We found 6730 price guide item(s) matching your search

Chinese unglazed red pottery horse, possibly Eastern Han or Tang dynasty. A mingqi sculptural mortuary or spirit object. The horse strides or prances forward with its docked tail held high. With an S-curved neck and a well-sculpted head featuring open mouth, flared nostrils, and protuberant eyes under curved brows. The long, pointed ears are pricked upwards on either side of a gently sloped roached mane. The gracefully curving horse turns its head slightly to one side, commanding the attention of the viewer. With a plinth.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Horse; height: 37 in x width: 26 in x depth: 9 1/2 in. Base; height: 11 in x width: 38 in x depth: 18 in.Condition: Overall there are no major cracks or losses. There is general wear throughout as expected from an item of this age. There is natural variation to the color of the horse including a darker head and a lighter tail. There are small chips throughout, some are natural minute losses to the material and possibly original to the artistic process. Along the left shoulder of the horse there is an uneven area of lighter-colored accretions that is slightly rougher than the area around it. There is a small chip along the back left hoof; there is a minute chip along the tip of the right ear; there are several small chips along the right shoulder; there are a few small chips along the right side of the jaw; there are small chips throughout the flared lips; there is a chip near the front of the left shoulder; there are a few chips along the front right hoof. There are hairline cracks throughout. The largest hairline cracks are in the following locations: around the circumference of the back left leg near the hock; there is a oval-shaped hairline crack along the front right knee; there is one along the center of the back; there is a T-shaped crack along the left cheek. There are two spots along the back of the horse along the aforementioned hairline crack where the ceramic is darker than the surrounding material. There is wear to the base including some areas of discoloration from the ceramic hoofs.

Indian hand beaded toran wall hanging. Depicting elephants, flowering trees, cows, divine forms, and auspicious markings. The toran is also known as a Bandanwar, and is a decorative Hindu door hanging meant to protect the home and expel negative energies. From Saurashtra, Gujarat. Mashru and cotton with zari metallic thread stitching.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Length: 40 in x width: 12 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Persian-Malayer (Iran) hand knotted wool on cotton hallway runner rug, second quarter of the 20th century. With an allover Herati design in red, saffron, and white on a navy-blue field. With white-ground main border, maroon-ground border guards. Approximately 130 knots per square inch.Provenance: Oriental Rug Co., Edina, Minnesota, 1996; From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Height: 12 ft 9 in x width: 3 ft 7 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Chinese export porcelain tureen and platter for the American market, late 18th to early 19th century. The tureen with and oval cover, pomegranate finial, and cross-laced handles. The octagonal platter with an armorial shield and a latticework transfer banded rim and cavetto.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Tureen; height: 11 1/2 in x width: 14 in x depth: 9 1/2 in. Platter; height: 17 1/4 in x width: 14 in x depth: 2 in.Condition: For both items, there are losses to the paint and the gilding. There is wear throughout both items. There are minute firing flaws throughout. The platter has losses to the outer rim. Under UV light the enamel of the tureen appears to be restored throughout, especially along the blue bands running horizontally along the body and the blue circles on opposite sides of the body. There appears to be restoration along the outer edge of the lid and to the edges of the finial. Along the underside of the footrim there a series of hairline cracks. There is the wear to the footrim and exterior of both items.

Silver necklace with large, round beads interspersed with filigree beads and oblong discs. Likely Indian. Lacking the closure.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Length: 21 in. Weight: 127.3 grams.Condition: All beads are present and attached. Some wear and tarnishing throughout. Some very small dents and scratches throughout. Lacking a clasp.

Pair of Chinese porcelain hat stands mounted as lamps, early 20th century. With cylindrical bodies decorated with scenes of figures including boys, attendants, and Shouxing holding ruyi scepter. One with a block of calligraphy painted along the sides.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Each, height: 29 1/2 in x diameter: 14 in.Condition: Lamps not tested for functionality. Both vases have been lamped. Wear to the underside of the vase. Small losses to the painted decoration. Minute firing flaws throughout. Heavy losses to the gilding along the top rim of one of the vases. Wear to the wooden bases. Some wear and tarnishing to metal components. Light wear to the carved finials.

