: larger versions are sometimes seen outside entrances of important buildings. The female would be represented playing with her cub and the male was often represented playing with a ball, as is the case in this sculpture. The head is detachable, in order to insert incense in its body and the smoke would escape through its mouth.
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18 A Painting of Princess Shouyang Shouyang gongzhu meihua dian’e tu (Princess Shouyang placing a “plum blossom” spot on her forehead) Artist: Wenqin Jushi (style name), dates unknown China Qing dynasty (1644-1911) 27th year of the Daoguang reign, equivalent to 1846 ink and colors on paper Height: 117 cm. (46 inches) Width: 44 cm. (17.3 inches) Provenance: Purchased in China during the early 20th century by ancestors of Monsieur and Madame G., French private collectors Price: 6.000 usd
Object Presented by: Alan Kennedy M.: + 1 646 753-4938 E: kennedyalan@hotmail.com W: www.alankennedyasianart.com
Princess Shouyang was the daughter of Song Wudi, a king who reigned from 420 to 423 CE. The inscription at the upper left side of the painting identifies the standing female figure as Princess Shouyang, and mentions a plum blossom. She is depicted in a standing position as she gazes into a bronze mirror while touching her forehead with her left index finger. This recalls the legend of the Princess sleeping in the garden of the Hanzhang Palace. While asleep, a plum blossom fell on her forehead, and miraculously remained affixed to her forehead. This story inspired a fashion for beauty marks in the shape of flower blossoms. In the painting, the Princess is shown in the process of adorning her forehead according to the fashion that she started. A similar painting in the Walters Art Museum in Baltimore, USA, shows a standing woman in antique dress gazing into a bronze mirror. See catalogue no. 21, pps. 100-101 in James Cahill, Sarah Handler, and Julia M. White, Beauty Revealed: Images of Women in Qing Dynasty Chinese Painting, University of California Berkeley Art Museum, USA, 2013.
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"Animal Combat" Buckle Pair Ordos Culture, Mongolia 3rd-1st Century BC Gold gilt bronze 12 x 7 cm / 4.75 x 2.75 in. Price: 20.000 euros
Object Presented by: Thomas Murray M.: + 1 415.378.0716 E.: thomas@tmurrayarts.com W: www.tmurrayarts.com
Animal style art is known in the aesthetic of the ancient Greeks, Persians, and Chinese during the Bronze Age. Depicted here are attacking creatures leaping on the back of their prey symbolizing the power of the noble warrior for whom the buckle was commissioned to vanquish his enemies.
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20 A Rare Chinese Dictionary France Early 19th century 1813, first edition Languages: Chinese, French and Latin Title: Dictionnaire Chinois, Français, et Latin, publié d’après l’ordre de sa Majesté l’empereur et roi Napoléon le Grand; par M. de Guignes, résident de France à la Chine . . . Author: Chrétien Louis Joseph de Guignes (1759-1845), based on the manuscript of the Chinese – Latin dictionary of the Italian Franciscan monk, Basilio Brollo (1648-1704). woodblock printing paper and ink Height: 48.5 cm. (19 inches) Width: 31 cm. (12 inches) Provenance: From a chateau in central France where it was preserved by generations of the same family since the early 19th century Price: 9.500 usd
Object Presented by: Alan Kennedy M.: + 1 646 753-4938 E: kennedyalan@hotmail.com W: www.alankennedyasianart.com
This grand dictionary was the first comprehensive printed dictionary of Chinese in a Western language, or rather languages, as translations of Chinese words are in both French and Latin. Previously, only handwritten dictionaries existed, as the cost of making wood blocks carved with thousands of individual Chinese ideograms was prohibitive. The book was published at the imperial printing house by order of Emperor Napoleon, who famously said, “China is a sleeping giant. Let her sleep, for when she wakes she will move the world.” The more than 13,000 carved wood blocks (one for each Chinese character) used to print this dictionary still exist in France. They were carved by a team of wood engravers during the years 1715 to 1742. Not surprisingly, many of the characters have erroneous strokes. It is unusual to find an important book such as this example that has not been bound, and has not had its pages trimmed. These one thousand-plus pages have survived in their ‘raw’ state, and are as intact as when they came off the printing press. At that time in France, it was the custom for the buyer of a book to contract with a book binder in order to have the pages trimmed, and then bound in leather covers. Literature: Landry-Deron, Isabelle, “Le Dictionnaire chinois, français et latin de 1813,” T'oung Pao, vol. 101, issue 4-5, pp. 407-440, Leiden 2015
