SPOTLIGHT by Asian Art in London | Issue #2 | September 2021

ASIAN ART IN LONDON | ISSUE 2 | SEPTEMBER 2021

SPOTLIGHT by Asian Art in London

21

TABLE OF CONTENTS 3 Introduction 22 - 23 Aktis Gallery (U.K.) Ltd. 24 - 25 Raquelle Azran Vietnamese Fine Art 8-9 Rob Dean Art 28 - 29 Eskenazi Limited 30 - 31 John Eskenazi Ltd. 20 - 21 Grosvenor Gallery 26 - 27 Martyn Gregory 56 - 57 Michael Goedhuis 34 - 35 Hanga Ten 58 - 59 Jonathan Hope 38 - 39 J.A.N. Fine Art 42 - 43 Lam’s Gallery 46 - 47 Littleton & Hennessy Asian Art

36 - 37 Marchant 32 - 33 Martindale Chinese Art 46 - 47 The Mayor Gallery 10 - 11 Galerie Mingei 6-7 Marcel Nies Oriental Art 54 - 55 Sue Ollemans 42 - 43 Kevin Page Oriental Art 15 - 15 Susan Page Chinese Snuff Bottles 12 - 13 Simon Pilling 48 - 49 Priestley & Ferraro 52 - 53 Shahnaz Gallery 16 - 17 Shapero Rare Books 50 - 52 Jacqueline Simcox Ltd. 18 - 19 Runjeet Singh The description and attribution of pieces advertised are the sole responsibility of participants.

SPOTLIGHT | ISSUE #2 | SEPTEMBER 2021 Welcome to our newest edition of ‘Spotlight’!

Asian Art in London is proud to continue our series of digital magazines featuring carefully curated pieces submitted by our 2021 participants. Each piece is available for sale at the marked price by application directly to the dealer presenting it.

The current issue contains 54 entries from 27 participant galleries and dealers: from a Balinese dancer’s mask to a bronze Buddha head from Thailand and paintings from 21st century Vietnam; a Japanese bronze eagle; a Gandharan standing Buddha and an elegant moulded celadon Koryu Dynasty bowl of 12th Century Korea; China is well represented with pieces ranging from early ceramics to porcelains, jades and textiles; and the diverse cultures of the Indian subcontinent by sculpture, miniatures and jewellery. The range and quality is extraordinary.

We hope you will find turning these pages an enjoyable experience and that you will be inspired to make an immediate purchase! All of the participants look forward to hearing from you.

Henry Howard-Sneyd, Chair of Asian Art in London

SPOTLIGHT SUBSCRIPTION Sign up to the Asian Art in London mailing list to receive future issues of Spotlight directly to your inbox.

MARCEL NIES ORIENTAL ART

Lange Gasthuisstraat 28, 2000 Antwerp, Belgium Based in Antwerp, Marcel Nies opened a gallery specialising in art from Southeast Asia, India and the Himalaya regions in 1994. He has been trading since 1975 and built an internationally recognised expertise in Asian Art. Apart from the annual exhibitions held at the gallery, Marcel Nies Oriental Art has taken part in TEFAF Maastricht for over 30 years. Marcel Nies has supplied works of art to important private collections and museums, including the Rijksmuseum in Amsterdam, the museum for Ostaziatische Kunst Koln, the Victoria and Albert Museum London, the Rietberg Museum Zurich, the Metropolitan Museum New York, the Asian Art Museum San Francisco, the Barbier-Mueller Museum Dallas, and the Asian Civilization Museum Singapore.

This portrait of Buddha Sakyamuni is sculpted with great sensitivity. The head demonstrates features of the lion-type face which was prevalent in the early Lan Na period (14th and 15th centuries). Its impressive size, volume, and masterful casting are noteworthy.

This sophisticated Kashmir sculpture represents the Hindu god Vishnu with Gadadevi and Chakrapurusha. The garland encircling Vishnu’s body is connected to the earth goddess Prithvi.

Stylistic influence from the Gupta period is revealed in the sheer garments exposing Vishnu’s naturalistic body.

CONTACT

Marcel Nies Phone: +3232267455 Email: info@marcelnies.com Website: https://marcelnies.com

Head of Buddha Sakyamuni Thailand, Chiang Mai Lan Na kingdom, 15th century Bronze, Height: 40 cm

PROVENANCE Collection Galerie Claude Jongen, Belgium, before 1977 Private collection, Belgium, 1977 - 2019 FEATURED LITERATURE E. Nies, Art & Devotion: The Splendour and Worship of Asian Sculpture, (Antwerp: Marcel Nies Oriental Art, 2021), p.64-67 “A la Galerie Claude Jongen: les Visages de Bouddha, 2/6 – 1/10/1977,” in Jalons et actualités des Arts: Mensuel D’Actualité Artistique, vol. 34, no.75, May 1977, p.

22, fig.2

Vishnu attended by Gadadevi and Chakrapurusha India, Kashmir Second half 8th century Green chlorite, Height: 25 cm

PROVENANCE Private collection, Hong Kong, before late 1990s Collection Mr. Laurent Solomon, Singapore, late 1990s-2020 FEATURED LITERATURE E. Nies, Art & Devotion: The Splendour and Worship of Asian sculpture, (Antwerp: Marcel Nies Oriental Art, 2021), p.6-9

ROB DEAN ART

1 The Street, Woolpit, Bury St Edmunds, Suffolk, IP30 9SA

Rob Dean specialises in Indian and South Asian Art and has worked in the field since 1998 . Rob has previously worked as a specialist of Modern and Classical Indian Paintings for both Christie’s and Sotheby’s and now works independently as a gallerist, lecturer, and consultant. In 2011 he co-founded the auction house Pundole’s and has been at the forefront of Modern Indian Art Auctions for over 20 years.

The first painting is from a dispersed Ragamala series executed at Amber, circa 1680. This particular series was created in a more traditional Rajasthani style with less of the Mughal influences that are seen in the slightly later 18th century sets from Jaipur after the capital moved in 1728.

The second painting illustrates a scene from the Devi Mahatmya, Kausiki is shown on her tiger mount, mutli-armed brandishing an impressive array of weapons as she attacks the demon forces of Sumbha, who threaten dominion over the gods.

CONTACT

Rob Dean Phone: +447764942306 Email: rob@robdeanart.com Website: https://www.robdeanart.com

An illustration from a Ragamala series, Bhairav Raga

Amber, India c. 1680 Opaque pigment on paper with gold 18.7 x 16.3 cm

For other examples from the series see Spink, Indian Miniature Painting, Exhibition Catalogue, London 1987, nos. 23-25. For a slightly later Ragamala series from Malwa, see T. Falk and M. Archer, Indian Miniatures in the India Office Library, London, 1981, no.

559, i-vi.