Utagawa Kunisada (Japanese, 1786-1865). Ukiyo-e woodblock print titled "The Syllable Ki: for Kisshoji" from the series "Seisho nanatsu iroha (Seven Calligraphic Models for Each Character in the Kana Syllabary)," depicting two figures, one woman in a fine robe printed with flowers and a man holding a pipe, 1856.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Unframed; height: 14 in x width: 9 in. Board; height: 15 in x width: 10 in.Condition: The sheet is toned. The colors are somewhat subdued. All corners show minute losses or tears. There is an oblong hole along the upper right corner. There is a minute hole along the upper top center edge. There is a small hole near the lower right corner. There is a small red-colored stain along the lower figure's top hand, possibly original to the artistic production. Throughout the sheet there are numerous light creases. The artwork is plastic wrapped and the verso could not be inspected due to this.

Chinese Kangxi 18th century famille verte porcelain plate. Decorated in the center with a scene of a figure riding a horse outside of a palace, possibly derived from "The Romance of the Western Chamber (Xixiangji)." The rim painted with four floral cartouches alternating with precious objects tied with ribbons. The underside of the rim painted with floral sprigs. Marked along the underside with an underglaze blue double circle and an apocryphal pictorial mark of a "fangding" ritual censer.Provenance: The Oriental Impression, Ltd., St. Louis, Missouri, 1984; From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Diameter: 9 in.Condition: No visible losses. There is a hairline crack along the lower right rim, extending from the center that measures approximately 2 inches. There is a minute chip underneath the lower left rim. The underside has wear consistent with age and use.

Group of six etchings or engravings of India including:"The Taje Mah'l [The Taj Mahal] at Agra" From the book "The Oriental annual, or, Scenes in India" by the Rev. Hobart Caunter. Published by Edward Bull, London, 1834. Engravings from drawings by William Daniell and engraved by Joseph Lee."Capture of the King of Delhi by Captain Hodson" published by The London Printing and Publishing Company Ltd., ca. 1860.A portrait of Bahadur Shah titled "Mahomed Suraj-oo-Deen Shah Gazee, Titular King of Delhi, born 1773 & proclaimed rebel King of Delhi May 11th 1857; dethroned and captured Sept. 20 1857; from a miniature painted on ivory by the portrait painter to the King of Delhi; a beautiful specimen of native art." Published by The London Printing and Publishing Company Ltd.One hand colored engraving titled "The Golden Kiosk, in the Valley of Ambir." Illegibly signed in plate along the lower right.One hand colored engraving titled "Temples in the Valley of Ambir" after Charles Laplante, ca. 1860s. Signed in plate along the lower right."Ruins of the Palace of Feroze, Plains of Delhi." Engraved by E. Therond after Charles Laplante. Signed in plate along the lower left and right corners.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Sight ranges from 4 1/4 in to 8 1/2 in; width ranges from 5 1/4 in to 9 1/2 in. Framed; height: 10 1/2 in to 14 in; width ranges from 10 1/2 in to 15 in.Condition: The coloration is bold and deep. There is undulation throughout all sheets. There are areas of discoloration and toning throughout all items. There is minute foxing throughout the images. To the print of Taj Mah'l there are creases and tears visible. All works are framed under a window mat. Framed under glass. There is wear to all frames.

Miscellaneous South East Asian works of art, to include a pair of miniature gilt bronze models of a dog of Fo, 19th / 20th c, 55mm l, and a blanc de chine dragon vase Head of one pottery figure detached, otherwise generally good condition

Miscellaneous Chinese,  and other South East Asian bronze and other works of art,  wood stands, etc Mostly in good condition