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21 Musician Vietnam Dong Son culture 1st – 2nd century A.D Bronze Sandstone Height: 11.5 cm or 4 ¾ in Provenance: Private collection, Belgium. Price: 25.000 euros
Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com
This represents a man sitting in a sort of chair with feet made of or wrapped in rope and the seat between two posts. The ring over his head was meant for hanging the object, either for use as a weight for scales or simply as a pendant. His hair is in long braids wound like snail shells. It’s interesting to note that, in spite of the natural corrosion that accumulated over the years, those braids are still clearly visible. The man is naked except for a loincloth, and his body is decorated with spirals characteristic of Dongson culture – Banchiang or Battambang style for the city in Cambodia near the great Tonlé Sap Lake. His shoulders, chest and legs are decorated. He’s holding a wind instrument called a khen. It is made up of sort of woven pouch from which run several bamboo pipes. The instrument is actually a type of mouth organ found throughout Southeast Asia in the Bronze Age, in the Dongson and Dian cultures. The very fine impression of the woven seat of the chair leads us to conclude that this bronze was cast using the lost-wax technique. The musician is covered by a thin green patina. Slight crazing on the arms and legs indicates the presence of iron in the alloy. X-ray analysis confirmed its excellent conservation, as both texture and density are uniform with no trace of breakage or restoration. The shape of the musician’s head doesn’t resemble that of Dongson human figures. Likewise, his hairdo and sturdy build are more similar to those of central or southern Indochina, regions with close relations to Dongson and Banchiang cultures. It could be of preFunan culture dating from the 1st or 2nd century. Excavations in the Lang Vac cemetery in Vietnam and Ban Chiang in Thailand, as well as Charles Higham’s recent digs along the Mun River in northern Thailand, have unearthed numerous objects decorated with spirals. This would suggest a broader context for that culture to which these human figures might belong. There are comparable pieces in several private collections. The first object of this sort was found in Laos by Mrs. Madeleine Colani, a French archeologist from the French School of the Far East in Hanoi (EFAO). It was made of bronze and represented
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a young man standing. That piece may be in the reserves of the National Museum of Vietnamese History in Hanoi. A plaster copy was made by Swedish archeologist Johan Anderssen during his stay in Hanoi in 1937. The copy is kept in the reserves of the Museum of Far Eastern Arts (MAEE) in Stockholm. It should also be mentioned that an extremely similar piece, minus the musical instrument, is in the collection of Dr. Kurt Sandmair in Munich, and was on display until recently at the Museum of Asian Arts in Berlin.
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Ghanta
Vietnam, Champa 9th-11th century Bronze (lost-wax method) Height: 25,5 cm Provenance: Private collection, USA Price: 8.500 GBP
Object Presented by: Nies Fine Art M.: + 44 78 57 78 81 21 E.: info@niesfineart.com W: www.niesfineart.com
This striking bronze object is a ritual bell, ghanta, used in Mahayana Buddhist rites. The bell probably once accompanied a vajra - both significant symbolic items within Buddhist tradition. The present bell’s handle resembles a vajra, which is a mythical weapon that represents indestructibility and irresistible force. The bell itself is an instrument producing auspicious sounds, casting away evil spirits, and used in meditational practice. In addition, the hollow form of the bell and its clapper is believed to symbolise emptiness and wisdom. The bell originates from the ancient city of Champa in present-day Vietnam. Champa was a well-connected coastal kingdom, laying on trade routes linking to various countries in SouthEast Asia and India. The Cham people were in close contact with the Khmers, who had a strong influence on Champa’s art and architecture. This finely cast object shows this influence clearly, with sophisticated figurations and carefully applied incisions and relief. Noteworthy are the four feather-like points springing from wellpronounced faces on the handle of the bell. Overall, the decorated object is well-balanced and shows beautiful volumes, enhanced by a naturally oxidized patina resulting in a vibrant green colour.
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A LARGE REPOUSSE MAKARA RING Sumatra 19th century Size US11 Weight: 23.7 grams Price: 4.000 euros
Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
A bold silver alloy ring with deep repousse of two entwined makara. Makara is a legendary sea-creature in Hindu mythology and astrology, Makara is equivalent to the Zodiac sign Capricorn. Makara appears as the vahana (vehicle) of the river goddess Ganga, Narmada and of the sea god Varuna.