An illustration from a Markendeya Purana series Kangra or Mandi, India c. 1830-1850 Opaque pigments on paper Image 13.7 x 20.6 cm Folio 15.5 x 22.5 cm

Compare with other pages depicting the similar scenes in F.S. Aijazuddin, Pahari Paintings and Sikh Portraits in the Lahore Museum, London, 1977, nos. 41 (xviii and xix), p. 47, Joachim Bautze, Lotusmond und Lowenritt: Indische Miniaturmaleri, Stuttgart, 1991, no. 17, p. 67 and Sotheby’s, New York, March 22, 1989, lot 165

GALERIE MINGEI

5, Rue Visconti, Paris, 75006, France Mingei Gallery, located in the antiques district in Saint-Germain-des-Prés, specialises in ancient and contemporary art from Japan, and particularly in Japanese bamboo baskets as a pioneer and leader in Europe. The gallery works with museums and institutions and periodically organises thematic artist exhibitions with catalogues. The Mingei Gallery is managed by Philippe Boudin and his daughter Zoé Niang.

Hitatare is a type of Japanese traditional kimono, which has been worn by noble males since the Heian period. The shape changed greatly depending upon the time period. The top was not a stand-up collar, but was open at the front and tied together with a string at the overlap. Since the Edo period, hitatare has been worn by gagaku (ancient Japanese court dance and music) players and sumo referees. In addition, it remained as a stage costume for kyōgen (aNoh farce) and the kabuki (traditional drama performed by male actors). Asa is a general term used to refer to cloth woven from bast fibre such as ramie, hemp, linden, wisteria, nettle, kudzu, etc. Asa is akin to linen.

Inami Kirokusai II was an artist of Wajima lacquerware and a son-in-law of the Inami Kirokusai I. He was born in Gifu prefecture and moved to Kanazawa to learn the Kagamakie lacquerware. After a while, he moved to Wajima and studied at Inami Kirokusai I. He is admired as one of the best Wajima lacquerware artist. His style is very modern and the technique is very fine.

“Ne-no-hi” is the first day of the rat in a new year. The Japanese celebrated this day each New Year, wishing for prosperity and longevity. People went out to pick out small pine branches or young greens, and enjoyed a feast. Kirokusai II depicts a feast of ne-no-hi with the four fans. He also depicts seasonal plants on each fan. Flowers or fruits are categorized into the four seasons to make haiku poems in Japan and it is obvious that he depicts good wishes for all of the year.

Spring: Wisteria Summer: Gourd Autumn: Bellflower Winter: Nandina He used his technique to finish this work by using beautiful materials in which the colour corresponds to each plant. The composition is radical and modern. A similar stationary box (made in 1940 – Showa 15) is possessed by the Ishikawa Prefectural Wajima Lacquer Museum.

CONTACT

Philippe Boudin Phone: +33609766068 Email: mingei.arts.gallery@gmail.com Website: http://mingei.gallery

Hitatare (Kyōgen kimono)

Edo period, 19th century Asa (bast fiber), 85 (h) x 200 cm Similar textile at the Idemitsu Museum (Japan)

Bunko type box for booklets with design of “ne-no-hi”

Inami Kirokusai II (1902-1981) Showa, 20th century Gold makie, mother-of-pearl, coral H.17.5, W.34, L.43 cm

SIMON PILLING

PO Box 40062, London, N6 6XB Established in 2005, Simon Pilling offers Japanese works of art. All are sourced directly from Japan and so are fresh to the Western market. A particular focus is on the 20th century – a period of artworks still largely undiscovered in the West – and contemporary works. While carrying pieces in a variety of media – ceramic, metal, wood and graphic – his specialisation is in lacquer, the quintessential, perfect Japanese artform.

Glowing in the evening light of a full moon, a golden weeping willow forms the backdrop to a shimmering rendering of white plum blossom in mother-of-pearl inlays. Technically superb – using takamakie and kirikane inlays – the design itself is relatively traditional, but open the box and the unique design splendour and originality of this piece is revealed.

The interior creates an immensely rich, stylised, and thoroughly modern interpretation of the timeless Japanese natural theme of the Seven Autumn Grasses.

Raising a gently curved cylinder from a strong base, the potter of this piece finally pressed the sides inwards in replication of the culm of a large bamboo stem. It is a natural, spontaneous action of great strength and subtlety. In firing the piece, the random actions of natural ash glaze have formed textures and shapes, drawing us into an endless world of mountains and landscapes set against the background of a rich, red, metallic-looking unglazed clay.

CONTACT

Simon Pilling Phone: +447946577303 Email: simon@simonpilling.co.uk Website: http://www.simonpilling.co.uk

Writing Box, 1930s

Hiiraishi Takashi (1910-89) Lacquer with gold and silver powders and mother-of-pearl inlays, 24 (dia.) x 4.2 cm.

PROVENANCE Private Japanese Collection Winner of 2020 Asian Art in London Apollo Award for an Outstanding East Asian Work of Art from a Dealer

Fresh Water Jar, Tea Ceremony

c. 1700 Ceramic – Bizenware 16/17 (irreg. dia.) x 17 cm.

PROVENANCE Private Japanese Collection

SUSAN PAGE - CHINESE SNUFF BOTTLES Green Park House, 15 Stratton Street, London, W1J 8LQ

Susan Page worked with Robert Hall, leading snuff bottle dealer for 30 years. During that time, she catalogued and handled some of the finest Collections of Snuff Bottles in the world. Susan set up on her own in 2018 and has enjoyed curating collections and researching and sourcing pieces. Susan is currently on the Board of Directors of The International Chinese Snuff Bottle Society.

Snuff bottles are produced from a huge variety of materials.

Here is a fossiliferous limestone example, hewn from rock and minimally carved to show the beauty of the stone. It contrasts well with this crystal bottle, painted on the inside in ink and colour by Ye Zhongsan, and dated 1904.

CONTACT

Susan Page Phone: +442030360044 Email: susan@snuffbottlepages.com Website: https://snuffbottlepages.com

Fossiliferous limestone, carved with fluted sides, resting on a flat foot 1760-1860 Fossiliferous limestone Height: 6 cm

PROVENANCE Eric Young Collection

Crystal, painted inside with Pekinese dog and dove Ye Zhongsan Bottle age 1800-1880 Dated 1904 Crystal 5.5cm

SHAPERO RARE BOOKS

106 New Bond Street (1st floor), London, W1S 1DN Shapero Rare Books is an internationally renowned dealer in antiquarian & rare books and works on paper. Our specialists have over 250 years of experience between them, with particular expertise in fine illustrated books from the 15th to the 20th century, travel & voyages, natural history, literature (including modern first editions), children’s books, guidebooks, Hebraica & Judaica, works of Russian interest, and Islamica & Near Eastern books & manuscripts.