A RARE LONGQUAN GUAN-TYPE FOLIATE-RIMMED SHALLOW DISH, SOUTHERN SONG DYNASTY, 13TH CENTURY the dish with a concave shallow chrysanthemum-formed centre, potted with a foliate-shaped rim, covered overall in a sea-green glaze suffused with a network of icy, flake-like crackles. 16.3cm diameterAn English Private CollectionIt is considered that around 1200AD, the Longquan kilns started to produce crackle glazes and a rare type of glaze with icy crackles was probably made as an imitation of the finest official wares. Although the jade-like, sea-green glaze on this shallow dish is smooth, it has a profusion of these rare Guan-style icy, flake-like layers in the glaze. There are only a few examples of complete Longquan celadon wares in the Smithsonian National Museum of Asian Art collection with this type of Guan-style glaze and some fragments. Comparison fragments with similar Guan-style celadon glaze in their collection are accession numbers FSC-P-1112 and FSC-P-1083.The foliate rim is quite apparent on this dish; however, due to the thick crackle glaze, the moulded chrysanthemum decoration on the inside and the formed petals decoration underneath are less noticeable.Some of the Longquan Guan-type wares have a dark body, and it is quite evident from the unglazed base of the dish that this is one of those with this rare darker body. Around the outside of the foot rim is a distinctive concave moulding that has been identified as being used during the Southern Song dynasty by the Longquan kilns. The V&A collection has a Longquan celadon sherd with a similar foot rim style, dated as Song dynasty, accession number C.1470:9-1924.

Pictures and prints - Asian related pictures and prints including three framed photographs of Singapore, two Chinese paper art works, embroidered silk work; etc (11)