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Buddha Sakyamuni
Shailendra Dynasty Central Java First half 9th century Bronze (lost-wax method) Height: 12cm Provenance: Private collection, Germany Price: 9.500 GBP
Object Presented by: Nies Fine Art M.: + 44 78 57 78 81 21 E.: info@niesfineart.com W: www.niesfineart.com
Related literature: Scheurleer, Pauline L. and Klokke, Marijke J. Ancient Indonesian Bronzes: A catalogue of the Exhibition in the Rijksmuseum Amsterdam with a General Introduction. Leiden: E.J. Brill, 1988,p.76. Herzog, Roman. Versunkene Königreiche Indonesiens. Mainz: Verslag Philipp von Zabern, 1995, cat nos: 10, 17
The present bronze, complimented by a deep natural patina, is cast solidly in the lost wax method. The figure represents the historical Buddha Sakyamuni, seated in the European fashion. Originally, this figure would have been seated on an elaborate throne and base.1 The European pose is rare and predominantly found in early 9th century examples made in Borobodur, Central Java: one bronze example with similar measurements resides in the National Museum in Jakarta (inventory number: 588), another is in the Rijksmuseum voor Volkskunde, Leiden (inventory number: 1403-28441883). A more imposing stone Buddha sitting in this pose is in the Candi Mendut temple complex, indicating the devotional weight of this particular image in this region. In addition, Buddha is wearing a monk’s robe held in his left hand which also resonates with early Buddhist bronzes from this region and period. Borobudur is amongst the world’s most important Buddhist sites and its statues are known to be strikingly beautiful and tender works of art. Borobodur was built in the early 9th century and has great historical importance and significant symbolism, as its layout represents the universe. Apart from iconography, the stylistic characteristics of this sculpture exhibit close kinship with Borobudur images. The present bronze shows soft, rounded, and well-balanced anatomical forms covered by thin clothing and decorated with well-pronounced details, such as the nipples, incised edges of the robe, and concentric necklines. These features are typical of the early Central Javanese style and also displays influence of Indian precedents, especially to the Gupta style. Whilst small in size, this sleek bronze evokes a serene and radiating presence that is typical for some of the earliest Javanese Buddhist bronzes. The strong similarity in physical form, dress, high casting quality and naturally worn patina convincingly suggests that the present sculpture was made in the early 9th century near Borobodur. ________________________________________ 1 As seen in the similar example in the Rijksmuseum voor Volkskunde, Leiden (inventory number: 14032844-1883)
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Funerary Face Cover
Java 14th Century or earlier Gold 12 x 10 cm / 4.75 x 4 in Publication: Bennett, A.T.N. Ancient Gold and Modern Fakes in Southeast Asia, pp 203-204, figs 6.13, 6.14* Also in Gold in Early Southeast Asia, edited by Barnes, Ruth, Emma Natalya Stein, and Benjamin Diebold Brill, 2017 Price: 5.000 euros * "In the example in figure 6.14, the surface of the gold suggests that the object is in its excavated condition, and there does not appear to have been any attempt to reshape it. The surface patina indicates that there have been no recent interventions such as cleaning, and the soil deposits remain deeply embedded in the recesses."
Object Presented by: Thomas Murray M.: + 1 415.378.0716 E.: thomas@tmurrayarts.com W: www.tmurrayarts.com
Ancient gold face covers have been found throughout Island Southeast Asia dating to the start of the First Millennium. Fashioned from cut and beaten gold to follow the outline of the face, these ornaments ensured the high status of the deceased would be recognized upon arrival in the next world. Gold by its elemental nature is chemically non-reactive and therefore perfect as a gift for eternity.
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BALINESE KRISS Bali, Indonesia 19th century Blade: 38cm Length of the kriss: 50cm Total length with scabbard: 62cm Price: 5.500 euros
Object Presented by: Cédric le Dauphin M.: +33 6 07 82 95 08 E.: c.ledauphin@gmail.com
Heirloom of a noble family from the Northern kingdom of the Bali Island. With a “Bhuta Rare” or “Kumara Rare” handle figuring the Protector of new born and young children. Made in an ebony like hard and dark wood. The naked god is seated on a tumpal throne and has a relaxed attitude.. His fanged mouth and his bulging eyes give his face a demonist aspect and he has a long strand of hair on the top of the skull. It’s a derivation of the indian “mudan” ceremony in which parents shave the skul of their baby. In Bali, traditionally, children under ten years old used to grow and keep a strand of hair until a sacred celebration where a Brahman cut it as a sign of maturity. This type of kriss handle is scarce, but you can find some two in the Tropenmuseum of Amsterdam collection (N°809-220 in wood and N°809-219B in ivory) and two in the Museum Nasional of Jakarta (N°12964 in black wood and very similar to our one and another one in bone). The selut (cupule) of this handle is made of Brass and glass “stones” alternatively pink and blue. The black blade of the Kriss, typical of the know-how of the Balinese and Lombok smiths, shows a nice vertical pamor revealing the nickel layers contrasting on the blackened Iron. It’s a Balinese version of the Wos Wutah pamor. The dapur (form) of the blade is Ligan but crossed with sort of cenkrong form. Upper the ganja (guard) holes are figuring Shiva’s eyes. This blade has rare forms and of quality. The wooden wrangka (sheath) is in the form of the mango fruit in a beautiful black veined exotic wood.