Shapero Rare books have recently broadened their collections of books relating to the Arabic, Ottoman, Persian and Indian worlds with the launch of a new dedicated department headed

by Roxana Kashani. Roxana’s main areas of expertise are manuscripts from the Near East, ranging from early Andalusian Quran leaves of the 10th century to Qajar Persian illuminated codices of the 19th century, and early printing in the Islamic world, including typeset presses in the West and provincial and early lithography in the Middle East and India.

CONTACT

Roxana Kashani Phone: +442074930876 Email: rarebooks@shapero.com Website: https://shapero.com

Al-Jazuli, Muhammad ibn Suleyman Dala’il al-Khayrat Illuminated manuscript 1199 AH (1784 AD)

[RARE ARBA’IN TREATISE]

Kitab al-Arba’in fi Manaqib al-Atharin Illuminated manuscript 1186 AH (1772 AD)

RUNJEET SINGH

One Princes Place, Duke St, St James’s, London, SW1Y 6DE (By appointment only) Runjeet Singh is a dealer who specialises in Asian antique arms and armour.

He welcomes visitors by appointment in St. James’s and also to Leamington Spa, a town in rural Warwickshire, approximately 80 miles North of London.

Regarded by many to be a leading specialist, Runjeet currently sits on the board of directors of Asian Art in London and is a member of the BADA (British Antique Dealers Association).

Runjeet enjoys a reputation as a dealer of discerning taste, which has led to close relationships with the most important collectors, museum curators and academics around the world.

Qajar Helmet A captivating helmet (or kulah khud) with gold-lined panels designed to mimic the feathers of a peacock whose neck and head form a striking centrepiece. The armourer has cleverly created a mimetic contrast against the frontal section of the helmet, which has been etched with further flowers in bloom and at the centre depicts the calming face of the “Lion-and-Sun” symbol (or Širo Xoršid) popularly used in Qajar work, and which would go on to become the national emblem of Iran, the sun-rays here overlaid with lines in gold.

Lacquered Shield Originally presented as a diplomatic gift from India to the family of a Japanese ambassador, this black-painted leather shield may be related to a group produced by a single workshop in Rajasthan, which traditionally created a Japanese-influenced style of decoration inspired by seventeenth century Indian shields that were sent to Japan to be decorated with lacquer by Portuguese merchants based in the Indian subcontinent.

Four steel bosses are attached to the shield’s centre and cut to convey repeating Devanagari characters, possible the initials ‘MA’ – perhaps those of an individual involved in the shield’s manufacture, or of the armoury that produced it.

CONTACT

Runjeet Singh Phone: +447866424803 Email: info@runjeetsingh.com Website: http://runjeetsingh.com

Qajar Helmet

Place of Origin: Qajar Empire (Modern-Day Iran) 19th century Steel, gold Overall Height: 66 cm, Diameter: 20 cm

Lacquered Shield

Place of Origin: Rajasthan, India 19th century Leather, Indian lacquer, steel Overall diameter: 63 cm

GROSVENOR GALLERY

35 Bury Street, London, SW1Y 6AY Grosvenor Gallery was founded in 1960 by the sociologist and writer Eric Estorick who began to collect works of art when he came to live in England after the Second World War. Its first premises was on Davies Street and it was the largest and best equipped gallery in England at the time. The Gallery showed important European artist of the time – some for the first time in London such as Magritte, Picasso, Sironi and Chagall.

In 2006, the Gallery shifted its focus to specialize in South Asian Modern and Contemporary art especially the works of mid 20th century Indian modernist such as the Bombay progressives, as well as Chughtai, Gulgee and Sadequain from Pakistan.

The contemporary program includes exhibitions of work by Rasheed Araeen, Faiza Butt, Olivia Fraser, Senaka Senanayake and Dhruva Mistry amongst others.

Faiza Butt (b.1973) is a graduate of the National College of Art (NCA), Lahore and the Slade School of Art, London. In 2013 Faiza participated in the 55th Venice Biennale.

In 2015 she had her first mid-career survey, ‘Paracosm’ at the New art exchange in Nottingham, which later travelled to The Art Exchange, University of Essex and The Attenborough Art Centre, University of Leicester, UK. Her recent notable exhibitions include ‘Brave New World’, Grosvenor Gallery, London, UK; ‘The Unbreakable Rope: An Exploration of Sexuality in Islam’, Free Word Centre, London, UK; Three Women Show, at Vadehra Art Gallery in New Delhi, India, which served as a step towards improving Indo Pakistani relations through cultural connections; ‘Hanging Fire: Contemporary Art from Pakistan’, Asia Society, New York, USA. Faiza has designed covers for award winning author, H.M Naqvi’s first and second books. Her works are in numerous international collections including the British Museum UK; Victoria and Albert Museum UK; Kiran Nadar Museum of art, New Delhi, India; Devi Art Foundation, New Delhi, India. She lives and works in London.

Faiza writes, “My practice focuses on the male image. The idea is to subvert the history of the male gaze with reference to the female nude. I draw from mass media images of masculinity (e.g. in sports photography, cinema and politics), to create moments of reflection within my ornately rendered drawings.”

Faiza’s upcoming solo exhibition will be on display at the gallery in October 2021.

CONTACT

Conor Macklin, Charles Moore and Kajoli Khanna Phone: +442074847979 Email: art@grosvenorgallery.com Website: http://grosvenorgallery.com

Get Out of My Dreams - 5, 2020 Faiza Butt Ink on polyester film, 63.5 x 84 cm

Untitled, 2017 Faiza Butt Ceramic bowl 32 cm

AKTIS GALLERY (U.K.) LTD.

50 Jermyn Street, London, SW1Y 6LX Aktis Gallery specialises in the post-war lyrical abstraction movement, focusing on some of the most influential Chinese émigré artists of the 20th century, such as the internationally renowned Zao Wou-Ki and Chu Teh-Chun as well as the contemporary Paris-based artist Gao Xingjian and the exceptional contemporary sculptor Wang Keping.

Wang Keping writes, “I am a Chinese artist, but I don’t make Chinese art.”

Born in 1949 near Beijing, Wang Keping is one of the founders of Chinese contemporary art, particularly because of the key role he played during the Cultural Revolution in China in 1970s. He left China and settled in Paris in 1984. Since then, he has developed a virtuoso body of works which explores the possibilities of wood.

Wang Keping is widely recognized as one of the most important contributors to contemporary sculpture.

Regularly exhibited in Paris from 1952 then in Switzerland and The United States, Zao Wou-Ki was by then internationally recognized. At this time a metamorphosis appears in his art, as can be seen in “Les attiseurs”. Zao Wou-Ki recalls in 1976: “My painting becomes unreadable. Still-lives and flowers flowers no longer exist. It tends towards an imaginary writing, indecipherable.”