Corinna Button In a Dream, 2023 Collage, acrylic, graphite and oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.)   About After completing a BA honours degree in painting, I pursued a printmaking postgraduate degree in the UK, where I am from. It was during this time that I was impacted by the German Expressionists, whose works, particularly in printmaking, left an indelible impression on me. I dedicated many subsequent years to developing my work in etching and other forms of printmaking. Today, printmaking continues to be a medium that intrigues me and is hugely influential in the way I approach my painting and sculpture. People are the subjects of my work and I am intrigued by moments that, despite initially appearing quite commonplace, are (for me) charged with great significance and meaning. My inspiration is drawn from experiences or predicaments I encounter in daily life, such as social gatherings, images from social media and words from a song or a poem. All these generate ideas for themes that I can build upon, "dress-up" and weave into my work. I compose figures either in groupings or as a single figure or just a face. My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface. Everything about the way I work (both technique and subject) is motivated by the desire to reveal or "bring something to light." Thus, my process involves layering then scraping back, building then excavating; otherwise, peeling back layers to "carve out" and reveal something hidden beneath the surface. Select Exhibitions/Awards Selected Solo Shows 2020 Caught in a Fast Lane - Cupola Gallery, Sheffield UK 2017 Interfaces' - Hyde Park Arts Centre, Chicago (Featuring sculpture, printmaking and painting) Media made Great, Chicago 'Caught in an act II '(Featuring sculpture, printmaking and painting) 2016 Caught in the Act Cupola Gallery, Sheffield UK Watching you, watching me Sculpture and painting. Pistachio, Chicago 2014 Moments of Being, Gallery C, Dubuque, IA, USA University of Illinois, ULC Health in the Arts clinic, Chicago USA Specially Selected Exhibitions 2023 & 2020 Royal Academy Summer Show, London 2020 & 2019 ING Discerning Eye, Mall Galleries, London 2020 In Print; 20/20 Vision: Watts Contemporary, Watts Gallery Artists' Village, Surrey 2019 The Prince's Trust Auction, Highgrove House, Doughton, Gloucestershire. 2019 'Not Just Another Pretty Face', Hyde Park Art Center, Chicago. USA 2019 International Open Juried exhibition of Original Prints, 'NOPE' Bankside Gallery, London. 2017 Shakespeare: A celebration, Kwan Fong Gallery of Art and Culture, California, USA 2015 Chicago Invasion, Blue Rider Gallery, Taipei, - Taiwan 2015 Artress, Research House for Asian Art, Chicago, USA 2015 Elmhurst Museum; Artists Interpret Shakespeare, USA Collections The Victoria and Albert Museum, London Jiangsu Art Museum, China Ashmolean Museum Oxford BBC Sheffield Castle Lesley, Ireland University of Aberystwyth, Wales   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Alya Hatta The Kingdom of Mr Chungus, 2023 Colour pencil and marker on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alya Hatta (b.1999, Malaysia) is an interdisciplinary artist based between London and Kuala Lumpur. She graduated from her BA Fine Art at Goldsmiths, University of London before finding herself in the MA Painting Course at Royal College of Art. She has exhibited internationally in London, Milan, Kuala Lumpur, Tokyo, Tübingen and Sydney amongst others. Hatta is a member of 'Unamed Collective' and 'FloorFive' collective, who are currently part of a year long residency at Goldsmiths CCA. Drawing on personal experiences and memories, Hatta uses the dynamism of colour, form, sound and space to explore the realm of digital and physical in representing her Southeast Asian identity, and to portray the colourful intimacies of the diasporic human condition. She takes inspiration from the communities of both her South-London and Kuala Lumpur residences as well as Southeast Asian mythology to create alternate realities in an attempt to find new spaces in which she can call home. Alya recently took part in our 2023 International Women's Day Auction - read her interview with FAD Magazine as part of the auction. Education BA Fine Art at Goldsmiths, University of London MA Painting Course at Royal College of Art Select Exhibitions/Awards Solo Exhibitions 2022 Up on Stilts, The Room, London 2020 Playground, ZHAN Art | Space, Selangor 2017 Aphrodisia, Minut Init Gallery, Kuala Lumpur SELECTED GROUP EXHIBITIONS 2021 Tate Collective: Finding Home Digital Display, Tate Britain, London 2021 Young Artist Incubator Show, Wei-Ling Gallery, Kuala Lumpur 2021 In Other Company, Deptford X Festival, London   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Sinéad Rice Geometric Study In Black + Blue II (1), 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born Ireland, 1975. Now lives and works in Dublin. Exhibits mainly in London. Mainly a painter, the artist uses a variety of mediums including painting, drawing, sculpture, ceramics and most recently photography has become important in her work. She is interested in nature, meditation and the sea, and loves to travel the world with her camera, scuba diving whenever possible. Education B.A. ARTS ENGLISH AND PHILOSOPHY (HONOURS) NATIONAL UNIVERSITY OF IRELAND, GALWAY 2001 NATIONAL DIPLOMA IN FINE ART (WITH DISTINCTION) CRAWFORD COLLEGE OF ART AND DESIGN 2002 B.A. FINE ART PAINTING (FIRST CLASS HONOURS) CRAWFORD COLLEGE OF ART AND DESIGN 2007 M.A. ARTS - CERAMIC DESIGN NATIONAL COLLEGE OF ART AND DESIGN Select Exhibitions/Awards 2004 - Impressions - National Open Print Exhibition - Galway Arts Centre. 