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Balinese Temple Batik with Powerful Sacred Animals
Batik made in East Java, gold gilt applied in Bali 19th/ early 20th century Cotton, gold 91 x 208 cm / 36 x 82 in. Price :
SOLD
Object Presented by: Thomas Murray M.: + 1 415.378.0716 E.: thomas@tmurrayarts.com W: www.tmurrayarts.com
This exceptionally important textile features four sacred animals, Elephant, Deer, Lion, and Tigers as well as stylized Bhoma (Shubhanshu) Kala heads pointing in the four directions serving to protect the temple.
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INLAID CARD-PRESS Sri Lanka Early 19th century Height: 8 ½ inches, 21.5 cm Width: 11 ¾ inches, 30 cm Depth: 4 ¼ inches, 11 cm Price: 2.500 GBP
Object Presented by: Joost van den Bergh M.: +44 (0)20 7839 8200 E.: joost@joostvandenbergh.com W: www.joostvandenbergh.com
An inlaid wooden card-press with a long rectangular base slightly sloping on either side, the central section with four rectangular upright pillars connected by a bridge-like top. A metal rod extends through the centre of the bridge and is attached to a heavy central press section, which fits neatly around the horizontal pillars. The metal rod has a bone finial and can be pulled upwards and pressed downwards. The base is inlaid with a bone foliate decoration and a chevron type banding around the edges. The heavy movable central press is inlaid with incised bone and a similar chevron banding. This highly unusual playing card press is inlaid in bone and ivory. When the bone knob is lifted, a pack of cards can be inserted and then the plunger is pressed down. Playing cards were considered a luxury item in the past that only wealthy people owned. As playing cards were considered valuable they were sometimes preserved in a card press. A comparable inlaid card-press from Sri Lanka is in the collection of Christopher Ondaatje[1].
________________________________________ [1] Weereratne, N., Visions of an island, rare works from Sri Lanka in the Christopher Ondaatje Collection, London 1999, page 140
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29 Capital Ancient province of Gandhāra 2nd-3rd century Schist Height: 15 cm or 5 ⅞ in Provenance: Private collection, USA, acquired in New York until the late 1990s Price: 7.000 euros
Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com
This fragment of a capital is a charming and quite characteristic piece of that Gandhāra art which is often called Greco-Buddhist art. It is indeed a superb illustration of the close relationship that this original Buddhist art has with ancient Western art. It combines with great finesse and naturalness the Greek acanthus leaf motif with an image of the appeasing Buddha. The Blessed One is unmistakably recognizable by the usnīsa, the cranial protuberance that is the essential sign of his Enlightenment, and a large halo behind his head confirms his transcendental character. He is also identified by his broad monastic garment, elegantly draped around his body in the manner of a Roman toga, covering both shoulders and falling in soft folds. Buddha is depicted as spontaneously rising out of acanthus leaves that constitute the rest of the decoration. All around the Buddha, the capital is decorated with an extremely refined vegetal decoration. The acanthus leaf motifs first appear in low relief, multiplying the incisions that accentuate their graphic aspect. The vegetal ornament finally unfolds into a leaf sculpted in high relief and ending in a graceful scroll. This beautiful Hellenistic-influenced architectural piece would have topped a pilaster used to frame a niche in which a Buddha or a bodhisattva would have stood. Such architectural elements are found in miniature on the numerous Gandhārian reliefs, separating the different scenes and structuring the sculpted surface.
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30 Gandharan Bodhisattva head Gandhara 3rd - 4th century Schist Height: 20 cm Width: 15 cm ; Depth 9 cm Provenance: English private collection: Warren House, Bramshaw, the New Forest (important collection gathered during the 19th century and in the 1st half of the 20th century). According to the family, this piece would have been acquired before 1950. Price: 65.000 euros
Object Presented by: Alexis Renard M.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com
This schist Bodhisattva head is a very fine example of Gandharan Greco-Buddhist art. Gandhara is a region located between Peshawar, the Swat valley and Taxila, in North West Pakistan. It was conquered in 330 BC by Alexander the Great, who introduced the classical Hellenistic style to the region. The latter became a major source of influence for the region’s statuary art for over seven centuries. This finely carved depiction of a Bodhisattva bears a sophisticated headdress, a fine moustache and a third eye (or urna). A comparable head of a bodhisattva is kept in the collections of the Los Angeles County Museum (M.71.1.45). For a comparable example kept in the Peshawar Museum, see: Tissot F. (2002), Gandhâra, Librairie Adrien Maisonneuve, Paris, Fig. 175.
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31 Two epigraphic tiles Iran 17th - 18th century Moulded ceramic under green translucent glaze Height 12 cm Price: 16.000 euros
Object Presented by: Alexis Renard M.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com
These two tiles can be related to a group of moulded ceramics of varied shapes using monochrome green glaze and produced in Iran in the first half of the 17th century. Tiles from that group are kept in various public collections. A number of ceramics of the same type are kept in the collections of the Victoria & Albert Museum (C.1975- 1910), as well as two closely related tiles (C167-1928 and C166-1928). The David collection in Copenhagen also keeps two green glazed tiles (060ab_2002). For further comparable examples also see Alexis Renard’s exhibition catalogues, Tefaf 2009, n°49 and Catalogue 2011, n°09. A photograph of a Mihrab in Imam Reza’s shrine in Mashhad is showing tiles of the same shape (see Oliver Watson (1985), Persian Lustre ware, Faber & Faber, p.132). Tiles from this group are inscribed with prayers referring to Ali. One of our tiles is hardly decipherable, the second one bears an inscription partly read as “...all my knowledge I have brought to you...”
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32 Seated Nobleman on a Terrace Attributed to Pandit Seu and his family workshop Guler Late 18th century Opaque watercolor heightened with gold on paper Image: 7 1/8 x 5 3/8 in. (18.2 x 13.6 cm.) Folio: 11 ½ x 7 7/8 in. (29.1 x 20.1 cm.) Provenance: The collection of Carol Summers. Christie’s New York, 20 March 2019, lot 713. Price: 50.000 USD
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W: www.kapoorgalleries.com
A nobleman in a vivid green jama with an elaborate floral and jeweled belt, necklaces of rubies, emeralds and pearls that match his embellished turban surmounted by a feathered sarpech, appears dignified atop a white marble terrace. He relaxes before an elaborate drawstring bolster atop lavish textiles as he holds the end of a hookah, before which a heated vessel sits emitting wisps of smoke. The elegant composition is worthy of close comparison to a figure in the same posture, garb and environment as the present nobleman, attributed to the master painter Nainsukh: a drawing of Mir Mannu in the Government Museum and Art Gallery, Chandigarh (acc. no. B-60), illustrated by B.N. Goswamy in Nainsukh of Guler, Zurich, 1997, pp. 102-103, no. 27. Since Akbar’s time, the Mughal Empire exerted suzerainty over the small principalities within the rich landscape of the Punjab Hills. The present painting is a result of that influence, as it was very likely painted from an imperial Mughal model. The painting is, nevertheless, of the highest quality and thus attributed to the famed atelier of Pandit Seu of Guler— an artist who, credited with aiding in the shift to a more formal style with the transmission of Mughal techniques, learned directly from disbanded artists from Aurungzeb’s former atelier.
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ViSNu Vasudeva
Northern India Pala period Circa 12th century Phyllite stone Height: 61 cm Provenance: Private collection, France, acquired in Asia between 1940s and 1960s. Price: 24.000 euros
Object Presented by: Christophe Hioco M.: +33 (0) 1 53 30 09 65 E.: info@galeriehioco.com W: www.galeriehioco.com
This stele presents the characteristic iconography of the powerful Visnu Vasudeva, supreme Hindu god wearing the royal tiara (kirīta), who is figured here. One recognizes its attributes, finely represented in the respect of the classic iconographical codes: in his raised hands, the mace (gadā) and the discus (cakra). With his other hands he makes the gift-giving gesture (varadamudrā) and holds the conch (śankha). Contributing to the general harmony, Visnu is surrounded by his two wives, carved in dynamic postures, contrasting with the formal rigidity of his figure. On his right, the goddess of good fortune Laksmī holds a fly-whisk, the symbol of royalty and happiness. On the other side, Sarasvatī, goddess of knowledge, wisdom and the arts, can be recognized by the string instrument (vina). Two small figures next to the goddesses represent personified attributes of Visnu. The god is wearing many jewels and this abundance of details is found throughout the decor. Whether they are rampant lions (vyālaka) depicted on both sides atop elephants, the kīrtimukha prophylactic mask at the top, the two flying celestial creatures with garlands (Vidyādhara), or floral scrolls, all these decorative elements contribute to a rich, fluid and elegant composition. The multiplication of parts setting back from the central section in the lower part, the pointed top of the stele and the openwork behind the main figure are all stylistic characteristics specific to the stelae of the 12th century and made in North-Eastern India.
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A REVERSIBLE ENAMELLED NECKLACE Jaipur India Late 18th - Early 19th century Width: 23cm Provenance: Private New York Collection Price: 25.000 euros
Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
An unusual double -sided enameled gold necklace decorated with fine enameling. On the front of the linked necklace is beautiful green enamel on a white ground of single fronds of flowers planted in yellow pots, The necklace is mounted with a row of green glass pearls resembling emeralds and a single row of pearls mounted with green glass. The reverse has bold green, red and yellow flowers against a white ground.
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35 Rama Eastern India, Orissa, 15th century Brass Height: 16 1/4 in. (41.2 cm.) Provenance: Acquired in New York in the 1990s. Price: 50.000 USD
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W: www.kapoorgalleries.com
Despite his smile, Rama appears formidable in this powerful stance with his arms out before him as if holding his characteristic bow and arrow, with which he is able to defeat any demon and deflect any weapon in his way. Rama is the seventh avatar of Vishnu and a legendary king of Ayodhya. He is a prominent figure in the Hindu pantheon, and particularly important within the Hindu tradition of Vaishnavism wherein Vishnu is exalted. Many details of his life come from the Ramayana, one of the epic poems of Ancient India authored by the great Maharishi Valmiki. Rama’s life and journey is one of perfect adherence to Dharma despite the series of harsh tests he endures, such as his own exile and the kidnapping of his wife Sita. Here Rama is pictured as the ideal man, just as the maharishi describe him—fear-striking and beautiful. This marvelous bronze image from Orissa certainly captures Rama’s divine qualities, as he appears only semi-human with his perfect proportions and complete physical symmetry. The artist evidently took great care in matching each minute detail from one side to the other. Compare the present figure to a fifteenth-century brass figure of Radha published by Vidya Dehejia in Devi The Great Goddess: Female Divinity in South Asian Art, Smithsonian Institution, 1999, p. 329, cat no. 77; also sold at Sotheby’s New York, 21 March 2019, lot 917. The treatment of the circular, tiered lotus base is nearly identical, as are the lotiform designs that punctuate each piece of jewelry that adorns Radha. The facial features are also strikingly similar despite the difference in sex: note the extremely wide eyes, the prominent nose with a sharp and straight bridge, and the full smiling lips, all beneath a discreet singular brow line. Equal attention is paid to the backside of both images. The present figure’s backside reveals an additional two small flowers adorning each of Rama’s ears, finely incised strands of hair, and neat tassels fastening each piece of jewelry he wears—a few of many fine qualities of this masterwork of Orissan bronze casting.
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Elephant
India, Maharashtra 18th century Brass Height: 34 cm Provenance: Tewari Family collection, Germany. Price: 8.500 GBP
Object Presented by: Nies Fine Art M.: + 44 78 57 78 81 21 E.: info@niesfineart.com W: www.niesfineart.com
Related literature: https://www.metmuseum.org/art/ collection/search/75276, lastly visited 04/05/2021
This magnificent brass elephant is a fine example of Indian folk art made in Maharashtra, India. Within Hindu traditions, the elephant was originally the vehicle (vahana) of the god of lightning, thunder and rain, Indra. The animal was later associated with other deities, such as Durga and Lakshmi. Around the state of Maharashtra, the elephant is associated with the local deity Khandoba, who is traditionally revered as a warrior god and manifestation of Shiva. A comparable example from the same period, region, and with similar measurements resides in the Metropolitan Museum of Art, New York (accession number: 2008.645.1a– c). This elephant demonstrates the deity Khandoba and Mahout (elephant trainer) sitting on top - the present elephant also comes with riders surmounted in a similar fashion and with a structure sheltering the deity.1 Stylistically they are very much alike; having wide column like legs and a longtrunk supported by a slim horizontal rod attached to the body of the animal. Both elephants are set on a base with pierced geometric designs. The decorations, such as the ankle straps, layered necklaces and floral motives on the elephant’s head, are applied by way of incisions and low relief. This elephant is expertly cast in the lost wax method from brass – a favoured material of the Mahrastra region during the 18th century. The animal’s size, beautiful authentic patina, technical skill, wellbalanced volume and pronounced details make this sculpture a highquality artwork within its genre. ________________________________________ 1 Not shown on the image – please enquire should you be interested to see the elephant with figures surmounted.
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A PAIR OF REVERSIBLE DIAMOND AND SPINEL EARRINGS Lucknow, India Early 19th century Length: 13cm Price: 18.000 euros
Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
A pair of large delicate earrings with diamonds and pearls on one side and spinel and pearls on the other. A double crescent row is mounted with a drop fish and the whole mounted in small drops with green glass and seed pearls.
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38 Important Mughal khanjar Northern India or Deccan Mughal Period 17th century Jade, kundan set carved rubies, emeralds and precious stones Height: 41,5 cm Width: 5 cm Price :
SOLD
Object Presented by: Alexis Renard M.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com
Mughal weapons are among the most emblematic objects of the Mughal world, and a testimony of the wealth and refinement of the period. Luxurious weapons began to be considered as works of art during Jahangir’s reign (1569 – 1627). The quality of craftsmanship and the costly materials were used to define the status of the owner. Mughal officials were often honored by the emperor with precious or jeweled daggers, that were worn as luxury accessories and used as status indicators at court. Kundan is a typically Indian technique of setting gems. Several layers of gold foil are placed between the gem and its mount, allowing a very light setting of the gemstones. A comparable piece is kept in the collections of the Los Angeles County Museum of Art (Inv. n°M.71.1.35a-b). Two other related khanjars with inlaid precious stones are also kept in the Al-Sabah collection in Koweit (Inv. n°LNS I2 HS ab and n° LNS 263 HS).
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A PAIR OF GEM-SET AND ENAMEL DROP EARRINGS. Jaipur 19th century Length: 7 cm Price: 6.000 euros
Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
A pair of reversible enamel drop earrings in the form of fish,a symbol of long life and happy marriage. The earrings are decorated in red enamel on the head and the body in green with the scales set with rubies on one side and on the other side the head in green enamel and the body in red with the scales inset with diamonds. The whole form mounted with small seed pearls and green glass.
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40 Illustration to the Lanka Kanda of the Ramayana: The Awakening of the Giant Kumbhakarna Kangra Late 19th century Opaque watercolor heightened with gold on paper Image: 6 5/8 x 8 1/2 in. (16.8 x 21.6 cm.) Folio: 7 1/2 x 9 1/4 in. (18.8 x 23.5 cm.) Price: 12.000 USD
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W: www.kapoorgalleries.com
The present painting illustrates a continuous narrative in which two successive episodes of the Lanka Kanda from Valmiki’s Ramayana are shown together in a single picture. The narrative is broken up into its sequential scenes by the clean straight lines of the palace halls. On the right, a large convex room draws your eye to the first scene in the narrative. There sits the giant Kumbhakarna, who has just awoken from a six month’s deep sleep. The large audience of demons that surround him inform Kumbhakarna that Rama, Lakshmana and Sugriva’s monkey army have gathered outside the palace—their diminutive figures visible in the background, under a tree on top of a mountain. To the left, the zig-zagging palace staircases lead your eye up to the next episode in which Kumbhakarna goes to meet his older brother Ravana, the ten-headed king of Lanka. With large horns and fangs, and a pearlstudded golden gada grasped in his right hand, the giant dwarfs the size of the demons that surround him. In the meeting hall above, the golden skinned Ravana awaits with a black ram at his feet—an offering to sate Kumbhakarna’s hunger after his long slumber. Upon their meeting, Kumbhakarna admonishes his brother for kidnapping Sita, but nevertheless pledges to destroy Ravana’s enemies out of familial loyalty. This set is likely inspired by a well-known Guler Lanka Kanda series produced in 1850. Two paintings of this series were successfully sold at auctions (Bonhams New York, 19 March 2018, lot 3095; and Christie’s New York, The Collection of Paul Walter, 26 - 27 September 2017, lot 229). A third one is published in Court Paintings from Persia and India, Francesca Galloway, London 2016, p. 98, no. 36.
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41 Black stone Lingam Bihar, eastern India, Pala 12th century Height: 16 1/8 inches, 41 cm Width: 5 inches, 12.7 cm Price:
SOLD
Object Presented by: Joost van den Bergh M.: +44 (0)20 7839 8200 E.: joost@joostvandenbergh.com W: www.joostvandenbergh.com
______________________________ [1] Pal, P., Art from the Indian Subcontinent,New Haven and London 2003, page 192 no. 149 [2] Pal, P., The Sensuous Immortals, London 1977, page 88-89 no. 52 [3] Lefevre, V. and Boussac, M-F., Chefs-d’oeuvre du delta du Gange, Collections des Musees du Bangladesh, Paris 2007, p. 256, n. 98
A black stone lingam, carved with four figures arranged around a central cylindrical column, which is supported on a tall, square base. The four female figures are identical; each is sitting cross-legged with the feet exposed (paryankasana) on a double lotus throne, and with the hands held together in the adoration position (anjari). They wear abundant jewelled necklaces, bangles and earrings, and a multi-tiered tiara crowns the head. The faces have benign expressions and downcast eyes. An engraved, teardrop shape on the forehead indicates the ‘third eye’ (unisa). The top of the central column is carved with a single flower. The remains of an inscription are visible on the base, but this is probably of a later date. The lingam is the symbol used for worship of Shiva, the Hindu god of destruction and