CONTACT

Anna Chalova Phone: +442076296531 Email: anna@aktis-gallery.co.uk Website: https://aktis-gallery.co.uk

Woman’s Back, 1995 Wang Keping Maple, 60 x 60 x 25 cm

PROVENANCE Private Collection, Paris FEATURED LITERATURE China Black: Zao Wou-Ki, Wang Keping, Aktis Gallery, London, 2016, no. 10

Les attiseurs, 1955 Zao Wou Ki Oil on canvas 46 x 55 cm

PROVENANCE Myriam Prévot-Douatte Colletion, Paris Private collection, Brussels Private collection, Paris FEATURED LITERATURE

Claude Roy, Zao Wou-Ki, Paris, Goerge Fall Ed., Le Musée de Poche, 1957, ill. p.23 Claude Roy, Zao Wou-Ki, New York, Grove Press, Inc./London Evergreen Books Ltd., 1959, ill. p.21 Claude Roy, Zao Wou-Ki, Paris, Goldschmidt, Le Musée de Poche, 1970, ill. p.29 Collectif, Lion Art no.13, Taipei, 1972-73, ill. p.15 Dominqiue De Villepin, Zao Wou-Ki Oeuvres 1935-2008, Paris, Flammarion, 2009, 2012 and 2017, ill. p. 110 Dominqiue De Villepin, Zao Wou-Ki Works 19-35-2008, Hong Kong, Kwai Fung Publishing, ill. p.110 Françoise Marquet-Zao,Yann Hendgen, Catalogue raisonnée des peintures Zao Wou-ki, Paris,Flammarion,2019, p. 211, reproduction p. 315

RAQUELLE AZRAN VIETNAMESE FINE ART 320 East 57th Street New York NY 10022, USA A leading specialist in Vietnamese Fine Art since 1997, Raquelle Azran is an international collector, museum curator and dealer.

Based in Hanoi since 1991, her personal access to Vietnamese artists has enabled over 100 exhibitions - in Asia, Europe and the United States - of the most exciting modern and contemporary Vietnamese paintings.

“I believe that artwork must be experienced viscerally. The conversation between viewer and artwork is a very personal moment, which I am delighted to offer to aficionados of Vietnamese fine art as well as to those for whom the delight of discovery lies ahead.”

Featured here are paintings by Dinh Thi Tham Poong and Vu Thu Hien, two Hanoi-based artists whose work has been critically acclaimed internationally. The two women share much in common: both born in 1970 and members of the same graduating class of the Hanoi Fine Arts University. Both artists work in watercolour on traditional handmade paper, and the work of both reflects the mixture of East and West which typifies Vietnamese fine art. Vu Thu Hien weaves references from Modigliani to Matisse into her portraits of real and ancestral beings, while Dinh Thi Tham Poong imbues her portraits of ethnic Vietnamese with a delicate Magrittesque Surrealism.

CONTACT

Raquelle Azran Phone: +12127150565 Email: raquelle.azran@gmail.com Website: https:// www.artnet.com/razran.html

Beckoning to Bliss, 2006

Dinh Thi Tham Poong Watercolour on handmade paper 60 x 80 cm

PROVENANCE Acquired directly from the artist in Hanoi

Timeless Tableau, 2014

PROVENANCE Acquired directly from the artist in Vu Thu Hien Watercolour on handmade paper, 80 x 110 cm Hanoi

MARTYN GREGORY 34 Bury Street, St James’s, London, SW1Y 6AU Established in 1965, Martyn Gregory is the world’s leading authority on the art of the ‘China Trade’ and pictures relating to China, India and South East Asia by both travelling Western and Eastern artists.

These paintings, which cover the period from 1700 to 1950, include works by early Western artists who travelled to the East, as well as by Eastern artists who worked in the ‘Western manner’ to cater for the tastes of Westerners in the Orient. They include landscapes of historic sites, especially ports and the trading concessions granted to the Western trading powers by the Chinese authorities. They also include decorative pieces which were created for the export market. ​ Perhaps the most outstanding - and the largest - figure drawing of Chinnery’s long career. Here the off-duty bearers sit and stand in postures of elegant relaxation, their sinewy limbs drawn by Chinnery in confident, curving penstrokes. The palanquin depicted is a mahannah, large, shuttered and relatively comfortable, conferring both shade and status; from 1758 junior employees of the East India Company were forbidden to maintain ‘either palanquin, horse or chaise’.

A large and vivid view looking southwards from Kowloon, painted with a degree of detail and precision that is seldom found in paintings of Hong Kong. The view extends from North Point to Western District and the Lamma channel beyond. Landmarks include Flagstaff House, City Hall, Murray Barracks, St John’s Cathedral, Government House, and the Roman Catholic Cathedral with its twin towers; the signalling station can be seen on the Peak above.

CONTACT

Martyn Gregory Phone: +442078393731 Email: info@martyngregory.com Website: https://www.martyngregory.com

Palanquin Bearers at Rest George Chinnery (1774-1852) Pen and ink and watercolour 35.5 x 49 cm

Signed and dated ‘Geo Chinnery E.I. 1806’

PROVENANCE Anthony Thompson; Martyn Gregory Catalogue 28, 1982, no.4; private collection FEATURED LITERATURE P. Conner, George Chinnery: 1774-1852, Artist of India and the China Coast, 1993, pl. 13

Hong Kong Island: A Panoramic view

Chinese School, c. 1865 Watercolour and bodycolour heightened with white, in a carved Cantonese-style hardwood frame, 48.2 x 108.6 cm

PROVENANCE Martyn Gregory Gallery in 1984 (cat. no. 38, no. 11); Richard Kelton

ESKENAZI LIMITED

10 Clifford Street, London, W1S 2LJ Eskenazi Limited is one of the world’s most respected dealers in Chinese art. Over the past 50 years, the company has built a reputation as the leading player in the field, having sold some of the finest works of art seen on the market during this period.

The material the gallery handles includes bronze, ceramic, sculpture, lacquer, works of art and contemporary ink painting.

The company holds regular themed exhibitions and has placed objects in private collections and in over seventy international institutions.

The tortoise entwined with the snake represents one of the four cardinal directions and is known as the ‘Black Warrior of the North’ (xuanwu), the four quarters together maintaining the harmony of the universe. Traditionally the tortoise was considered by the Chinese to be female and it is encircled by the snake, which acts as its male element; the combination of the two creatures represent the principle of yin and yang.

The deity, Avalokiteshvara, also known as Guanyin, the Goddess of Mercy, is seated in a variant of royal ease in a rocky grotto, the base carved with waves from which spring lotus blooms. A gourd-shaped flask is placed on one side while the ‘white’ parrot associated with the deity perches on the opposite side.

CONTACT

Daniel Eskenazi Phone: +442074935464 Email: daniel@eskenazi.co.uk Website: https://www.eskenazi.co.uk/

Painted Earthenware ‘Black Warrior of the North’ Northern Wei Dynasty Early 6th century Earthenware Length: 17.6cm

PROVENANCE Dr. N. Wessén, Stockholm Eskenazi Limited, London Private collection, London Eskenazi Limited, London Norman A. Kurland, U. S. A. FEATURED LITERATURE Eskenazi Limited, Twenty five years, London, 1985, number 23 Maurizio Scarpari, Ancient China; Chinese Civilization from the Origins to the Tang Dynasty, Vercelli, 2000, page 162 Giuseppe Eskenazi in collaboration with Hajni Elias, A Dealer’s Hand, The Chinese Art Market Through the Eyes of Giuseppe Eskenazi, London, 2012, page 252, plate 198 Eskenazi Limited, Six Dynasties art from the Norman A. Kurland collection Part one, London, 2017, number 7

Polychrome and Gilt Wood Avalokiteshvara (Guanyin) Song or Jin period, 13th century Wood, pigment and gilding Height: 31 cm

PROVENANCE Bluett and Sons, London, 1972 Dr and Mrs John Kurtz, Brussels FEATURED LITERATURE Eskenazi Limited, Room for study: fifty scholars’ objects, London 2019, number 28

JOHN ESKENAZI LTD.

PO Box 55621, London, W9 2XA John Eskenazi is an internationally respected dealer in Indian, Gandharan, Himalayan and Southeast Asian art; he is also a specialist in collectors’ carpets and textiles. In 1997 he was instrumental in co-founding Asian Art in London. John Eskenazi and his wife, Fausta, are available, by appointment only, for consultation and private viewings of select pieces.

The images reflect the diversity of sculptures inspired by the Buddhist faith and here, two less familiar figures are featured.

An unusual female head from Central Asia probably represents a Buddhist devotee. The reclining figure is Kubera, king of the yakshas, depicted at a moment of ease. Yakshas are South Asian folk deities who came to be regarded as guardians of the Buddhist faith.

CONTACT

John Eskenazi Phone: +442074093001 Email: john.eskenazi@john-eskenazi.com Website: http://www.john-eskenazi.com

Head of a woman, southern Tajikistan or Uzbekistan 6th/7th century Loess (wind blown sediment forming a hard clay-like deposit) Height: 27 cm

Reclining Kubera Gandhara 4th to 6th century White stucco with traces of pigments Width: 30 cm Height 19.5 cm

MARTINDALE CHINESE ART

34 South Molton Street, London, W1K 5RG Martindale Chinese art was founded in 2018 after William graduated from the Postgraduate Chinese Art course at SOAS. William is a London based dealer specialising in Chinese ceramics and works of art with a particular focus on later Chinese jade carvings.

He is currently in the process of refurbishing a new office and gallery space a stone’s throw from the iconic New Bond Street.

The mythical beast is shown standing strong and proud, the head bearing slightly towards its right with upward curling brows, a ruyi-shaped nose, bulbous eyes and tufted flowing beard. Four legs, each defined at the thigh by a scrolling Greek key fret border.

A playful cub is depicted pawing and looking up to the creature highlighting the strong bond between the two animals.

The finely carved deer is depicted in a recumbent pose with its legs neatly tucked beneath its body. Its head is turned to its left looking towards a bat resting on its hind, carved in openwork and high relief.

Its eyes rounded in appearance with its eyelids protruding from its forehead. Its delicate four-pronged antlers rest above its small upward curling ears. Its sharp spine is highlighted by a multitude of small tool marks to give the appearance of coarse hair. Its tail lobbed and finishing at a rounded point facing towards the underside. Splashes of the pebble’s natural skin have been used to elaborate the patternation of the animal.

The deer in Chinese art is a homophone for “emolument” and the bat is a pun for “blessings”. The two depicted together signifies the meaning “May your blessings and emolument be complete”.

CONTACT

William Martindale Phone: +447581228572 Email: info@martindalechineseart.com Website: https://www.martindalechineseart.com

A fine carved white jade mythical beast and cub

Qing Dynasty, Qianlong Period (1736-1795) The stone is almost flawless and of bright white tone.

Length: 7.5 cm

PROVENANCE Private Belgian Collection For a similar white jade mythical beast group see Morgan Brian with a contribution by Boqian Li, Naturalism & Archaism: Chinese Jades from the Kirknorton Collection (Carter Fine Art Limited 1995) no.53, p.44 For another similar white jade mythical beast with key fret design, see China Guardian HK 2016 Autumn Auctions, Chinese Ceramics and Works of Art, Lot 1200.

A pale celadon and russet carved jade deer and bat group

Ming/Qing Dynasty, 17th century The stone is of pale celadon tone with russet inclusions Length: 7.5 cm £13,000 PROVENANCE Private European Collection

HANGA TEN

PO BOX 67812, London, SW7 9BL, (by appointment only) Hanga Ten (in Japanese “Shop of Prints”) is a leading specialist of contemporary Japanese prints. Established over twenty years ago in London, Hanga Ten has been instrumental in introducing the works of master print artists from Japan to a worldwide audience of private and institutional collectors. Hanga Ten represents twenty-five artists and exhibits at major art fairs in the UK up to six times a year.

Frequent visits to Japan ensure strong and long-term relationships with our artists which our international clientele can confidently rely upon.

The moon has always been an integral part of Japanese culture, with the “Moon Viewing” Festivals (“Tsukimi”) going back to the Nara Period (710 - 784 AD). Here we are pleased to exhibit the works of two contemporary print artists who have focused on the moon as a major theme.

The first is “Midnight Moon” by Sarah Brayer. A long-term resident of Kyoto, Brayer makes her own washi paper in the 800 year old village of Echizen. “Painting with liquid paper” is how Brayer describes her work. She carefully pours dyed vats of pulp into large screens, strategically manipulating the movements of the slowly draining water, the suspension of the fibres and the flowing water becoming critical in this intricate and unique process. Photo-luminescent pigments are added in the final stage which makes the moon image glow in the dark.

The next is “Shimmering Grass” by Yuichi Hasegawa. This artist’s woodcut technique is unique in that he uses only one block to carve, print and efface until the entire print is complete. Hasegawa comes from a family of lacquer craftsmen, and the lustrous inks he uses remind us of Japanese lacquer. Hasegawa’s works focus on the mystery and secrecy of the Universe, and the appearance of one moon or multiple moons in his images is a recurring theme. Hasegawa comments: “I am striving to create works with a meaningful inner spirit. The immense time and space of the Universe, along with the various forms of creation observed in nature, are my theme.”

CONTACT

Chiko Nara Phone: +447788458201 Email: japaneseprints@hangaten.com Website: http://hangaten.com

Midnight Moon, 2020

Sarah Brayer (b. 1957) Edition of 32 Aquatint on indigo-dyed hand-made mulberry paper with washi chiné collé and phosphorescent pigment 57 x 68 cm

PROVENANCE Direct from the artist LITERATURE “Sarah Brayer - Inner Light” 2021, page 7 Brayer’s works are included in the permanent collections of the British Museum, The Cincinnati Museum, The Oregon Art Institute, Byodoin Temple, Kyoto, and Shimonoseki Museum, Yamaguchi Pref. among others

Shimering Grass, 2008 Yuichi Hasegawa (b. 1945) Edition of 10 Woodcut on washi paper Image size: 52 x 36 cm Sheet size: 62 x 47 cm PROVENANCE Direct from artist Hasegawa’s works are included in the permanent collections of the Cincinnati Art Museum, Museum of Arts and Crafts, Hamburg, Art Gallery of New South Wales, Australia, Singapore National Museum among others

MARCHANT

120 Kensington Church Street, London, W8 4BH

The company was founded in 1925 by Samuel Sydney Marchant and is still family-owned and run, now in the fourth-generation. The specialities are Imperial Chinese Ming and Qing porcelain, jades, cloisonné, pottery and works of art. Emphasis is placed on rarity, quality and provenance.

This figure of Zhenwu is in excellent condition and a rare model, with fine painting.

The jade censer was included by Marchant in their 95th Anniversary exhibition, The Lobl Collection of Chinese Jades, no. 26, 2020. It is well carved and with its original cover, from the same piece of stone.

CONTACT

Stuart Marchant Phone: +442072295319 Email: gallery@marchantasianart.com Website: http://marchantasianart.com

Chinese porcelain underglaze blue and white figure of Zhenwu Ming Dynasty, c. 1580 Porcelain Height: 23.7cm

PROVENANCE From the collection of a famous French industrialist, purchased in the 1960’s, advised and helped in forming his collection by René Grog who was the husband of the French fashion designer Marie-Louise Carven.

LITERATURE A related figure of Zhenwu and his acolytes is in the Gugong collection, Beijing, no. N00106222; and another is in the Asian Art Museum of San Francisco, collection no. B81P55.

Chinese jade two-handled rectangular censer

c. 1770 Jade 13.7 cm long handle to handle, 4.7 cm deep, 11.7 cm high

PROVENANCE Sold by Louis Joseph, 28 Knightsbridge, London, 1960-1985, by repute.

LITERATURE A similar ding is illustrated by Zheng Xinmiao in Compendium of Collections in the Palace Museum, Beijing, 10, collection no. Gu 87845, no. 65, p. 95.

J.A.N. FINE ART

134 Kensington Church Street, London, W8 4BH Established in 1977 and founded by Kikue Shimizu, J.A.N. Fine Art is located on the world renowned “street of antiques”, specialising in Chinese, Japanese, Korean, Himalayan and South East Asian ceramics, porcelain, paintings and works of art.

Delightful set of 5 Chinese Ko-somestsuke leaf shaped dishes used for the Japanese tea ceremony. Two dishes depict a mountain and temple landscape scene with two fishing boats.

One dish depits a zen monk meditating by a blossoming lotus flower, one depicts a figure by a river, the other is a peaceful landscape scene. All decorated in underglaze cobalt blue.

A fine Japanese satsuma ‘millefiori’ rotund jar and cover decorated with overglaze enamel and gold executed meticulously, under a finely crackled transparent glaze. The jar cover topped with a red and gold finial. The base reading a satsuma cross round mark reading ‘kou’.

CONTACT

Adam Shimizu Phone: 07703989724 Email: info@jan-fineart-london.com Website: https://jan-fineart-london.com

Tianqi Period set of five Leaf dishes

Jingdezhen, Jiangxi Province, China Late Ming Dynasty, Tianqi Period (1620 – 1627) Porcelain, underglaze cobalt blue, 20 x 4.5 cm

PROVENANCE Private Japanese Collection

Millefiori Satsuma jar

Japa, Meiji period, c. 1880 Porcelain 27 x 28 cm

PROVENANCE Private Japanese Collection

LAM’S GALLERY

G/F., 70A Hollywood Road, Central, Hong Kong

3C, Yally Industrial Building, 6 Yip Fat Street, Wang Chuk Hang, Hong Kong

Lam’s Galley is one of the world’s most trusted Chinese art dealers based in Hong Kong, with a big, newly refurbished exhibition space opening in Fall 2021.

Founded in 1988 by Mrs Lam Chan Mei Lam (Mama Lam), the gallery is now run by the second generation Bobo Lam and Midco Lam, who have more than 25 years of experience in dealing with finest works of Chinese art spanning 5000 years of history patronised by museums, dealers and long term customers from around the world .

This type of horse with one foreleg raised is considered to be modelled after dancing horses which were kept for entertainment at the court during the Sui and Tang Dynasty when different special breeds from Central Asia were imported into China through the Silk Road and kept as symbols of power, wealth and status.

This shape of ewer derives from the metalwork of the ancient Iranian world and illustrates the impact of the trade along the Silk Road during the Tang period.

CONTACT

Midco Lam/Bobo Lam Phone: +85294740066 Email: midcolam.art@gmail.com

A Straw Glazed Pottery Figure of a Prancing Horse

Sui Dynasty - early Tang Dynasty 7th - 8th century Glazed Pottery Height: 42 cm

PROVENANCE A private Asian Collection A similar prancing horse can be seen in Eumorfopoulos collection, British Museum

A Splashed Blue Glazed Amphora Tang Dynasty, AD 618-907 Glazed Pottery Height: 16 cm

PROVENANCE A Private Taiwan Collection Similar examples can be seen in the collection of V & A Museum and Meiyangtang Collection

KEVIN PAGE ORIENTAL ART 7 Pierrepont Row, London, N1 8EE

Established for over half a century, Kevin Page Oriental Art is one of the most trusted and respected names in Oriental Art. With one of Europe’s leading collections of Japanese Meiji-era (1868 – 1912) Fine Art and Antiques, our Islington galleries also house a broad collection of fine Chinese porcelain ranging from Ming dynasty through to early 20th Century.

From our “Masters of the Meiji-era” collection, two specially selected pieces showcasing late 19th Century Japanese master craftsmanship: A serene and beautifully patinated bronze sculpture of a hawk.

The bird stands on a Bronze gnarled tree stump. Signed Kazan to the underside.

A masterful pair of early Meiji period (1868-1912) ovoid baluster form Bronze vases with dark Shakudo patination. Each vase standing on five feet in the form of butterflies. Quarrelling sparrows are depicted among bamboo plants and flowering pinks and daisies.

CONTACT

Kevin Page Phone: +442072268558 Email: info@kevinpage.co.uk Website: https://kevinpage.co.uk

A masterful Bronze Okimono of a hawk Kazan c. 1880 Bronze Height: 58 cm

An exceptional pair of antique Japanese Bronze and multi-metal vases Suzuki Chokichi & Sugura Gyoso c. 1880 Bronze, Gold, Silver, Shakudo, Copper Height: 43 cm

LITTLETON & HENNESSY ASIAN ART 1 Princes Place, Duke Street, St. James’s, London, SW1Y 6DE Littleton & Hennessy Asian Art is an art advisory group specialising in Asian works of art. We hold several exhibitions a year in our London gallery, in the heart of St. James’s and we have been regular exhibitors at various art fairs in the world.

We provide consistent and reliable high quality acquisition and consulting services. We furnish clients with personalised assistance, sourcing pieces to form new collections and to compliment existing collections. We offer our clients the expertise to purchase with confidence pieces that will enhance their collections.

The ‘lingzhi’ shaped head decorated in silver with two five-clawed dragons amongst ‘ruyi’ clouds contesting a central flaming pearl.

The front of the arched shaft inlaid with eight quatrefoil cartouches containing the attributes of the Eight Daoist Immortals’ on a ‘wan’ diaper ground. The back with a twelve-character silver-inlaid inscription in archaistic script. The end of the shaft ending in a double silver-inlaid ‘ruyi’.

The censer is cast in archaistic ‘liding’ form, with a deep rounded body below a galleried mouth rim, flanked by a pair of loop handles and supported on three tubular legs. The censer is finely inlaid with silver wire, the body decorated with fierce archaistic ‘taotie’ masks, all on a ‘leiwen’ ground. The legs inlaid with cicada leaves below further ‘leiwen’ motifs. The censer has a later wood cover, with carnelian finial, and wood stand.

CONTACT

Mark Slaats Phone: +447717825828 Email: mark@littletonandhennessy.com Website: https://www.littletonandhennessy.com

A fine silver-inlaid cast-iron ‘ruyi’ sceptre Qing dynasty, Qianlong period 46.5cm long

PROVENANCE David Kidd Collection (1926-1996), Kyoto, Japan Compare a near identical example with a Qianlong mark from the Ji Zhen Zhai Collection, sold at Christie’s Hong, 9 July 2020, lot 2906. Another example was exhibited at ‘Asian Art in London 2007’ and is published in ‘Littleton & Hennessy Asian Art - Arts for the Scholar’ no. 2, p. 6-7.

A silver-inlaid bronze tripod censer with wood stand and cover Song/Yuan dynasty Bronze Height: 21.2cm

PROVENANCE A private Irish collection Compare a similar ‘liding’ with inlay in gold and silver from the Collection of Ulrich Hausmann, Sotheby’s Hong Kong, 8 October 2014, lot 3335.

The result of Oxford Authentication Ltd. thermoluminescence test no. C119g91, dated 20 June 2019, is consistent with the dating of this lot.

THE MAYOR GALLERY

21 Cork Street, First Floor, London, W1S 3LZ The first gallery to open in Cork Street in 1925; with nearly 100 years in the art trade, The Mayor Gallery is internationally renowned today for being London’s foremost gallery for exhibiting artists from the Zero and international Concrete movements, particularly 1950s and 60s, and continues to offer works of leading Pop artists as well as Dada, and Surrealism.

Aiko Miyawaki (b. 1929 - d. 2014 Japan) lived and worked in Europe and USA between 1957-1966. The mixed-media, abstract two-dimensional works she created then incorporated materials like powdered marble to create undulating dune-like surfaces that expressed a ‘tension between transformations and something that remains unchanging’.

Li Huasheng (b. 1944, China), one of the foremost traditional Chinese landscape painters of his generation, came to a radical life and art practice transformation after a trip in USA in 1987.

Later inspired by the image of the lines formed by marching Tibetan monks Li began to visualise existence in the form of a line. The line becomes the artist’s most fundamental expressive cipher and reflects Li’s mental and physical state at the time of its execution.

CONTACT

Christine Hourde Phone: +447766950550 Email: christine@mayorgallery.com Website: https://www.mayorgallery.com

Untitled, 1960

Aiko Miyawaki Oil and powdered marble on plywood board 72.5 x 60.5 cm

PROVENANCE Tokyo Gallery + BTAP, Japan

o546, 2005

Li Huasheng, Ink on paper, 96.5 x 179 cm

PROVENANCE Acquired directly from the artist FEATURED LITERATURE Li Huasheng: The Meditation Room, 2 Jun - 28 Jul 2016, London, The Mayor Gallery, ill. in cat. p. 27

PRIESTLEY & FERRARO

3 Bury Street, St James’s, London, SW1Y 6AB Priestley & Ferraro specialises in early Chinese art, with a focus on the ceramics of the Song dynasty and the periods immediately before and after. This was an exceptional time in the history of Chinese – and world – ceramics. Innovation was matched only by the perfection of technique, resulting in the proliferation of kilns all over China, each dedicated to a range of beautiful and characteristic wares. It is in this rich and rewarding field that we aim to find the finest pieces for the collector.

Although our primary emphasis is on ceramics, we enjoy dealing in many categories of earlier Chinese works of art, including lacquer, both carved and undecorated, jades and cloisonné enamels, and from the pre-Song period, Han and Tang dynasty pottery animals and figures and Buddhist stone carving.

The business was established in 1994 by David Priestley and Benedicta Ferraro. David studied Song dynasty ceramics under Mary Tregear at Oxford, before joining Sotheby’s in London where he worked as an expert in the Chinese Department. In 2002 Priestley & Ferraro was joined by Alice Williamson, also formerly of Sotheby’s and a graduate of SOAS. Priestley & Ferraro is a member of the British Antique Dealers Association (BADA).

CONTACT

David Priestley, Alice Williamson Phone: +442079306228 Email: gallery@priestleyandferraro.com Website: http://www.priestleyandferraro.com

A black lacquered wood six-legged incense stand, xiangji China, Southern Song dynasty (1127-1279) or early Yuan dynasty (1279-1368) Lacquered wood Height: 39 cm

This six-legged black lacquer stand, a rare survivor from the thirteenth or fourteenth century, was probably made for Buddhist use, to support an incense burner. Its airy elegance of construction would have complemented the rising drift of fragrant smoke.

A moulded Korean celadon leafscroll pattern bowl Korea, Goryeo dynasty (918-1392) Glazed stoneware Diameter: 20 cm

PROVENANCE The Collection of Herman Lindberg This rare bowl is decorated in high-relief with scrolling leaves. It is an unusual style of decoration, typical of the innovation of the Goryeo potters. Their understanding of glazes was equally deep, effortlessly achieving here a thick bluish grey-green colour that would have been the envy of their contemporary Chinese counterparts.

JACQUELINE SIMCOX LTD.

54 Linton Street, Islington, London, N1 7AS (By appointment only) Jacqueline Simcox specialises in Chinese and Himalayan silk textiles, including wall hangings, costumes and furnishings made for the Chinese Imperial palaces, the aristocracy and the wealthy.

Additionally, with buddhist textiles and other monastic items and decorative silk textiles for the home market and export textiles made specially for the West.

A red silk panel with a geometric pattern of formalised flower heads, with each of the eight petals containing further flowering branches.

Geometric patterned textiles became popular during the Yuan dynasty (1279-1368) and at the same time architectural elements of ceiling designs took on a geometric form. Textiles in these designs continued until the 19th century.

The textile has been Radiocarbon dated: ref. ETH-39684 Zurich 68.2% probability 1415 - 1450 95.4% probability: 1405 - 1485 A square silk meditation panel, set within a wide blue silk border and embroidered with 13 by 13 small squares, each composed of four triangles in an overall design of a large square divided into four triangles.

Meditation panels are usually related to Buddhism and reflect colour symbolism, cosmology and numerology. 13 is considered a holy number in Tibetan Buddhist belief and in the ancient Bon practices. It is a critical number in measuring periods of time and for completing specific religious tasks. Its origins may lie in the moon cycle of thirteen lunar months in a lunar year of 384 days.

CONTACT

Jacqueline Simcox Phone: +447775566388 Email: js@jacquelinesimcox.com Website: http://jacquelinesimcox.com

A red silk brocade geometric panel

Chinese Ming dynasty, 15th century Silk brocade 70 x 65 cm

Embroidered silk meditation panel

Tibetan from Chinese silks 18th/19th century Embroidered silk 50.8 x 52 cm

SHAHNAZ GALLERY

101 Kensington Church Street, London, W8 7LN

Shahnaz Gallery is a second generation gallery and successor to Bashir Mohamed Ltd. founded in 1980 with its first premises on Old Bond Street, London. Specialising predominantly in Islamic and Asian art, they are globally renowned for rare and important acquisitions. Shahnaz Gallery prides themselves on their reputation for in depth knowledge and expertise in the field.

Following the tradition of Elijah Impey’s commissions, this is a unique composition of a bird known as the Indian Roller, known for their aerial acrobatics some of these birds perform during courtship or territorial flights. Beautifully rendered, the artist has left considerable room above the bird, leaving it room to fly away.

A mounted seventeenth century Kalamkari roundel, part of a tent, from the Deccan.

CONTACT

Shahnaz Mohamed Phone: +447903022669 Email: info@shahnazgallery.com

A Company School Watercolour of a bird

Nineteenth century Opaque colors and ink on paper 62 x 48.5 cm Framed: 85 x 75 cm

A Deccani Kalamkari Roundel, part of a tent Seventeenth century Cotton, painted and dyed 122.4 x 124.5 cm

SUE OLLEMANS

8 St James’s Square, London, SW1Y 4JU

We have been involved in selling ancient jewellery from Asia for 40 years.

We endeavour to sell pieces in their original form from China, India, Cambodia, Thailand, and Indonesia.

We source most of our jewels from old European or American Collections.

We have supplied many major private collections and Museums around the world.

CONTACT

Sue Ollemans Phone: +447775566356 Email: sue@ollemans.com Website: https://www.ollemans.com

Diamond Ruby, Emerald and Pearl Pendant

South India 19th century Gold, ruby, emerald, diamonds and pearls Length: 5 cm

Ruby, Emerald and Diamond Ring

20th century Gold, emerald, ruby and Diamonds Size: US6

MICHAEL GOEDHUIS

Flat 3, 61 Cadogan Square, London, SW1X 0HZ Michael Goedhuis has been dealing in Chinese art since the 1980s, after having gained experience in numerous fields within the art world. He initially focused on Chinese later bronzes for which he became world-renowned before broadening his interest to Chinese contemporary Ink painting.

Michael was one of the first dealers in the West to deal in Chinese contemporary art, building major art investment companies and organising pioneering exhibitions and auctions.

Born in 1961 in Beijing, Li Chevalier grew up during the Cultural Revolution in China. She later moved to Europe where she has studied both philosophy and fine art at several European institutions. Her work is notable not only for its technical virtuosity and its aesthetic innovations but for the philosophical hinterland on which it rests.

Guan Zhi was introduced to Ink painting as a child but initially pursued a career in business before turning to painting. His primary aesthetic commitment is to transforming the classical canon of Chinese Ink painting into works that are meaningful to both Chinese society and the West today.

CONTACT

Michael Goedhuis Phone: +442078231395 Email: london@michaelgoedhuis.com Website: https://www.michaelgoedhuis.com

Mirage, 2019

Li Chevalier Ink and mixed media on canvas, 74.5 x 154 cm

Intimate Scenery in Wangchuan, 2021 Guan Zhi Ink and colour on paper, 62 x 110 cm

JONATHAN HOPE By appointment only

A specialist in Southeast Asian textiles and ethnographic art, Jonathan Hope has been dealing and collecting since the 1970s.

He is a contributing editor of Hali Magazine and has written numerous articles for them on a number of subjects from European silk production in the early 18th century to traditional Javanese batik. He has exhibited at a number of European art fairs, most recently Parcours des Mondes in Paris and his textiles have been displayed in several non-commercial shows including the exhibition ‘Heirlooms’ at the Edinburgh International Festival and ‘Cotton, Global Threads’ at Manchester’s Whitworth Art Gallery. His clients include several major museums and private collectors both in the UK and elsewhere.

A ‘topeng’ probably from North Bali. The mask probably represents a Sandaran, an elegant supernatural being associated with the Barong. They usually appear in groups of 4 and the various districts of Bali have different interpretations of these characters. The Barong who can drive out evil and sickness is highly important to Balinese traditions.

A ceremonial garment worn by a Timorese warrior, either attached to his head gear or elsewhere on his body. This example is exceptional owing to the fineness of the tapestry weave and the insertion of gold and yellow silk which was highly prized and only seen on the earlier examples.

CONTACT

Jonathan Hope Phone: +447711961937 Email: jonathan.glenhope@virginmedia.com

A Balinese dancer’s mask (topeng)

Late 19th or early 20th century Wood, pigment, mother of pearl, traces of gold leaf 15 x 19 cm

PROVENANCE Private collection in Switzerland FEAUTURED LITERATURE For comparable examples see ‘The Art and Culture of Bali’ by Urs Ramseyer, publ. Oxford University Press, illustrations 333-342. Also ‘Dance and Drama in Bali’ by Beryl de Zoete and Walter Spies, publ.

Faber and Faber 1938, plates 40 and 41.

‘Pilu Saluf’ from Timor

Probably 18th century or early 19th century Cotton, silk, natural dyes, tapestry weave, weft twining 33 x 85 cm

PROVENANCE Private collection in Japan FEATURED LITERATURE A similar example can be seen in ‘Textiles of Timor’ by Roy W Hamilton and Joanna Barrkman, publ. Fowler Museum at UCLA, p.113. Also in ‘Splendid Symbols: Textiles and Traditions in Indonesia’ by Mattiebelle Gittinger, publ. The Textile Museum, Washington DC 1979, p.47, p.180, p.181.

OCTOBER 2019

NEW RESEARCH ON ART AND ITS HISTORY

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