2005 - Studio Artists Exhibition - Customs House Gallery. 2007 - 40 Year Retrospective Exhibition - Lavit Gallery. 2008 - Winter Exhibition - Lemonstreet Gallery. 2010 - Backwater Twenty 10 - Crawford Art Gallery. Curated by Stephen Brandes and Vera Ryan. 2010 - Impressions, National Open Print Exhibition - Galway Arts Centre. Curated by Chris Orr R.A. 2011 - Summer Exhibition - Leitrim Sculpture Centre. 2013 - Small is Beautiful, Who's afraid of Red Yellow and Blue - Flowers East Gallery, Kingsland Road, London. 2014 - 184th Royal Hibernian Academy Annual Exhibition, Royal Hibernian Academy Dublin. 2015 - AIB Eigse - Visual Centre For Contemporary Art, Carlow. Curated by Lewis Biggs. 2016 - DRAW 2016 - Backwater Artists Studio's, Cork 2017 - Small is Beautiful XXXV - Flowers Central Gallery, Cork Street, London 2018 - Small is Beautiful XXXVI - Flowers Central Gallery, Cork Street, London. 2019 - Small is Beautiful XXXVII - Flowers Central Gallery, Cork Street, London. 2020 - Small is Beautiful XXXVIII - Flowers Gallery, London. 2021 - Small is Beautiful XXXIX - Flowers Gallery, Cork Street, London. 2022 - In and of Itself, Abstraction in the Age of Images - RHA Gallery, Dublin. 2022 - Small is Beautiful XL - Flowers Gallery, Cork Street, London. Statement about AOAP Submitted Artwork These minimal, geometric paintings are non representational, concerned with reductive colour and are a series. The surfaces are built up through intense layering over time to achieve physical depth in the paintings. The layers relate to the way in which layers are built up and worn down through the natural processes of time in nature. This process also helps to create a sense of "Yugen" an Asian concept which means inexpressible depth or invisible beauty. This idea arises from the Japanese aesthetic of Wabi - Sabi which describes the inexpressible beauty which things especially natural objects attain with the passage of time. It incorporates the idea of the beauty of imperfection and irregularity or roughness and avoids ornamentation in structure.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Sinéad Rice Geometric Study In Black + Blue II (2), 2023 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born Ireland, 1975. Now lives and works in Dublin. Exhibits mainly in London. Mainly a painter, the artist uses a variety of mediums including painting, drawing, sculpture, ceramics and most recently photography has become important in her work. She is interested in nature, meditation and the sea, and loves to travel the world with her camera, scuba diving whenever possible. Education B.A. ARTS ENGLISH AND PHILOSOPHY (HONOURS) NATIONAL UNIVERSITY OF IRELAND, GALWAY 2001 NATIONAL DIPLOMA IN FINE ART (WITH DISTINCTION) CRAWFORD COLLEGE OF ART AND DESIGN 2002 B.A. FINE ART PAINTING (FIRST CLASS HONOURS) CRAWFORD COLLEGE OF ART AND DESIGN 2007 M.A. ARTS - CERAMIC DESIGN NATIONAL COLLEGE OF ART AND DESIGN Select Exhibitions/Awards 2004 - Impressions - National Open Print Exhibition - Galway Arts Centre. 2005 - Studio Artists Exhibition - Customs House Gallery. 2007 - 40 Year Retrospective Exhibition - Lavit Gallery. 2008 - Winter Exhibition - Lemonstreet Gallery. 2010 - Backwater Twenty 10 - Crawford Art Gallery. Curated by Stephen Brandes and Vera Ryan. 2010 - Impressions, National Open Print Exhibition - Galway Arts Centre. Curated by Chris Orr R.A. 2011 - Summer Exhibition - Leitrim Sculpture Centre. 2013 - Small is Beautiful, Who's afraid of Red Yellow and Blue - Flowers East Gallery, Kingsland Road, London. 2014 - 184th Royal Hibernian Academy Annual Exhibition, Royal Hibernian Academy Dublin. 2015 - AIB Eigse - Visual Centre For Contemporary Art, Carlow. Curated by Lewis Biggs. 2016 - DRAW 2016 - Backwater Artists Studio's, Cork 2017 - Small is Beautiful XXXV - Flowers Central Gallery, Cork Street, London 2018 - Small is Beautiful XXXVI - Flowers Central Gallery, Cork Street, London. 2019 - Small is Beautiful XXXVII - Flowers Central Gallery, Cork Street, London. 2020 - Small is Beautiful XXXVIII - Flowers Gallery, London. 2021 - Small is Beautiful XXXIX - Flowers Gallery, Cork Street, London. 2022 - In and of Itself, Abstraction in the Age of Images - RHA Gallery, Dublin. 2022 - Small is Beautiful XL - Flowers Gallery, Cork Street, London. Statement about AOAP Submitted Artwork These minimal, geometric paintings are non representational, concerned with reductive colour and are a series. The surfaces are built up through intense layering over time to achieve physical depth in the paintings. The layers relate to the way in which layers are built up and worn down through the natural processes of time in nature. This process also helps to create a sense of "Yugen" an Asian concept which means inexpressible depth or invisible beauty. This idea arises from the Japanese aesthetic of Wabi - Sabi which describes the inexpressible beauty which things especially natural objects attain with the passage of time. It incorporates the idea of the beauty of imperfection and irregularity or roughness and avoids ornamentation in structure.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Corinna Button Now It's My Turn IV, 2023 Oil and mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.)   About After completing a BA honours degree in painting, I pursued a printmaking postgraduate degree in the UK, where I am from. It was during this time that I was impacted by the German Expressionists, whose works, particularly in printmaking, left an indelible impression on me. I dedicated many subsequent years to developing my work in etching and other forms of printmaking. Today, printmaking continues to be a medium that intrigues me and is hugely influential in the way I approach my painting and sculpture. People are the subjects of my work and I am intrigued by moments that, despite initially appearing quite commonplace, are (for me) charged with great significance and meaning. My inspiration is drawn from experiences or predicaments I encounter in daily life, such as social gatherings, images from social media and words from a song or a poem. All these generate ideas for themes that I can build upon, "dress-up" and weave into my work. I compose figures either in groupings or as a single figure or just a face. My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface. Everything about the way I work (both technique and subject) is motivated by the desire to reveal or "bring something to light." Thus, my process involves layering then scraping back, building then excavating; otherwise, peeling back layers to "carve out" and reveal something hidden beneath the surface. Select Exhibitions/Awards Selected Solo Shows 2020 Caught in a Fast Lane - Cupola Gallery, Sheffield UK 2017 Interfaces' - Hyde Park Arts Centre, Chicago (Featuring sculpture, printmaking and painting) Media made Great, Chicago 'Caught in an act II '(Featuring sculpture, printmaking and painting) 2016 Caught in the Act Cupola Gallery, Sheffield UK Watching you, watching me Sculpture and painting. Pistachio, Chicago 2014 Moments of Being, Gallery C, Dubuque, IA, USA University of Illinois, ULC Health in the Arts clinic, Chicago USA Specially Selected Exhibitions 2023 & 2020 Royal Academy Summer Show, London 2020 & 2019 ING Discerning Eye, Mall Galleries, London 2020 In Print; 20/20 Vision: Watts Contemporary, Watts Gallery Artists' Village, Surrey 2019 The Prince's Trust Auction, Highgrove House, Doughton, Gloucestershire. 2019 'Not Just Another Pretty Face', Hyde Park Art Center, Chicago. USA 2019 International Open Juried exhibition of Original Prints, 'NOPE' Bankside Gallery, London. 2017 Shakespeare: A celebration, Kwan Fong Gallery of Art and Culture, California, USA 2015 Chicago Invasion, Blue Rider Gallery, Taipei, - Taiwan 2015 Artress, Research House for Asian Art, Chicago, USA 2015 Elmhurst Museum; Artists Interpret Shakespeare, USA Collections The Victoria and Albert Museum, London Jiangsu Art Museum, China Ashmolean Museum Oxford BBC Sheffield Castle Lesley, Ireland University of Aberystwyth, Wales   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Corinna Button From A Distance, 2023 Oil and mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About After completing a BA honours degree in painting, I pursued a printmaking postgraduate degree in the UK, where I am from. It was during this time that I was impacted by the German Expressionists, whose works, particularly in printmaking, left an indelible impression on me. I dedicated many subsequent years to developing my work in etching and other forms of printmaking. Today, printmaking continues to be a medium that intrigues me and is hugely influential in the way I approach my painting and sculpture. People are the subjects of my work and I am intrigued by moments that, despite initially appearing quite commonplace, are (for me) charged with great significance and meaning. My inspiration is drawn from experiences or predicaments I encounter in daily life, such as social gatherings, images from social media and words from a song or a poem. All these generate ideas for themes that I can build upon, "dress-up" and weave into my work. I compose figures either in groupings or as a single figure or just a face. My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface. Everything about the way I work (both technique and subject) is motivated by the desire to reveal or "bring something to light." Thus, my process involves layering then scraping back, building then excavating; otherwise, peeling back layers to "carve out" and reveal something hidden beneath the surface. Select Exhibitions/Awards Selected Solo Shows 2020 Caught in a Fast Lane - Cupola Gallery, Sheffield UK 2017 Interfaces' - Hyde Park Arts Centre, Chicago (Featuring sculpture, printmaking and painting) Media made Great, Chicago 'Caught in an act II '(Featuring sculpture, printmaking and painting) 2016 Caught in the Act Cupola Gallery, Sheffield UK Watching you, watching me Sculpture and painting. Pistachio, Chicago 2014 Moments of Being, Gallery C, Dubuque, IA, USA University of Illinois, ULC Health in the Arts clinic, Chicago USA Specially Selected Exhibitions 2023 & 2020 Royal Academy Summer Show, London 2020 & 2019 ING Discerning Eye, Mall Galleries, London 2020 In Print; 20/20 Vision: Watts Contemporary, Watts Gallery Artists' Village, Surrey 2019 The Prince's Trust Auction, Highgrove House, Doughton, Gloucestershire. 2019 'Not Just Another Pretty Face', Hyde Park Art Center, