April catalogue - Asian Art Society

APRIL I ssue

WHo We ARe

The Asian Art Society features an online catalogue every month listing quality works of Asian art that have been thoroughly vetted by our select members, who are the in-house experts.

By bringing together a group of trusted dealers specializing in Asian art, our platform offers a unique collection of works of art that collectors will not find anywhere else online. To ensure the highest standards, gallery membership is by invitation only and determined by a selection committee of influential gallerists

/AsianArtSociety

Cover image: Head of a guardian

Presented by Rasti Chinese Art on p. 86

TA b L e of Con T en T s

i n Te RV ie W Sue Ollemans

CATA lO gue A selection of fine classisc art works

UnDER 10 Fine art works priced under 10.000 euros

TR i BA l ART SOC ie TY Link to the catalogue of our Partner

Sue OLL e MANS

Sue Ollemans has been selling Asian Works of Art for over 40 years. She was trained at the Percival David Foundation, SOAS, London and specialized in Asian works of Art from the Song Period and in particular pieces that were made or traded by the Dutch east India Company.For the last 18 year, however, she has specialized in jewelry from Asia and related jeweled objects.From Indonesia there are always treasures from Central Java and the Majapahit Periods and wearable pieces from Bali and the archipelago islands.From China rare jewelry pieces are found from the Liao, Song, Ming and Qing Dynasty. Champa and Khmer pieces are well represented from Vietnam and Cambodia with a few pieces from Ayuthyia and Sukhothai, Thailand. Finally she has a large inventory of jewelry from the Indian sub-continent dating from the Mughal Period through to the Art Deco Period.The gallery spends a lot of time researching the pieces and only selects pieces in the original state. Some pieces are wearable, some are for collectors. Given that jewelry of, some form or another is worn by every man woman and child on the planet, whether it is a feather or large flawless diamond, it gives us an intimate view on the societies for whom it was made. It has always been a reflection of the status of the owner and in many cases a way of appeasing the gods and as such, it is a much-overlooked field in its importance in the world of art. Jewelry need not be worn nor locked away in a safe but can be enjoyed as a sculptural work of art, displayed as you might a Brancusi or Renoir. She regularly exhibits at Asia Week New York, San Francisco Fall Fair, Fine Art Asia, Hong Kong International Asian Art Fair Hong Kong, Taiwan, Asian Art London and private shows in Paris and Brussels. She has sold items to Smithsonian Institute of Art, Brooklyn Art Museum, Newark Museum of Art , Middelbury College uSA, Asian Art Museum Singapore, Hong Kong Museum of Art.

Contact: +44 (0) 7775 566 356 sue@ollemans.com www.ollemans.com

A NAVARATNA, GOLD AND eNAMeLLeD BeLT BuCKLe

Aurangzeb period 1658 – 1707 ce

5 X 6 CM

Provenance: a member of the hyderabad royal family Now in a Private european collection

The gold belt buckle is enameled with a dark blue ground into which is set in the kundan style a stylized navaratna. The stones of the navaratna average about 3 carats in size and are exceptionally clear. each stone is cut in a rectangular or square format that form a bold design.

Left to right: Pearl, Yellow Sapphire, Hessonite, Diamond, Cat’s Eye, and Garnet (in place of red coral) emerald, Sapphire, Ruby. The nine holy stones each represent a planet, revolving around the sun (Ruby) in harmony, bringing order and peace to the wearer. It is believed that Aurangzeb was particularly fond of navaratna.

Ruby (Sun), Pearl (Moon), Red Coral (Mars), emerald (Mercury), Yellow Sapphire (Jupiter), Diamond (Venus), Blue Sapphire (Saturn), Hessonite (Rahu, ascending lunar node), and Cat’s eye (Ketu, descending lunar node

Aurangzeb was the sixth Mughal emperor who reigned for a period of 49 years from 1658 until his death in 177.Widely considered to be the last effective Mughal emperor; Aurangzeb was also one of the most influential rulers of the 17th Century. As a memorizer of the Quran he was one of the few powerful rulers who established Sharia law and Islamic ethics in India. It is his sense of frugality that supports the theory that this piece was for his personal use as well as the Provenance of the piece.

The reverse of the belt buckle is decorated with fine floral enamels within a quatrefoil that is bounded by deep blue enameling. The flowers are in deep red enamel against a white ground and touched of green in the leaves of the plants. The petals of the flowers are outlined in black and the white ground shows typical black flecks within the white enamel that again is typical of the period.

A Single cloth would have been passed through the hoop and secured by the buckle.

W HY DID YO u CHOOS e TO SP e CIALIS e IN ANTIQ ue A SIAN FIN e J e W e LL e RY?

I started my dealing life selling Chinese Ceramics and Jade. I was always short of money so I started taking African trade beads to India, trading those for Mughal Jewellery, which I then took to Hong Kong and sold, so that I may buy Chinese Jade and Ceramics. It took me a long time to cut out all the other steps and stick to jewellery. Having done so, I discovered the amazing world of Asian Jewellery and incorporated works from Indonesia, Cambodia, Vietnam, Thailand and China. each rich in their own traditions.

W HO WAS YO u R GR e AT e ST INFL ue NC e IN SHAPING YO u R TAST e IN J e W e LL e RY? D O YO u R e M e MB e R WH e N AND HOW YO u R PASSION WAS KINDL e D?

My passion for jewellery was formed in India. The wonderful romantic life of the Maharajas took hold. Men wearing the most extravagant jewellery in the world captured my imagination. I then saw the Al Sabah exhibition of Mughal Jewels at the British Museum, London and from then on I was hooked. It was there that I began to understand the historic importance of jewellery in society and what it reflects. Emma Bunker was a great influence in my understanding of gold in particular .She was a great scholar and enthusiast and shared freely her knowledge. From here I learnt about the rich traditions of Central Asia and Indonesia.

WHAT ARe THe IMPORTANT THINGS TO CONSIDeR WHeN LOOKING AT ANTIQue FINe JeWeLLeRY?

One should always look at the history behind a piece of antique jewellery. Why was it made? For whom was it made? Condition of the piece, quality of the stones and in Mughal pieces the quality of the enamelling .

YO u AR e A R e NOWN J e W e LL e RY e XP e RT, WHAT IS TH e IT e M WHICH CAu S e D YO u R ‘e Y e S TO POP AND YO u R JAW TO DROP?

Too many to list here one more marvellous than the next but currently a navartana belt buckle inset with the 9 holy stones arranged in the most dramatic style,

the reverse enamelled with magnificent enamelling. It is believed to be from the Aurangzeb Period and the quality does suggest that the emperor himself may have owned it.

M ANY OF YO u R COLL e AG ue S e NVY YO u R SMALL AND TRANSPORTABL e ARTWORKS. H OW MANY e V e NTS W e R e YO u u S e D TO TAK e PART IN A Y e AR?

I have been used to exhibiting at two sometimes three exhibitions in Hong Kong per year, one in New York and one in San Francisco .One in the united Kingdom and usually one in europe alternatively Paris and Brussels or Holland. So 2020 – 2021 has been a shock to the system.

Do You AGREE THAT A j EWEL’S PRoVE nA n CE i S NOT J u ST WHO HAS OWN e D IT B u T WH e R e IT HAS LIV e D AND WH e R e IT HAS B ee N e XHIBIT e D?

Jewellery is a mirror on the society it is found in. every man, woman and child on the planet has some form of adornment, whether it is a feather, a tattoo or a massive diamond, so provenance is absolutely part and parcel of its value. If you think of the collection of the Nizam of Hyderabad that was sold in Geneva in 1987 and into what famous collections these pieces have found themselves it is fascinating.

Je W e LL e RY HAS B ee N A COMMON WAY TO STOR e OR TRANSF e R W e ALTH AND IS WID e LY CONSID e R e D TH e MOST COLL e CT e D ASS e T ON A GLOBAL L e V e L. D O YO u THINK J e W e LL e RY AND STON e S SHO u LD B e BO u GHT AS AN ASS e T OR AS A PI e C e TO LOV e?

In Asia, Jewellery is a statement of position in society .it reflects your status in the community. in many of the Asian cultures, but particularly, in India it is given as part of the woman’s dowry on marriage and becomes the sole wealth of a woman when she leaves her own family. It is handed down in one form or another to her daughters so it is immensely important to have the best your family can afford. it is not always a selection of passion in Asia but rather dictated by tradition and status. We are more fortunate,in that we are free to choose what we want to wear. I think that all collections should be built with passion and that you should love what you buy and wear. But the old adage that you should buy the best you can afford is

never wrong. When collecting it is important to decide what your aim is. If you are buying pieces solely as an asset then maybe you should just buy raw flawless stones: a clinical decision. If you want to wear the pieces then you decide with passion what looks best. If you collect historically a combination of study, researc ,provenance and passion is essential.

WHAT ARe THe MOST COMMON MISCONCePTIONS

IN THe JeWeLLeRY INDuSTRY YOu BeLIeVe FIRSTTIMe BuYeRS HAVe?

That wonderful pieces are too expensive to buy. By comparison Asian jewellery is very inexpensive when looking at today’s contemporary pieces. in buying ancient jewels you are getting an original design, hand made, historic piece unencumbered with the expense of a Bond Street store.

W HAT DO YO u THINK OF TH e TR e ND FOR TH e BLING J e W e LL e RY AND TH e MIXING OF STON e S?

I absolutely love the mixing of stones. It has been done since the Byzantine period, if not before. Nothing is new! It gives a piece of jewellery depth and a sense of luxury. I am not mad about bling i.e. jewellery and more of it for jewellery’s sake. one has an idea that Indians and the Mughals were covered in bling but in effect they wore a lot of jewellery, which is something different, however, each piece was restrained and magnificent in workmanship and design. in South East Asia, jewellery was worn as a tribute to the Gods. Today people have become confused with the Bollywood bling look, which i personally don’t much like, and the purity of design and workmanship you find in earlier pieces.

I F YO u CO u LD ONLY W e AR ON e PI e C e OF J e W e LL e RY FOR TH e R e ST OF YO u R LIF e, WHAT PI e C e DO YO u CHOOS e AND WHY?