rejuvenation. Shiva’s best-known consort is Parvati. The seated figures depicted on this black stone lingam probably represent Parvati, the mother of the deities Ganesha and Skanda, whom ome communities also believe to be the sister of the god Vishnu. It is likely that this lingam was placed in a temple, where it was accompanied by a separate representation of Shiva. The word ‘Pala’, which means ‘protector’ in Sanskrit, refers to the name of an important dynasty that flourished in eastern India from the 8th to the 12th century. During this period, the present-day Indian states of Bihar and West Bengal as well as the nation of Bangladesh were primarily under the control of the Pala family. Although Pala-ruled areas were among the last strongholds of Buddhism in India, Hinduism gained dominance by the 11th and 12th centuries. At this time, pilgrims, monks, and students from all over Asia flocked to the holy sites connected with the life of Shakyamuni Buddha and to the numerous monasteries. When they returned home, these travelers brought Pala-period Buddhism and art with them in the form of manuscripts, small sculptures, drawings, and other portable imagery. Consequently, the Pala style particularly influenced the art of Burma, Nepal, Tibet, Shrivijaya, and Java. Both Buddhist and Hindu temples from the Pala period were built of brick and decorated with stone images that were set into wall niches. Comparable Pala sculpture can be found in the Norton Simon Museum, Pasadena[1], the Los Angeles County Museum of Art[2] and the Bangladesh National Museum, Dacca[3]
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42 Krishna with Female Attendants Bikaner Last quarter of the 17th century Opaque watercolor heightened with gold on paper Image: 8 3/8 x 5 3/8 in. (21.3 x 12.7 cm.) Folio: 13 1/4 x 8 5/8 in. (33.7 x 21.9 cm.). Price: 60.000 USD
Object Presented by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoorgalleries.com W: www.kapoorgalleries.com
A light blue sky descends into a mossy green, where the background meets the horizon line of a marble terrace. Green and yellow honeycomb tiles atop the garden pavilion’s roof bring out the fluid streaks of golden clouds in the sky. Floral motifs fill the textiles and panels that decorate the pavilion as well as the large bed around which three elegant female attendants wait on a regal figure, hand and foot. The identity of the adored male herein is revealed by his sky-blue skin and the obscured peacock feather on the proper-left side of his five-pointed diadem. Krishna’s crown style resembles that exactly of a Bikaner painter Ibrahim’s 1692 Rasikapriya illustration in the collection of the Brooklyn Museum of Art (acc. 81.192.3). The present painting exhibits figures with cinched waists, the use of linear perspective, and a goldspeckled border—all typical features of paintings from Bikaner, a major center of painting of the seventeenth and eighteenth centuries within Rajasthan. The inscription which appears under the lower right corner of the painted image refers to the divine Krishna in a loving Urdu epithet, “Mohan Lal.”
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Loka-purusa
Rajasthan, India 19th century Ink and gouache on cloth Height: 185.5 cm (73 in) Width: 120.5 cm (47 3/4 in) Price: 6.500 GBP
Object Presented by: Joost van den Bergh M.: +44 (0)20 7839 8200 E.: joost@joostvandenbergh.com W: www.joostvandenbergh.com
Loka-purusa represent man as a microcosm of the universe. Here, the giant figure shows madhyaloka (middle world) in the form of a jambudvipa at the waist.
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A BRONZE FIGURE OF DANCING KRISHNA Vijayanagara, Karnartaka South India 16th century Height: 8cm Price: 2.500 euros
Object Presented by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
Krishna is a Hindu deity often regarded as an incarnation of Vishnu. In this lively piece Krishna holds a round butter ball in his right hand. As a child he was notorious for stealing butter from his neighbours. Despite his mother’s protests he frequently escaped punishment. The left arm is extended to balance his body in a dancing movement suggestive of his mischievous joy. The right leg is raised whilst the weight rests firmly on the left leg which is bent at the knee. The body is delightfully rotund with rounded belly, breasts and buttocks. As was customary, Krishna is depicted naked except for the jewelled ornaments that are draped elegantly over the body Although the dance of the butter thief (navanita-nritta-murti) is not an uncommon subject, it is certainly rarer than depictions of Krishna playing the flute. This is a detailed and well-executed miniature work in excellent condition.
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45 Blindfolded cheetah on a cart India Mughal Period Circa 1620-1640 Pigments and gold on paper Height: 7 cm Width: 12,5 cm Price: 14.000 euros
Object Presented by: Alexis Renard M.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com
A small group of related paintings and drawings of the same size and treatment are known. For a closely related scene of a blindfolded cheetah, see: Falk, T. & Archer, M. (1981) Indian Miniatures in the India Office Library, London: Sotheby Parke Bernet / Delhi-Karachi: Oxford University Press, p. 374, N°63, and p. 367.
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