Well in a virtual world of dreams I would take the “Talisman of the Throne”, or Timur Ruby, a magnificent 249 carat inscribed spinel found in the Al Sabah Collection, presented to the emperor Jahangir in 1621 by Shah Abbas 1. It bears several royal inscriptions the earliest being that of Timurid

ruler ulugh Beg (1447 – 1449) Jahangir,Shah Jahan and Aurangzeb as well as the Afghan king Ahmad Shah to the marvellous jeweller Veren Bhagat in Bombay and have it set by him. That way I would have a spinel with one of the most exciting and rich provenances enhanced by the greatest jeweller ,in my opinion ,on earth. What a combination. Hanging around my neck would be a stone handled by ulugh Beg, Jahangir ,Shah Abbas1 to name but a few. However, in reality I am a sober kind of person and would be very happy to and do wear a simple gold sri ring from Central Java dating from the 9 – 12th Century

A GeM-SeT WHITe NePHRITe QuATReFOIL BOX AND COVeR

Mughal India

late 17th century early 18th century Diameter: 4 inches Height ¾ inches Provenance: ex Al Thani Collectiion

This small box made of white nephrite jade is set with rubies, carnelians and emeralds in the kundan technique within 24 carat gold wires. The cabochon rubies (Burmese) form the petals of four flowers set around a central knob. The cabochon emeralds (Colombian) form the scattered petals whilst the carved carnelians form delicate bunches of grapes. The interior of the box is carved into four sections; the stem of the flower forms the handle, inlaid with a single ruby. Around the base of the box is found a band of ruby flowers interspersed with emerald leaves.

Boxes such as these were likely to have been used for paan and served on a tray as seen in the jade box and tray from the Bishop R Heber Collection in the Metropolitan Museum, New York which is similar in form but later in date.

In courtly and royal circles guests were presented with paan to mark the end of a visit and these boxes were often as richly embellished as the other princely accoutrements such as munil, huqqah, surahi and thuk-daan.

Frieze Masters 2019

A Pair of Gold Granulated earrings

Silla Dynasty 57 BC – 935 AD 8.7 cm Korea

Sold the the Brooklyn Museum of Art

Gold earrings were worn by both men and women of the Silla and Gaya elite and are the most prevalent type of jewelry found in tombs. Goldsmith techniques on display here range from simple hammering to the more complex method of granulation, in which tiny gold beads were adhered to the surface to create intricate designs.

Similar examples:

Silla gold earrings from a couple’s tomb at Bomun-dong 6th Century

National Treasure #90 National Museum of Korea Metroplitan Museum New York

APRIL ART W o RK s

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 presented in the last section are all priced under 10.000 euros. Feel free to ask the price if the artwork is listed with a price on request.

01b AZ b AHAD u R A n D Ru PMATI RIDI n G

AT n IGHT

Illustration

Mughal, probably Awadh

Circa 1800

Opaque watercolor heightened with gold on paper

Image: 7 3/4 x 10 1/8 in. (19.7 x 25.7 cm.)

Folio: 8 3/8 x 10 7/8 in. (21.2 x 27.6 cm.)

Provenance: The ehrenfeld Collection,California. Sotheby’s new York, 6 october 1990, lot 19.

Carlton Rochell, New York. The Sterling Collection, u.S., 2011.

Publication: Daniel J. ehnbom, Indian Miniatures: The Ehrenfeld Collection, New York, 1985, no. 30, pp.76-77.

Price: 120.000 uSD

O B je CT P R e S en T ed BY:

Kapoor Galleries

M.: + 1 (212) 794-2300

e.: info@kapoorgalleries.com

W: www.kapoorgalleries.com

Baz Bahadur of Mandu, the last King of the Malwa Sultanate (r. 1555-1562), is depicted here riding with his beloved Rupmati on a pair of horses. They gallop in sync through the darkened night landscape, rearing up in perfect unison as the lovers gaze into each other’s eyes. They seem to glow with an otherworldly radiance, their energy illuminating the green bush behind them like a spotlit stage. A lotus-filled pond with a pair of birds bathing is depicted below.

Although the Muslim Baz Bahadur and the Hindu Rupmati were historic figures who lived and loved during the reign of the Mughal emperor Akbar, their inspiring story has transcended into folklore and poetry. Baz Bahadur was initially led to Rupmati by music he heard on a hunt. After years of palatial and romantic bliss, the two were divided by the 1661 Mughal conquest of Mandu, whereupon Rupmati chose death over being taken captive. Thus, they are the archetypal tragic lovers-an Indian version of Romeo and Juliet-and are represented here in this stunning miniature as idealized types, raised to heroic perfection.

While it is apparent that these are not actual portraits, we can nevertheless immediately recognize them as Baz and Rupmati with the help of longstanding visual conventions associated with their story: Baz Bahadur bears a long spear, two quivers of arrows, a bow, and a sword.

Their eyes meet as their caparisoned horses lift them in a united stride.

02G os H o-n I n GY ō

Imperial palace doll Japan

Lacquer (gofun) on wood, silk textile edo period 18-19th century Height: 37 cm Price on request

Gosho-ningyō means “imperial palace dolls,” the origins of which are based in the gift exchanges between the imperial court (imperial family and court nobles) and the daimyō (feudal) lords at the beginning of the 18th century. The feudal lords were required to spend every other year in residence in edo (modern-day Tokyo), according to the rule established by the Tokugawa shōgunate. it was required that the lords change their residence, alternating between their feudal estate and edo. The lords in the west of Japan who had to pass through Kyoto on their way to edo would visit the imperial court to pay respects to the emperor and the court nobles.By the end of the Edo period, the tradition of gift exchanges involving gosho ningyō had spread to the general public. The doll is usually depicted as a plump child figure with brilliant white skin and refined, elegant face, like a noble. Auspicious motifs are often included as part of the decoration of the doll.

O B je CT P R e S en T ed BY: Galerie Mingei

M.: + 33 (0)6 09 76 60 68 e.: mingei.arts.gallery@gmail.com W: www.mingei.gallery

This plump child is waving a mallet over his head. He is wearing a bib as underwear, which is embroidered with traditional treasure motifs in gold thread. The mallet itself is also an auspicious treasure symbol, associated with Daikokuten, the god of wealth. There is also a kimono and a hood associated with the doll.

The condition of the doll is excellent, and the textiles are also well preserved, considering their age. The large size of the doll is appropriate for the celebration of special events. His lovely smile will surely bring good luck.

03se AT e D WAT e RM oon G uA n YI n

Sculpture China Bronze Ming Dynasty

Late 15th - early 16th century 13 x 11 x 7 in (33 x 28 x 18 cm) Provenance: d’Allemagne collection Price on request

O B je CT P R e S en T ed BY: Michael Goedhuis

M.: + 44 (0)77 6062 5375 e.: london@michaelgoedhuis.com W: www.michaelgoedhuis.com

04ARCHIT

e CT u RAL PA ne L

Sculpture Central India Mughal Empire 18th century Sandstone Height: 101 cm or 39 ⅜ in Provenance: Private collection, UK Acquired from the London dealer of Indian and Islamic art, Amir Mohtashemi, in 2005. Price: 23.000 euros

O B je CT P R e S en T ed BY: Christophe Hioco M.: +33 (0) 1 53 30 09 65 e.: info@galeriehioco.com W: www.galeriehioco.com

This work is to be linked to the remarkable artistic production of the Indian subcontinent when it was under the domination of the Mughal dynasty. India was conquered by the Mughals as early as 1526, but it was during the reign of Akbar (r. 1556-1605) that the dynasty really established and painting and architecture flourished. His successors, jahangir (r. 1605-1627) and Shah Jahan (r. 1628-1657), also had sumptuous reigns and further developed the arts. A great naturalism can be noted during this period. Mughal India is very open to exchanges and the resulting art combines Persian aesthetics with local craftsmanship and european images that circulate via engravings as early as the 16th century. With the development of major construction programs during the reign of the Mughal rulers, the architectural decor plays a very important role. This large sandstone panel was part of a wall cladding and probably decorated the façade of a pavilion within a palace. The great skills of stone carving are evident here in the rendering of the finely carved decoration in low relief. Here we see a pair of graceful parrots perched on the leaves of a large, stylized acanthus, the one on the right standing on one leg only, using the other to carry a seed to its beak. This scene, surprisingly vivid despite its almost perfect symmetry, is set within a quadrangular frame that turns into an arch of scrolled foliage, elegantly curling up in the upper part of the relief. The panel is summoned in its spandrels by a pair of open rosettes. The floral naturalistic decoration triumphed during the reign of Shah Jahan and the decorative patterns of acanthus leaves and rosettes on this beautiful panel derive from the classical Mughal style that persists in palace architecture even after Mughal power began to weaken. This type of decoration seems to be partly influenced by the spread of European herbaria in the subcontinent, such as the famous Hortus Floridus of the Flemish Crispijn van de Passe. Some european inspiration can also be seen in the loops of the ornamental arch above the birds. Finally, if Islam is the religion of the Mughal empire, a local interpretation is also possible here: the parrot is a symbol of love in Indian art. It is also the vehicle of Kama, the god of love, whose name derives from kam, which means desire or envy.

05TH e GA n G es

RIV e R f Ron T I n VARA nA s I

Company School North India

Ink and pigments on paper

First half of the 19th century Height: 32cm Width: 56cm Price: 30.000 euros

O B je CT P R e S en T ed BY: Alexis Renard M.: + 33 1 44 07 33 02 e.: alexis@alexisrenard.com W: www.alexisrenard.com

Twelve similar views, creating a panorama of Varanasi, are kept in the British Museum (1860 0728 0.675). The museum acquired this series in 1860. Therefore, the entire group was likely produced during the first half of the 19th century. The whole series was published in: Anand Krishna R. (2003), Banaras in the early 19th century, Riverfront Panorama, Indica Books.

06GAM e TA b L e

Table Agra 19th century

Pietra-Dura Marble

Sq.: 24 1/2 in. (62.2 cm.) Height: 22.5 in. (57 cm.) Provenance: Sotheby’s new York, 28 october 1991, lot 182. Price: 80.000 uSD

This pietra-dura inlaid masterpiece from nineteenth century Agra was created with a painstaking and precise technique of stone marquetry. The elaborate inlay is reminiscent of the great Taj Mahal, with rich white marble and semiprecious stones, including serpentine,carnelian, red porphyry, breccia, granite, agate, lapis lazuli, blood-stone, onyx, jasper, and slate.

O B je CT P R e S en T ed BY: Kapoor Galleries M.: + 1 (212) 794-2300 e.: info@kapoorgalleries.com W: www.kapoorgalleries.com

07bu DAI H es HA n G

Sculpture China

Lacquer Bronze

Mid Ming dynasty Height: 20 cm Provenance: european private collection Price on request

O B je CT P R e S en T ed BY: Hollywood Galleries M.: +852 9311 2577 e.: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com

Budai enters Tibetan culture as Hva shang (sometimes with Mahayana added to his name) in the early 14th century where he appears in a scroll painting dated to between 1340 and 1370 in the Cleveland Museum of Art, Leonard Hanna Jr. Fund (88.104). In this scroll he is shown with several small children climbing over him as is commonly found in Chinese representations and less so in Tibetan ones. The ‘real’ Budai was a monkin China’s T’ang dynasty renowned for his non-conformist and greedy attitude to life. For him everything, especially food and excess, was part of the path to enlightenment. He is said to have died in the early 10th century. In Tibet he was added to the list of the 16 Arhats in the mid-14th century and has remained an integral part of them along with Dharmatala. The image appears to be from the early part of the Ming dynasty and has some major differences from other images from a similar period. The most striking is the variation in his monk’s hat – in the present image his hat appears to be far closer to the Tibetan lama’s ritual hat known in Tibetan as the Gyalwa rig nga (Tib. rGyal ba rigs lnga ). This is a five lobed hat in which each lobe represents a Buddha family. even more telling than the hat itself is the appearance of the front central lobe which has a motif which appears to be strikingly similar to the ‘sun-moon’ motif (where a circular sun sits atopa horned moon) found frequently in such Tibetan hats and never to my knowledge, in a Chinese image of him where usually one of the Buddha family figures appears in each lobe or more commonly, an abstract design. While this is not clear evidence it suggests that a Tibetan hand in some way or other might have been involved in its making. This could have been simply a cross-cultural influence or perhaps that the image was intended for the Tibetan market. Budai’s large belly and jovial features are his hallmarkwherever he is found. Rather than suggesting merely gluttony and ‘a good time’ they represent his path towards enlightenment which permitted everything – including luxuries as part of the path. They are only dangerous to the seeker if their true and essential nature has not been understood.

08s W o RD HILT

Deccan or mughal dominions rubies, emeralds and gold.

17th–18th century Length: 16,4 cm Price: 50.000 euros

O B je CT P R e S en T ed BY: Runjeet Singh

M.: +44 (0)7866 424 803 e.: info@runjeetsingh.com W: www.runjeetsingh.com

This superb hilt is made entirely from nephrite jade. Of fine proportions, it has been carefully worked to offer recessed panels, a facetted grip-bulb and an upturned disc pommel completed by a bud finial. Carved lines accentuate these features, orbiting the domed quillons and the pommel, and running across and around the quillon block.

The hilt has also been set with flowers made of large rubies and emeralds using the kundan technique. This highly skilled way of setting precious stones is historically associated with the Mughal emperors and allows the jeweller to adhere gems to non-metallic surfaces through the repeated applications and shaping of pure leaves of 24carat gold. An emerald-centred flower displays its four ruby petals from the centre of the quillon block while another ruby blooms surrounded by gold petals from within a teardrop-shaped niche in the grip. A third flower, again with an emerald centre and ruby petals, has been rendered as if upturned towards a pommel whose shape and translucency so easily fills it with sunlight.

This beautiful and important sword hilt must have been owned by a man of great wealth and position. Mughal rulers gave weapons as gifts to their most important allies and, as such, the Rajputs were often recipients of exemplary items like this jade hilt. It would have been awarded in a formal ceremony, some aspects of which survive into today’s indian customs and ceremonies[1]. A similar hilt can be found in Kaoukji’s Precious Indian Weapons and other Princely Accoutrements[2].

[1] M. Athar Ali, The Mughal Nobility under Aurangzeb, OuP India, 1996, p.142.

[2] S. Kaoukji, Precious Indian Weapons and other Princely Accoutrements (the al-Sabah Collection), Thames and Hudson Ltd, 2017, p.314.

fuKAI

09Noh theatre mask Japan Wood Gofun Pigment 17th century Price on request

© van Bussel Photography

O B je CT P R e S en T ed BY: Cédric le Dauphin

M.: +33 6 07 82 95 08 e.: c.ledauphin@gmail.com

The mask of a woman in the thirties most often worn for the mother’s parts. The expression aims at the evocation of mother’s love with a connotation of intelligence and court culture, counter to Shakumi which may be more rustic and popular.

The name “Fukai” means “deep”, and may refer to the face profile in which the eyes are recessed, or to the deepness of experience induced by the mask.

According to Donald Keene*, the mask is only used by the Kanze family, with among others an Echi’s work, while other schools use Shakumi.

There are still in existence famous masks of the type, such as the honmen by Tokuwaka, in the umewaka collection, or the one of the Kanze collection.

The one we show here is a masterpiece by Myata Chikugo, a pupil of Kodama Omi at the end of the seventeenth century.

It is hot branded of the artist seal which takes a unique outshape of a bi lobed fan.

The caractere of this honmen is nevertheless “deeper”, close to the expression of the Tokuwaka’s mask. Please note the dimples marking the relaxation of the cheeks, evoking afflictions and sorrows.

DA n T u RA CAM un DA

Sculpture India, Bihar, Pala Basalt 11th-12th century Height: 29,3 cm

Provenance: Private collection, Belgium Mr Gleiter, Germany, 2012-2018 exhibition: TeFAF Maastricht, Marcel Nies Oriental Art, March 2012. Publication: Marcel Nies, Divine Presence: Master Sculpture from Asia, (Antwerp, 2018), p.32-33 Price: 24.000 GBP

O B je CT P R e S en T ed BY: Nies Fine Art

M.: + 44 78 57 78 81 21

E.: info@niesfineart.com W: www.niesfineart.com

Related literature:

L. J. N. Banerjea, The Development of Hindu Iconography, (Calcutta, 1956 /1974), Pl. XLV, fig. 1

J. Leoshko, Bodhgaya, the site of Enlightenment, (Bombay, 1988), fig. 2

I. Menzies, Goddess, Divine Energy, (Sydney, 2006), fig. 66

V. Lefèvre and M. Fr. Boussac, Art of the Ganges delta, Masterpieces from Bangladeshi museums, (Paris, 2007), figs. 81 & 103

S. L. Huntington, The Pala-Sena Schools of Sculpture, (Leiden, 1984),p.238.

The present sculpture depicts the Hindu deity, Camunda. Camunda is a manifestation of the fearsome goddess Kali, who is an incarnation of Shiva’s consort Parvati. According to legend, Kali battled two powerful demons: Canda and Munda. Whilst she fought fiercely, she felt victory slipping away. in response to her disappointment and anger, a terrifying goddess sprung from her brow and slayed the demons. Hence, this manifestation of Kali was called Camunda - the destroyer of Canda and Munda. In addition, Camunda is known as one of the Saptamatrikas, the 7 mother goddesses.

Camunda’s typical iconography depicts her with multiple arms holding several weapons that are usually attributed to Shiva: the trident, dagger, club, a skull staff, and a skull cup. She is generally portrayed as a frightening emaciated figure with withered pendulous breasts, as seen in the present sculpture. Camunda appears in diverse forms – the present shows a rare but very powerful manifestation of the goddess, Dantura, which is Sanskrit for ‘having strong teeth’. This iconography adopts an unusual squatting pose; one hand is placed on her knee and the other flat on the ground, assessing her devotees; her glaring eyes are deeply sunk in her skull-like head; the goddess grimaces, revealing her fangs and her emaciated body is covered with swollen veins. The Pala and Sena schools are amongst, if not the, most celebrated styles in india’s medieval heritage. The Sena dynasty ruled a sizeable part of northeastern India in the 11th and 12th centuries. It became a centre for tantric theories and practices in which Camunda played an important role. The present iconography affirms her devotional importance within the Sena dynasty: she stands on a double lotus, a throne reserved for important deities, between a pair of pillars in front of a vaulted edifice, suggesting her own dedicated temple. A small animal figure, a jackal or an ass, sits in the lower right corner and represents her vehicle. In the opposite corner a kneeling devotee is depicted. The floral motifs beneath the lotus throne and the temple’s decorative details are, in addition, typical elements of 12th century Sena school.

11CROW ned STA nding

B udd HA

Sculpture Thailand Bronze

kingdom of Ayutthayā (1350-1767) 16th-17th century Height: 67 cm or 26 ⅜ in Provenance: Private collection, united Kingdom Price: 22.000 euros

O B je CT P R e S en T ed BY: Christophe Hioco M.: +33 (0) 1 53 30 09 65 e.: info@galeriehioco.com W: www.galeriehioco.com

Ayutthaya at this time had one of the most prosperous capitals in the world, with foreign powers clamoring to trade with the ’Kingdom of Siam’. The tide had turned in the Burmese-Siamese wars, when in 1594 Ayutthaya launched its first offensive invasion of Burma rather than the other way around. The early and mid-17th century also saw one of the longest intermissions between major military campaigns during the threecentury war. By 1700, it is estimated that the capital had the world’s largest population, at around one million. During this time, Ayutthayā furthered its vigorous cultural program, culminating in the highest concentration of Buddhist art perhaps anywhere in the world.

The air of Ayutthayā’s prosperity and strength is reflected in this Crowned standing Buddha, which employs delicate ornament and serenity to convey majesty and inner fortitude. This representation of Śākyamuni Buddha is that of the "universal ruler" (cakravartin). Although the dominant Buddhist school in the Kingdom of Ayutthayā is Theravada, the strictest and most sober school meaning "School of the Elders", this iconography nevertheless imposes itself as in the other schools of Buddhism. It even becomes emblematic of the period of Ayutthayā, during which it was expanding rapidly, both for conceptual and pietist reasons and for its extremely decorative aspect. The face perpetuates, yet modifies, the Sukhothai style by making it softer. The nose, for instance, is less prominent, the mouth more smiling and the lips fuller. The hair is braided into a high topknot at the top of the head, behind a crown of intricate floral design on either side of a central and factitious cabochon. A certain tendency to be more decorative is visible in Ayutthayā art from the very beginning. This tendency becomes more accentuated as the centuries pass. One must note the extreme delicacy of the face and the marked relief of the tiara. The overall harmonious simplicity of the silhouette and the abstract physiognomy also emphasize the supreme knowledge and awareness that the crowned Buddha embodies in this form, and thus prevents the viewer from focusing on the mortality of the historical Buddha. His overall simplicity of silhouette and abstracted physiognomy are also designed to emphasize the supreme consciousness that the Crowned Buddha embodies in this form, as opposed to prompting the viewer to focus on the mortality of the historical Buddha. This decorative style was the rage in Bangkok after 1782.

A PAIR of PARC e L f L o W e R V

esse L s WITH DRAG ons

China

Gilt bronze Late Ming Dynasty Circa 1600 Height: 6 1/2 in (17 cm) and 6in (15cm) Price: 18.000 usd

O B je CT P R e S en T ed BY: Michael Goedhuis M.: + 44 (0)77 6062 5375 e.: london@michaelgoedhuis.com W: www.michaelgoedhuis.com

These graceful flower vessels, cast for the scholar’s study and with parcel decorative gilding, are rare and are particularly unusual owing to them being “paired” with different dimensions.

They are cast with the climbing dragon motif which is often used by the Chinese patron who has grown up enjoying the symbolism of mythical animals with the dragon in first place.

13sPIneL CHoKeR

Necklace Hyderabad Gold , diamonds and pearls 19th century Weight 143 grams Length: 21,5 cm Price: 35.000 euros

O B je CT P R e S en T ed BY: Sue Ollemans M.: + 44 (0) 7775 566 356 e.: sue@ollemans.com W: www.ollemans.com

A fine choker necklace inset with eleven square links each set with a central flat-cut diamond and set within a border of emeralds and spinel set upon a worked gold ground. A row of natural pearls links the choker to a row of diamond drops each mounted with a natural pearl and a tumbled spinel. The top is mounted with a single row of pearls with green glass beads. The reverse is decorated with fine red green and white enamels in an unusual circular floral design. original fitted box. Condition. Two pearls missing from rear of the necklace

W o M en DRAWI n G WAT e R f Ro M A

W e LL

Illustration

Mughal 18th century Ink and opaque watercolor heightened with gold on paper Image: 8 ½ x 5 1/8 in. (20.5 x 13 cm.)

Provenance: George Halla, Czech Republic consul to New South Wales, 1948. Thence by descent. Private collection, Sydney. Price: 150.000 uSD

O B je CT P R e S en T ed BY:

Kapoor Galleries

M.: + 1 (212) 794-2300 e.: info@kapoorgalleries.com W: www.kapoorgalleries.com

The present painting depicts a bustling scene at a village water well. Women busily go about their daily tasks, transporting water in large clay pots-one carries two at the same time, precariously balancing one atop her head. Another heaves water up from the well, the sturdy rope pooling at her feet. The central figure is dressed in purple and gold with bright red cuffs that contrast the muted tones of her surroundings. She modestly pulls her veil to cover her bosom as she gazes down at the young man, his hand outstretched to accept the offering of water she pours from a brass vessel in her right hand. The man, bare chested and simply dressed in a grass skirt, is eclipsed by a man much more richly clad. Likely a prince or a nobleman, he wears a white jama and a red turban and carries a whole armory, complete with a double ended spear, katar, sword, and shield. Scenes of women at watering wells-a popular subject in eighteenth-century Mughal paintings-were likely inspired by literary sources such as the Persian poet Muhammad Akrim’s story of Mohna Rani and Chel Batao and Ghanimat Kunjahi’s 1785 Nairang-i ‘Ishq. This scene is reminiscent of one from the Nairang-i ‘Ishq (‘Love’s Magic’) in which the protagonist Sahid goeshunting and comes across a village well where he meets the eyes of a beautiful woman, Wafa, and instantly falls in love. The present painting is worthy of comparison to a seventeenth-century Mughal painting of “A Group of Women at a Well’’ in the Smithsonian National Museum of Asian Art (acc. F1907.208). Both these illustrations exhibit the same delicately rendered form and attention to the naturalistic landscape seen in the present painting which is characteristic of Mughal paintings of the period.

A

s TA n DI n G ATT en DA n T

Sculpture China Gilt bronze Ming Dynasty Circa1600 Height: 8 3/4 in (22.2 cm) Provenance: d’Allemagne collection Price: 24.000 usd

O B je CT P R e S en T ed BY: Michael Goedhuis M.: + 44 (0)77 6062 5375 e.: london@michaelgoedhuis.com W: www.michaelgoedhuis.com

This charming figure of an attendant stands out for its rich gilding and beautiful casting. The late Ming dating is based on both stylistic grounds and comparable examples in other materials.

s AYYAM un I bu DDHA

Sculpture

Tibet Sakya school

Bronze with silver and copper inlay

Late 14th century Height: 28 cm Provenance

Hollywood Galleries, Hong Kong, 1990s. Private uScollection Price on request

The pose of the Buddha touching the earth commemorates his calling it to witness His enlightenment when challenged by the demon Mara. The Buddha is shown in a firm, stable straight backed, crosslegged position appearing as stable as the earth itself. His eyes appear to lookboth inwards in meditation while at the same time looking outwards in a state of gentle awareness.

His right hand delicately touches the earth with just his middle finger as described in the 24th chapter of the 4th century text the Lalitavistara Sutra. Afurther delicacy is added by the elegantly draped robe on his backand the rich drapes hanging on his body.

This exquisitely touching image is both art and inspiration. The core material is bronze which, with its yellowish colour, reminds the viewer of the colour of the typical Buddhist sanghati monastic robe which oxidation has lent this image a lustrous red tinge.

To further enhance the beauty of the image silver has been added to the Buddha’s eyes and to his urna, the forehead marksignifying his complete awareness. The addition of copper to the Buddha’s lips and fingernails add a measure of humanity to him, adding a flesh-toned which contrasts with the metal he is essentially made from.

O B je CT P R e S en T ed BY: Hollywood Galleries M.: +852 9311 2577

e.: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com

The base of the image is also a tour-de-force of skilful craftsmanshipwith alternate lotus petals being decorated with copper around the upper and lower petal rims as well as alternating with the petal’s core.This too adds a deeprichness to the piece.

Aprevious description of this piece identifies it as part of a series of such richly decorated pieces which emanated from the Pelkhor Chödé (dPal ’khor chos sde) in Gyantsé (Tib. rGyal rtse). The relationshipbetween the rulers of Gyantsé and the Ming court has been well studied and suggests that the style of this and other images was based to an extent on the prevailing Ming style through gifts offered from the Chinese court to the ruler of Gyantsé. ibelieve there is sufficient evidence to suggest that Tibet had already developed most of these elements by itselfcertainly in terms of the body aesthetics of the image itself, the employment of copper and silver inlays which had entered Tibet via Bengal and Kashmir in the 11th century and the richness of the robes for which there are many Tibetan images from at least 150 years previous to the Ming.

A n IMAL s I n A RIV e R LA

n D s CAP e

A pair of six-fold screens Japan Ink and colour on paper 16th century

Muromachi/Momoyama period Height: 110 cm Weight: 294 cm each Price : SOLD

O B je CT P R e S en T ed BY: Gregg Baker Asian Art M.: +32 468 00 56 85 e.: info@japanesescreens.com W: www.japanesescreens.com

This unusual pair of screens depict various animals and beasts both real and imaginary coexisting in a natural landscape filled with various flowers and plants. The animals depicted here are: deer, horses, goats, qilin (kirin), weasel, oxen, hares, wild cat, monkeys, civets, tigers and dragon. The choice of animals seems rather random however it was probably intended to portray a utopia. Mythical and exotic beasts are included, each is painted in an ideal manner with some motifs based on Chinese paintings. The way many of these animals are portrayed in pairs, playful groups and families also suggests auspicious connotations within the painting with a wish of prosperity for the owners. There are some early paintings from the 16th century portraying civets in a comparable manner. Two civets with fluffy tails can be found on a set of fusuma (sliding door)‘peonies and civets’ executed by Kano School artists in 1586, currently housed in the Nanzenji temple, Kyoto (Important Cultural Property).

A pair of screens attributed to Kano utanosuke Yukinobu (act. early 16th century), one of the pair housed in the Museum of Fine Arts Boston (accession no. 11.6781) and the other half housed in the Suntory Museum of Art in Tokyo, depict civets and pine in a similar way as those in the present pair. See Suntory Museum of Art et.al. eds., Biombo: Japan Heritage as Legend of Gold, (japan, 2007), p.248-49, pl.100, 101; Kyoto National Museum ed., The Kano School in the Muromachi Period: On the Road to Artistic Predominance, (Japan, 1996), p.178-88, no.107. The group of horses are similar in treatment to those mentioned in Bijutsu Gaho (The Magazine of Art) XVIII, No.8, issued on 20 January 1906, which refers to a pair of screens depicting wild horses by Kano utanosuke Yukinobu in the collection of Baron Kuki Ryuichi. Other similar depictions of horses can be found on a pair of screens ‘Pasturing Horses’ painted by Hasegawa Tohaku (1539-1610) in his early career, currently in the collection of Tokyo National Museum. See Tokyo National Museum et.al. eds., Screen Paintings of the Muromachi Period: A Special Exhibition Held to Commemorate the 100th Anniversary of Kokka Magazine, (Tokyo, 1989), p.192-193, no. 77. Another comparable pair of screens depicting horses attributed to Kano Sanraku (1559-1635) are housed in the Corfu Museum of Asian Art, Greece.

For more details, please visit: http://japanesescreens. com/catalogue/screens/6254-6255/

M o Ro ARM ou R

Mindanao, Philippines 19th Century

Height Shirt: 61 cm (24 In.) Diam. of Helmet: 22 cm (8 ¾ In.) Price: 16.500 euros

O B je CT P R e S en T ed BY:

Runjeet Singh

M.: +44 (0)7866 424 803 e.: info@runjeetsingh.com W: www.runjeetsingh.com

The main body of this well-preserved armour comprises brass plates burnished bright and connected by the small links of a mail shirt. The two larger frontal plates then are studded with a symmetrical display of three silver panels depicting the outlines of stylised sea monsters, the two pairs of central latches each secured by a silver plaque cut and engraved in the form of an unfurling flowerhead with large, coiling leaves. A burgonet helmet with upturned peak, pierced plume-holder, and ridged central comb completes the armour, the comb cut over the greater part of each face with a charming trellis of interweaving vines and flowerheads - a motif repeated in the curved plaques placed at either end of the comb and just above the hinged cheek-pieces, which are later additions. in similar armours, there are often disappointments: latches or plates may be missing; or there may be gaps in the mail shirt. The present set, however, is especially complete, making it a particularly attractive example. The helmet of another set (Cat. no. 28)[1] published by Runjeet Singh Ltd in Iconic: London 2017is similar in its decoration,[2] and a full armour (number 2014.12.1) [3] preserved in the Peabody Museum at Harvard university - though in worse condition than our own - has silver foliate plaques with the same outlines used to hold the frontal plates together.

[1] http://runjeetsingh.com/inventory/168/moro_suit_ of_armour_with_helmet

[2] Runjeet Singh, Iconic: London 2017, pp.86-89, Cat. No. 28.

[3] https://bit.ly/3kocEky

T su I nA MA s K of A su P e R nAT u RAL G uARDIA n s PIRIT

Mask

Japan Cypress wood and lacquer

Muromachi period (1336-1573) 21,6 x 13,8 cm

Price on request

O B je CT P R e S en T ed BY: Galerie Mingei

M.: + 33 (0)6 09 76 60 68

e.: mingei.arts.gallery@gmail.com W: www.mingei.gallery

Published by the renowned mask scholar Yasuo Nakamura who included this mask in his two-volume reference work "Komen no Bi" (古⾯の美), which focuses primarily on old folk masks.

He identifies it as the mask of supernatural guardian spirit because of the configuration of the tongue, which indicates the persona of Tsuina masks used to drive away evil spirits. He acknowledges that at first glance the mask looks like a humorous character for Kagura, but closer inspection showed important similarities to other Tsuina masks.

There is no way of knowing what the purpose of this mask might have been, but it is possible that it contains an element of laughter, and that the tongue, as in medieval masks of ancient times, was carved to repel evil spirits.

The essay is published in the book “Komen no bi; Chusei kamen no bijutsushi teki kenkyu” (The Beauty of Old Masks: Art Historical Research on Medieval Masks)

Author Nakamura Yasuo (1919-1996) 中村保雄 Date of publication 1989 (Heisei 1) 平成元年 .

VAJRA s ATTVA

Sculpture Cambodia, Angkor Vat Bronze

12th century Height: 17,5 cm Provenance: Mr. Wolfgang Felten, Germany Publication:

Wolgang Felten & Martin Lerner, Entdeckungen, Skulpturen der Khmer und Thai, (Cologne, 1989), p.100-101. exhibition: Entdeckungen: Skulpturen der Khmer und Thai in the Museum fur Ostasiatische Kunst, Koln, AprilJuly 1989. Price: 22.000 GBP

This small yet incredibly fine bronze of Vajrasattva was made during the glorious Angkor Vat period – a highlight of the Khmer empire. In Mahayana Buddhism Vajrasattva is venerated as the Adi-Buddha, also known as the primordial Buddha of innate wisdom. This sculpture is in good original condition leaving a natural jade-green coloured patina. The nimbus is cast separately from the figure, which is a common technique for Angkor bronzes.

E.: info@niesfineart.com W: www.niesfineart.com

D VARAPALA

Head of a guardian China Lacquered and gessoed camphor wood

early Ming Dynasty 14th- early 15th century Height: 15 3/4 in (40 cm) Provenance: Knapton Rasti Asian Art, 2005 克納普頓瑞斯帝亞洲藝術 2005年 Publication: Knapton Rasti Asian Art, November 2005, London, no. 14 Price on request

A large lacquered and gessoed camphor wood head of a guardian, Dvarapala, the powerfully modelled face with grimacing expression, protruding forehead and thick frowning eyebrows, the eyes opened wide and nose broad and prominent, the cheekbones deeply defined, wearing his hair in a topknot, the band tying the hair lacquered and gilt, with black glass inset eyes, the overall features intensely rendered Dvarapala figures are found at temple entrances as protectors. The above example has been tested at the Royal Botanic Gardens, Kew, england in 2005 by Dr Paul Gasson, who matched a sample from the head with their reference material of Cinnamomum, a genus of evergreen aromatic trees and shrubs belonging to the laurel family Lauraceae which is a type of camphor wood found in China, Taiwan and Japan. Hence, the sculpture emits a strong fragrance.

O B je CT P R e S en T ed BY: Rasti Chinese Art M.: + 852 2415 1888 e.: gallery@rastichineseart.com W: www.rastichineseart.com

TR e A su R es

22of

A

s CH o LAR's s T u DI o

A hanging tobacco container Shibata Zeshin (1807-1891) Japan

bamboo with lacquer decoration edo/Meiji period, 19th century H. 6 cm x W. 4 cm Price: 12.000 euros

SOLD

A bamboo hanging tabako-ire (tobacco container) with a design in lacquer of a suzuri (ink stone), sumi (ink), fude (brush) and a fudeoki (brush rest). The lacquer box in the form of a netsuke with a bamboo lid is decorated with warabi (fern).

Fitted wood box: Lid with hakogaki (inscription): Zeshin-ō saku, sage tabako-ire, suzuri fude no makie. (Hanging tobacco container, with a design of an ink stone and a brush in lacquer made by an old man, Zeshin)

Lid interior hakogaki (inscription): Koma Chikushin kan (authenticated by Koma Chikushin) with the seal Chikushin

Koma Chikushin (c. 1854-1936), a disciple of Shibata Zeshin. He often wrote box inscriptions and certificates for Zeshin’s work.

O B je CT P R e S en T ed BY: Gregg Baker Asian Art

M.: +32 468 00 56 85

e.: info@japanesescreens.com W: www.japanesescreens.com

Shibata Zeshin (1807-1891), probably the greatest lacquer-work artist in Japanese history, based his skills on technical brilliance. early in his training under Koma Kansai II, he realised that he needed to study other forms of art to build on his technical skills. He travelled to Kyoto where he studied the painting style of the modern Shijo School. At the same time he studied poetry and old paintings and spent a great deal of time with famous scholars such as Rai San’yo, which led to him being known firstly as a painter rather than a lacquer artist. Later in life this rich knowledge enabled him to create lacquer works that were marvelled at for their perfection and wit shown through “iki” (playful chic) and the feeling of rhythm typical of Japanese poetry. He developed several techniques of his own as well as reviving old ones, one of his greatest achievements was the revival of the fine seigai pattern, lost since the 17th century this technique involves combing through wet lacquer before it sets to create a pattern of thin waves. His trademark techniques include seido-nuri and shitan-nuri, which imitated different materials such as ancient bronze, rosewood, rusty iron and shibuichi unusual methods such as scratching a design onto lacquer with a rat’s tooth reveal him as an ambitious but also humorous artist who crossed the boundaries between materials and subjects with ease.

Combining his skills as a painter and lacquer artist he frequently painted urushi-e, lacquer paintings. His first painting of Mount Fuji was exhibited in 1873 at the Vienna exposition of 1873. Although undervalued in Japan until recently, he gained numerous followers in the West who have not only been collecting his work during Zeshin’s lifetime, but also travelled to japan to meet him in person. Many western museums have his works among their collections and his status is also being steadily re evaluated in Japan. He was chosen to be a member of the Art Committee of the Imperial Household and became a Court painter in 1890, a sign of the appreciation of his skill as an artist.

Works by the artist can be found in the collections of: British Museum, London; Fogg Art Museum, Cambridge, Ma; Freer Gallery of Art, Washington, D.C.; Metropolitan Museum of Art, new York; Art institute of Chicago, ill.; Museum of Fine Arts, Boston, Ma.; Stanford university Art Gallery and Museum, Ca.; Seattle Art Museum, Washington; Brooklyn Museum, new York; Royal Art History Museum, Brussels, Belgium and many others.

A sARPeCH

Jewel

Himachal Pradesh or Nepal Gold , diamonds and feathers

Late 19th century

11.5 x 9.5 cm Weight: 75 grams Price: 22.000 euros

O B je CT P R e S en T ed BY: Sue Ollemans

M.: + 44 (0) 7775 566 356 e.: sue@ollemans.com W: www.ollemans.com

A large gold repousse gold and diamond sarpech inset with rose cut diamonds the largest of which is approximately 4ct. The deity depicted is a form of Kali set under the sun and moon with a strange depiction of a rifle to the side of her and the nepalese flag on the other egret feathers would be attached to the back of the piece and worn on a turban.

H u

China

Bronze Han Dynasty

206 BC–220 AD

Height: 17 1/2 in (44.5 cm) Price: 45.000 usd

O B je CT P R e S en T ed BY: Michael Goedhuis

M.: + 44 (0)77 6062 5375 e.: london@michaelgoedhuis.com W: www.michaelgoedhuis.com

This large wine storage jar of the Han period is a beautiful example in good condition of the Han period’s interest in creating simple forms for domestic use after the long period of Chinese ceremonial bronzes.

fe MAL e ATT en DA n T

Sculpture

China Jade

Sui Dynasty (581–618) to early Tang

Dynasty (618–907)

Height: 3 3/8 in (8.5 cm)

Provenance: Private Italian collection Price on request

O B je CT P R e S en T ed BY:

Rasti Chinese Art M.: + 852 2415 1888 e.: gallery@rastichineseart.com W: www.rastichineseart.com

A mottled creamy and deep russet jade model of a standing female attendant, her hair worn in a chignon to one side, wearing long flowing robes, holding a jar in one hand and her robe tassel in the other, the facial expression finely defined, the stone with deep red tones to mainly the front side

This very unusual jade figure is usually found in pottery figures from the late Sui to early Tang period. The style of the hair is typical found in pottery models repeated on this jade figure. For a pottery model see the frontispiece and Gyllensvärd and Pope, Chinese Art from the Collection of H. M. King Gustaf VI Adolf of Sweden, pp. 75–76, no. 90. Also see another example in Du Boulay, Chinese Porcelain, Pleasures and Treasures, p. 18, no. 9.

s IRIH boX

Indonesia, Batavia Wood, mother of pearl, black composition, silver mounts with Batavian silver marks

17th - 18th century Height: 10 cm Width: 26 cm Depth: 17,5 cm Price: 18.000 euros

O B je CT P R e S en T ed BY: Alexis Renard M.: + 33 1 44 07 33 02 e.: alexis@alexisrenard.com W: www.alexisrenard.com

This rare box is a beautiful example of objects destined for export that were very much appreciated in Princely collections and curiosity cabinets during the 16th and 17th centuries. Some of them, as is the case here, figured mounts made of precious metals. The use of mother of pearl designs on a black paste background was a very sought-after technique in India, particularly in the Gujarat region. A shield figuring flowers with the same shape is published in: Scalini, M. &Damiani, G. (2002) islam specchio d’oriente, Livorno: Sillabe, illustration n°12.

27HIGH Co LLAR e D DI s C

High-collared disc China

Ivory and russet jade

Shang Dynasty (1600–1100 BCe)

Diam.: 4 3/8 in (11,1 cm)

Provenance: Taiwanese collection formed prior to 1995 Price: 36.000 usd

An ivory and russet jade high-collared disc, the thinly carved bi-disc with raised collar projecting from the central aperture, the reverse with a lower raised collar, the smooth stone predominantly in a yellowish olive-green tone with russet patches, particularly to the edges

O B je CT P R e S en T ed BY: Rasti Chinese Art M.: + 852 2415 1888 e.: gallery@rastichineseart.com W: www.rastichineseart.com

For a Shang dynasty collared-disc of the same form in a darker shade of green see Deng (ed.), Jintian Gewu: Zhongguo Lidai Yuqi Daodu, p. 63, fig. 5-2-5; a similar ‘cup-stand’ in ivory in Salmony, Archaic Chinese Jades: From the Edward and Louise B. Sonnenschein Collection, pp. 42-43, pl. Xiii, no. 1; a similarly toned disc termed a wrist or arm ornament from the Shang dynasty in So, Early Chinese Jades in the Harvard Art Museums, pp. 116 and 119, no. 10B; a buff-coloured disc dated Spring and Autumn period in Gu (ed.), The Complete Collection of Jades Unearthed in China, Vol. 12, Yunnan, Guizhou, Xizang, p. 6; a mottled ivory and russet collared-disc shard in The Jinsha Site, pp. 62-63, no. 35; another in Chinese Art: Catalogue, Venezia 1954, p. 59, no. 167; a mottled russet and cream jade disc unearthed from the tomb of Fu Hao in Chengdu Institute of Cultural Heritage and Archaeology (comp.), The Jades from Yinxu, no. 7 (495); three further Shang dynasty collared-discs in similar tones in Jade from the Tomb of Fu Hao, pp. 269-271, nos. 1976AXTM5:1014,456 and 487; four ivory and dark green toned jade collared-discs with Qianlong inscriptions in Deng, Qianlong Huangdidezhiyuwei Yuzhishizhongdediwangguyuguan (The Wisdom and Ignorance of emperor Qianlong: Perceptions on Ancient Jades as Viewed from His Poems), pp. 196-203; for a collared-ring with Qianlong inscription from the Shang dynasty or earlier see Rawson, Chinese Jade: From the Neolithic to the Qing, p. 102, fig.10; and another in dark green in ibid., p. 166, no. 9:2.

28A PAIR of fIne KADA

Bracelets Hyderabad 19th century Circumference 28cm Internal diameter: 6cm Width 2.7cm Weight: 356 grams Price: 35.000 euros

A pair of heavy kada inset in the kundan style with rubies and emeralds. The inner shank decorated with fine enamels of red asters against a white ground. The whole mounted with two rows of pearls interspersed with diamonds.

O B je

CT P R e S en T ed

BY: Sue Ollemans M.: + 44 (0) 7775 566 356 e.: sue@ollemans.com W: www.ollemans.com

sen CHA

s H e LV e

By Ito Shosei

T e A

Japan, Niigata Kiri (paulownia) and Kuwa (mulberry) woods Meiji period

Circa 1870-1880 Height: 45,4 x 29.5 x 22.2 Price on request

Tomobako, original box signed by the artist

A very “Art-Deco” style cabinet for sencha tea ceremony. Ito Shosei (unknown dates) was active in Niigata during the Meiji period. He was known for sencha wooden utensils.

O B je CT P R e S en T ed BY: Galerie Mingei M.: + 33 (0)6 09 76 60 68 e.: mingei.arts.gallery@gmail.com W: www.mingei.gallery

30RYo-no onnA s ARu GAK u

Mask Japan Wood edo period 17th century Height: 20 x 14 x 7 cm Price on request

O B je CT P R e S en T ed BY: Galerie Mingei

M.: + 33 (0)6 09 76 60 68

e.: mingei.arts.gallery@gmail.com W: www.mingei.gallery

PAIR of A bu MI

Japan

Stirrups in iron with silver inlay and lacquer early edo period 17th century

26 (h) x 28,5 x 13,2 cm

Signature: 加州⾦沢住友重ノ作

« Kashu kanazawa-ju tomoshige no saku» (made by Tomoshige who leaves in Kanazawa in the stronghold of Kashu (Kaga)

Tuji Tomoshige was known during years 1620-40 to make niello exhibition: « Hokusai, Hiroshige, utamaro... The Great Masters of Japan. The Georges Leskowicz Collection » exhibition from 8 November 2019 to 22 March 2020 Hôtel de caumont - Aix-en-Provence Published in the catalog of the exhibition Price on request

O B je CT P R e S en T ed BY:

Galerie Mingei

M.: + 33 (0)6 09 76 60 68

e.: mingei.arts.gallery@gmail.com

W: www.mingei.gallery

32bu DDHA s AKYAM un I

Sculpture

Thailand, Lan Na Kingdom, Chieng Sen

Bronze with original gilding 16th century Height: 48 cm Provenance: Mr. and Mrs. Van Dongen, The Netherlands. Price: 18.000 GBP

O B je CT P R e S en T ed BY: Nies Fine Art

M.: + 44 78 57 78 81 21 E.: info@niesfineart.com W: www.niesfineart.com

Related literature:

Boisselier, Jean. The Heritage of Thai Sculpture. New York/Tokyo: Weatherhill, 1975.

Griswold, A. B. Dated Buddha Images of Northern Siam. Ascona/Switzerland: Artibus Asiae, 1961.

Stratton, Carol. “sop-li: a fifteenth century lan na bronze-casting workshop”. in The Journal of the Siam Society, Vol. 97 (2009): pp.161-175.

1

This gilded sculpture depicts the historical Buddha Sakyamuni, also known as the Buddha of compassion who turns suffering into happiness for all living beings. Buddha is seated in virasana with his hands in maravijaya. The present bronze demonstrates the artistic achievement of bronze casters active in Chieng Sen in the 16th century.

Lan Na established in the 13th century in Northern Thailand and was one of the most powerful states in the country until its fall in 1556. Chieng Mai, the capital of the kingdom since 1327, became renowned for its bronze casting workshops and developed a unique artistic language, subtly influenced by Pala sculpture from India, and the Sukhothai style. Some of the earliest images of the Buddha produced in Thailand originate from Chieng Sen, indicating its artistic importance and presence of skilled workshops.1 The physiognomy of 16th century Chieng Sen Buddha’s differs from images made in other parts of the country. Its location at the Mekong River and closeness to the borders of Laos generated a cultural and artistic influx. As a result, artists from this region, referred to as the golden triangle, created Buddha images with distinct artistic characteristics much inspired by more stylised Lao art - particularly in the 15th and 16th centuries.2 This sculpture displays this influence clearly, including the equal length of his long fingers, the sharp lines decorating the shawl draped over his left shoulder and delineating finger nails, knuckles, ankles, and neck lines. Whilst this Buddha has stylised shapes and features, delicate elements are noticeable, such as the small spikey curls, fine headband and sensitively carved face. The lotus throne is treated with much care as well, including a pearled rim and raised lotus petals decorated with incised flower and geometric designs. The tall base, onto which the throne is set, is bare and possibly once bore an inscription. The sculpture is in good condition, revealing authentic gilding and remains of the original clay mould inside the sculpture.

J. Boisselier, The Heritage of Thai Sculpture, (New York/Tokyo: Weatherhill, 1975), p.149

2

A.B Griswold, Dated Buddha Images of Northern Siam, (Artibus Asiae, Supplementum 16, 1957), p.29-60

33P e R fu M e f LA s K

China Bronze Sui Dynasty, 589 - 618

Height: 5 3/4 in (15 cm)

Provenance: James Marshall Plumer collection exhibition: The Detroit Institute of Arts, 1962 Price: 18.000 usd

O B je CT P R e S en T ed BY: Michael Goedhuis M.: + 44 (0)77 6062 5375 e.: london@michaelgoedhuis.com W: www.michaelgoedhuis.com

This bronze perfume flask deaccessioned by the Detroit Museum in the 1960s after the exhibition there of Sui dynasty works in which this flask was exhibited, is a beautiful precursor to Tang forms and retains its original cover.

A

nAYIKA WRITI n G A noT e

Illustration

Kangra Circa 1810-1830

Opaque watercolor heightened with gold on paper

Image: 8 1/4 x 6 in. (21 x 15.2 cm.) Folio: 9 3/4 x 7 3/4 in. (24.8 x 19.7 cm.) Price: 12.000 uSD

Within the frame of an arched window, a nayika (heroine) sits on a carpeted terrace dressed in a flowing green sari and orange veil with gold trim. She wears large ear and nose rings, strands of pearls and numerous jewels and ornaments. Her female companion awaits the finished note to deliver to her beloved. Below, writing implements on a covered gold and jeweled plinth appear along with a knife, scissors, a small gold cup and a bowl. The central female represents the consummate Kangra heroine, with a demurely lowered gaze and an archetypal profile, sharply defined features and jet-black hair. Her fine nose, small red lips and shapely chin are enhanced by her subtle smile. Whether the figure is a courtesan or princess, this is an idealized rendering of a nayika, her features displaying the classic look of a perfect Pahari heroine found in countless miniatures since the development of the Kangra style.

B je CT P R e S en T ed BY:

Kapoor Galleries M.: + 1 (212) 794-2300 e.: info@kapoorgalleries.com W: www.kapoorgalleries.com

The present painting is a wonderful example of the pan-Pahari style of Kangra originated at Guler as a response to the increasing influence of naturalistic Mughal painting.

O

un D e R 10

35A sPLIT eARRInG

Jewel Glass Dong Son

700 BCe – 700 Ce Diam.: 7,6 cm Price: 650 euros

O B je CT P R e S en T ed BY: Sue Ollemans

M.: + 44 (0) 7775 566 356 e.: sue@ollemans.com W: www.ollemans.com

The Dong Son culture (east Mountain Culture) is a Bronze age culture which includes all of South-east Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. To the south were found the Proto-Cham culture of Sa Huynh Culture (700 BCe - 100 Ce)

36bu DDHA s AKYAM un I

Sculpture Thailand, Ratanakosin Bronze

Circa 1800AD. Height: 43 cm Provenance: Galerie De Ruimte, eersel, The Netherlands, circa 1980 Mr and Mrs P. Severing, The Netherlands, circa 1980- 2021 Price: 7.000 GBP O B je CT P R e S en T ed BY: Nies Fine Art M.: + 44 78 57 78 81 21

E.: info@niesfineart.com W: www.niesfineart.com

This elegant standing Buddha Sakyamuni, also known as the historical Buddha, originally held an alms bowl in his raised hands, reflecting the virtue of giving alms to those in need. Buddha wears an unusual garment that is inspired by a monk’s dress, also referred to as uttarasangha. The statue is finely cast in the lost-wax method and has a beautiful natural patina. The slender physique, flamed ushnisha and crisp casting are typical stylistic features of the Ratanakosin period (1782 - present). The present is a particularly sophisticated example, with fine yet modest decorations, which is reminiscent of the late Lan Na style. Consequently, it can be concluded that the statuette was made in the early Rattanakosin period, circa 1800.

Related literature: Boisselier, Jean. The Heritage of Thai Sculpture. Bangkok: Asia Books Co., Ltd., 1974. Stratton, Carol. Buddhist Sculpture of Northern Thailand. Chicago: Serindia Publications, Inc., 2004.

37bu DDHA H e AD

Sculpture

Ancient region of Gandhāra Stucco

4th-5th century Height: 17 cm or 6 ⅞ in Provenance: Private collection, uK, since 1963. Price: 7.000 euros

O B je CT P R e S en T ed BY: Christophe Hioco M.: +33 (0) 1 53 30 09 65 e.: info@galeriehioco.com W: www.galeriehioco.com

This Buddha is a very touching artwork with a delicate expression. Although fragmentary, this face nevertheless shows a great classicism, illustrating the fascinating “Greco-Buddhist art” of Gandhāra. The ethereal idealization of this head further emphasizes the Buddha’s main physical character: at the top of the skull, the protrusion of the fontanel (uṣ īṣa) is the auspicious mark (lakṣa a) which symbolizes the wisdom of the Blessed One and indicates that he is a remarkable being. in Gandhāran art, the cranial protuberance appears hidden by strands of wavy hair arranged in the manner of a bun. His half-closed eyes reflect the intensity of his meditation, while his mouth sketches a gentle smile that testifies to the Buddha’s serene compassion for all beings. The pierced ear, distended from wearing heavy earrings, indicates his former princehood of the Blessed One. used in Gandhāra, as at the Taxila site, stucco was also employed masterfully. Statues were cast in molds and the resulting forms were then finished with a spatula. This technique allows a great plasticity in the treatment and to obtain, as here, faces with a smooth modelling. The mouth, with its particularly sensitive carving, is a fine example. often the finest stucco heads were fired separately and attached to the bodies with slurry. This Buddha head must have been part of the decoration of the external courtyards of the monasteries, those accessible to the devotees. A thin engobe - still visible in the incisions of the hair - covered it all, hiding any disparities and lending it a rich polychromy.

A DRAG on Robe MAD e fo R A

R e LIGI ous s C u LPT u R e

Robe China embroidery on satin-weave silk Silk, bast fiber, gold and silver Qing dynasty (1644-1911) 1864 or earlier Height: 112 cm. (44 inches) Width: 183 cm. (72 inches) Provenance: Private collection, South of France previously sold at Christie’s based on an old label attached to the robe Price: 7.500 usd O

The principal motifs of the robe are the dragon roundels, of which there are ten, embroidered in couched gold and silver threads. The dragons have five claws, and in the four roundels that surround the neck opening of the robe, the dragons are shown in a fully frontal position. The other six dragon roundels are placed further out from the neck opening, two are on the lower part of the robe on both the front and the back, and the remaining two roundels are on the back of the sleeves. The dragons in these six roundels are shown in profile. This robe has a total of ten dragons, whereas a typical Chinese dragon robe would have nine dragons. It lacks the usual buttons and button loops used for fastening a dragon robe, and instead has silk ties that served to fasten the front flap of the robe along the right edge of the garment. Another difference between this robe and a conventional dragon robe can be seen in the more extensive embroidery at the back of the robe, including more dragons, whereas the front of the robe has areas that have been left unembroidered. A typical dragon robe would not have such an imbalance between the front and back of the garment. This robe was undoubtedly made to clothe a Daoist or a Buddhist sculpture that may have been viewed primarily from the rear. The presence of a date in the inscription would likely indicate the time of its donation to a Buddhist or a Daoist temple. In the collection of the Victoria and Albert Museum in London there are at least two Chinese robes (T.752-1950 and T.290-1962) that have a non-silk lining (cotton or hemp), and have dated inscriptions in ink on the lining. Both of these robes are described as "image robes," and according to Verity Wilson, they are lined with fabric made of a sturdier fiber than silk in order to protect the robe from contact with a wood or a metal sculpture. (see pp. 82-84 and 121 in Verity Wilson, Chinese Dress, London 1986).

39SINGHA LI on

Sculpture

Central or east Java, Indonesia Stone

8th - early 16th century

21 x 15 cm / 8,25 x 6 in Price: 4.500 usd or 3.800 euros

O B je CT P R e S en T ed BY: Thomas Murray

M.: + 1 415.378.0716 e.: thomas@tmurrayarts.com W: www.tmurrayarts.com

Tigers were well known in Indonesia but lions, known as singha were mythical creatures associated with protection and royalty associated with India that came to Java during the Central Java Period of the 8th10th Centuries and continued to be a popular subject through the Majaphait Period 14th-16th Centuries. It is for this reason it is difficult to date with certainty.

A f Ro G

Netsuke

Signed Kazuo (Mizutani – b. 1932) Boxwood, eyes inlaid with horn and ebony 20th century Length : 4,9 cm Price: 1.800 euros

O B je CT P R e S en T ed BY: Kitsune Gallery

M.: + 32 476 87 85 69 e.: arie.vos@kitsune.be W: www.kitsunegaroo.com

An excellent rendering of a frog with elegant pose; the eyes inlaid, giving a lively feeling to this amazing netsuke. Signed underneath.

41bALInese KRIss

Arm

Bali,Indonesia

19th century Blade: 39 cm Length of the kriss: 53,5 cm Total length with scabbard: 60 cm Price: 4.500 euros

O B je CT P R e S en T ed BY: Cédric le Dauphin M.: +33 6 07 82 95 08 e.: c.ledauphin@gmail.com

Heirloom of a noble family from Buleleng, in the North of the Bali Island.

With a smiling Vayu handle figuring the god of Winds. Made in copper with 49 crimped glass cabochons. The fine and elegant sculpture of the divinity shows the mastery of the pengukir who shaped and chiselled it. in his right hand, Vayu is holding a flask containing the Amrita, water of Immortality. You will notice the long finger nail on both thumbs that are his main weapon named Pancanaka. On the back side of the handle, one can notice that he is seated on a Tumpal throne (with triangular structure) and see the ornament on the back of his hair, which is a Garuda Mungkur defending his back.

The black blade of the Kriss, typical of the know-how of the Balinese smiths, shows a nice vertical pamor revealing the nickel layers contrasting on the blackened Iron.

The wooden wrangka (sheath) is in the form of the mango fruit in a beautiful black veined exotic wood.

42s e T of fou R

MA n DALA s

Paintings

Gouache and ink on paper

Tibet

19th century Height: 18 cm (7 in) Width: 18 cm (7 in) Provenance: Private collection, Italy Price: 5.200 GBP

O B je CT P R e S en T ed BY: Joost van den Bergh M.: +44 (0)20 7839 8200 e.: joost@joostvandenbergh.com W: www.joostvandenbergh.com

MAID en WITH A MIRRo R

Illustration

Kangra Circa 1810

Opaque watercolor heightened with gold on paper

Image: 4 7/8 x 3 5/8 in. (12.4 x 9.2 cm.) Folio: 6 x 4 7/8 in. (15.2 x 12.4 cm.) Provenance: The Collection of Hellen and Joe Darion, New York, by February 1968 (no. 39). Price: 8.000 uSD

The wide and focused eye of the young maiden directs the viewer’s gaze directly to the figure’s hand with which she applies kajal in a mirror held by an affectionate child. She has already adorned herself with a tikka (hair ornament), nath (nose ring), earrings, necklaces, armbands, and rings. The vermillion on each of her fingertips matches that of the three layers of her diaphanous garments, decorated with green edges matching the window valence above. She appears to be preparing herself for an important event for which the child below has already been groomed. The child’s lavender dress matches the magenta and yellow textile that hangs over the base of the window, creating a pleasingly cohesive color palette. The charming portrait is unmistakably Pahari, epitomizing a bold and colorful tradition that embraces naturalistic Mughal techniques. This type of architectural framing (a view through a window) is typical among paintings from Kangra, in particular, as is the deep blue border with a gold foliate motif and a secondary support of speckled pink paper.

O B je CT P R e S en T ed BY: Kapoor Galleries

M.: + 1 (212) 794-2300 e.: info@kapoorgalleries.com W: www.kapoorgalleries.com

44fA n HA n DL e WITH f I n IAL

India or Sri Lanka 18th century Ivory

Length: 20 3/4 inches, 52.5 cm Price: 4.500 euros

O B je CT P R e S en T ed BY: Joost van den Bergh M.: +44 (0)20 7839 8200 e.: joost@joostvandenbergh.com W: www.joostvandenbergh.com

A large ivory fan handle with matching finial. The handle is made in three separate sections that are fitted together by means of round pegs fitting into corresponding sockets. The baluster-shaped shaft consists of a succession of straight and convex nodular elements with a plain section in the middle. The top section, which is grooved in the centre to take the fan leaf, is richly carved on both sides with a partly pierced design of scrolling foliage. The shaft of the handle is decorated with engraved circles and dots, together forming a dense geometric motif, the details of which are filled in with black and red lac. The separate finial is carved in similar manner with a stupa-shaped top. Disproportionally large ivory fan handles such as the present, sumptuous example were amongst the most prized possessions of Buddhist monks. During processions and prayer Buddhist priests held ivory fans with red silk leaves before their faces. The fan itself would probably have been made of a cheap cloth or palm leaf and was attached to the slit at the top of the handle between the densely carved panels. The small finial would be fitted at the top of the fan. it is likely that two craftsmen from different castes produced this fan; an artist of considerable talent and a member of the high elite would probably have carved the elaborate foliage on the handle and finial, whereas a low caste craftsman would have executed the turning and the engraved designs on the lower part of the handle.[1] A closely comparable fan handle is in the Pinto collection in oporto, Portugal.[2] Other examples are in the Norton Simon Museum in Pasadena[3] and on the Los Angeles County Museum of Art.[4]

[1] jordan Schwendt, A. and Beltz, j Elfenbeine aus Ceylon, Luxuxgüter für Katharina von Habsburg, Zurich 2010, p. 79 [2] jordan Schwendt, A. and Beltz, j., op. cit, no. 25, p. 79 [3] Pal, P. Asian Art at the Norton Simon Museum - Art from Sri Lanka & Southeast Asia, New Haven and London 2003, no. 55, p. 66

[4] Pal, P. Elephants and Ivories in South Asia, Los Angeles 1981, pl. 104, p. 100

G uARDIA n D e M on WITH WRATH fu L e XPR

ess I on

Sculpture

Bali, Indonesia Wood, pigment

Late 19th - Very early 20th century 48 x 16,5 x 14 cm / 19 x 6,5 x 5,5 in Provenance: ex Collection Luciano Lanfranchi Price: 9.000 usd or 7.500 euros

O B je CT P R e S en T ed BY: Thomas Murray M.: + 1 415.378.0716 e.: thomas@tmurrayarts.com W: www.tmurrayarts.com

This is a fabulous example of the sculptor’s art from Bali, an early hardwood carving of a protective demon figure. note the fine detail. This iconography is an inheritance from the rich classical heritage coming from the Indian period of Java, 7th-15th Century

MA s K

46Indonesia, Java or Philippines Gold

10th - 13th century or earlier Height: 12cm Width: 8,5cm Price: 7.500 euros

Funerary face covers of this type were found in former burial sites in Indonesia and the Philippines, dated from the 1st century B.C.e to the 13th century. They were precious items with an important meaning, in life as much as in death. Gold pieces buried with the deceased guaranteed their social status and wealth, in the hereafter as well. Cut in hammered gold, these funerary masks could cover the entire face or underline its main features. They could also help to maintain the soul of the deceased and to prevent it from wandering back into the world of the living and disturbing it. For related examples, see: Miksic, J. (2011) Old Javanese Gold - The Hunter Thompson Collection at the Yale University Art Gallery, new Haven & London: Yale university Press, p. 92 to 98.

O B je CT P R e S en T ed BY: Alexis Renard M.: + 33 1 44 07 33 02 e.: alexis@alexisrenard.com W: www.alexisrenard.com

47SARVATOBHADRA (‘AusPICIous on ALL sIDes’)

Mandala for ritual installation Rajasthan, India 18th–19th century Gouache on paper Height: 24.5 cm (9⅝ in) Width: 23.5 cm (9. in)

Publication and exhibition: Featured in the ‘A India, Pórtico do norte’ exhibition, Santiago de Compostela,and accompanying catalogue (ed. Donald Stadtner, 1998, p. 351, no. 354).

Price: 1.500 GBP

O B je CT P R e S en T ed BY: Joost van den Bergh M.: +44 (0)20 7839 8200 e.: joost@joostvandenbergh.com W: www.joostvandenbergh.com

b ALI nese RI n G

Jewel

Bali, Indonesia 19th century Weight: 7,4g Size uS 6,30/ Ø 16,75 mm /n°13 Price: 3.000 euros

O B je CT P R e S en T ed BY: Cédric le Dauphin M.: +33 6 07 82 95 08 e.: c.ledauphin@gmail.com

This high carat gold ring features a pearls and filigree work bordering two birds that stand on the shoulders of the ring and hold the stone, closed set, with their beaks.

A LAM en TI n G on I

Netsuke

Late edo period 19th century Length: 4,5 cm Price: 1.250 euros

O

B je CT P R e S en T

ed

BY:

Kitsune Gallery M.: + 32 476 87 85 69 e.: arie.vos@kitsune.be W: www.kitsunegaroo.com

Netsuke of a lamenting oni (little demon) on the severed arm of Rashomon A small oni has its head buried into the severed arm and is lamenting the death of the demon Rashomon. The muscular arm of Rashomon ends into a bold fist with sharp nails. Large generous himotoshi (cord runner) underneath.

50RoseWATeR sPRInKLeR

Ring Mughal India Blown glass Late 18th Price: 6.000 euros

Blown glass bottles, possibly used as rosewater sprinklers, of typical pyriform shape, resting on a circular splayed foot, the bulbous body rising to a tall tapering neck, one ringed, the other flat, the bluecoloured gadrooned, The use of perfume and incense has a very long history and can be traced back to prehistoric times. Rosewater was used stored and applied in specially made sprinklers. It is claimed, as early as the 5th millennium BC, at the time of Lord Krishna, rose fragrance was already being prepared by a special and expensive process. A number of Rose water sprinklers seem to have been made in england for use in India. Literature :Stefano Carboni and David Whitehouse, Glass from Islamic Lands, 2001,cat. 143 and 144, pp. 391 - 93.

O B je CT P R e S en T ed BY: Sue Ollemans

M.: + 44 (0) 7775 566 356 e.: sue@ollemans.com W: www.ollemans.com

A bronze brazier with a flaring mouth, decorated with a mottled patina and a simple band.

51b RAZI e R

Japan Bronze Meiji/Taisho period early 20th century

H. 24,5 cm x Diam. 36,5 cm Price: 3.600 euros

O B je CT P R e S en T ed BY: Gregg Baker Asian Art M.: +32 468 00 56 85 e.: info@japanesescreens.com W: www.japanesescreens.com

P o RTRAIT

PAI n TI n G

Anonymous China

Brush painting

Ink and colors on paper Qing dynasty (1644-1911)

Circa 1800 Height: 82 cm. (32 inches) Width: 65.5 cm. (26 inches)

Provenance: The estate of Gérard Lévy (19342016), a prominent antique dealer in Paris who purchased the painting at auction in Paris in 1988 Price:

A scholar sits under an old pine tree alongside a river. In his right hand he holds a fan made of feathers, and on the low table next to him rests a ruyi scepter and a tall vase with a single open peony and a single peony bud. The other bank of the river is also visible, and includes a flowering prunus. The scholar is bald and bearded, and wears a long pale green robe over a white under robe that extends beyond the hem of his outer robe. He gazes directly out at the viewer.

The subject’s face is a highly realistic representation of what must be an actual person, however the lack of an identifying inscription leaves the scholar’s identity uncertain. His unusual feather fan could possibly provide a clue to his personal history. His frontal gaze is not typical in scholar portraits, and there is no indication in the painting of the chair or stool upon which he is seated.

A K o DA nsu

Incense cabinet

Late edo-period (1603-1868) / Meiji period (1868-1912) Height : 10 cm Base : 11 cm x 8 cm Price: 7.500 euros

SOLD

O B je CT P R e S en T ed BY: Kitsune Gallery M.: + 32 476 87 85 69 e.: arie.vos@kitsune.be W: www.kitsunegaroo.com

This little cabinet shows a waterfall in zilver togidashi lacquer against a hirame scattered roiro background and landscape details in hiramaki-e (using kin and aogin) and kirikane. In very good condition.

54MA s K Philippines Gold

10th - 13th century

Height: 7 / 2,5cm Width: 12 / 7cm Price: 6.500 euros

O B je CT P R e S en T ed BY: Alexis Renard M.: + 33 1 44 07 33 02 e.: alexis@alexisrenard.com W: www.alexisrenard.com

Funerary face covers of this type were found in former burial sites in Indonesia and the Philippines, where precious items had an important meaning, in life as much as in death. Gold pieces buried with the deceased guaranteed their social status and wealth, in the hereafter as well. Cut in hammered gold, these funerary masks could cover the entire face or underline its main features. They could also help to maintain the soul of the deceased and to prevent it from wandering back into the world of the living and disturbing it.

For related examples, see: Miksic, J. (2011) Old Javanese Gold - The Hunter Thompson Collection at the Yale University Art Gallery, new Haven & London: Yale university Press, p. 92 to 98.

55G o DD ess

Sculpture

east Java, Indonesia

Terra Cotta

Majaphait Period

14th - early 16th century 24 x 18 cm / 9.5 x 7 in Price: 2.500 usd or 2.100 euros

O B je CT P R e S en T ed BY: Thomas Murray M.: + 1 415.378.0716 e.: thomas@tmurrayarts.com W: www.tmurrayarts.com

The arts flourished during the Majaphait kingdom, with a marvelous tradition of sculpture observed in various media, with terracotta being the most ubiquitous.

Encountered here is a likely roof finial in the round featuring a mythical female deity and an animal companion, probably part of a greater narrative. This sculpture is distinguished by a distinct ‘river patina,’ tumbled smooth over the centuries adding to its mysterious and compelling aesthetic. Compares with a related piece in the Metropolitan Museum: https://www.metmuseum.org/art/collection/ search/38577

56A n on I

Netsuke

Various tinted woods 19th century

Height: 3,8 cm Diam.: 1,7 cm Price: 1.700 euros

O B je CT P R e S en T ed BY: Kitsune Gallery M.: + 32 476 87 85 69 e.: arie.vos@kitsune.be W: www.kitsunegaroo.com

Netsuke of an oni (little demon) passing through the hole of a column. An allusion to the pilgrims visiting Todaiji temple in Nara where one of the columns in the daibutsu hall has a hole. This hole has the size of one nostril of the great Buddha. According to Buddhist beliefs, people who can pass through the hole will be enlighted. A sugegasa (conical Japanese hat worn by monks and farmers) is attached to the column (referring to the disguise used by the oni, who had to take it off in order to pass through the hole).

TRI b AL ART so CI e TY

Are you also interested in Tribal Art ? Check our April catalogue: HeRe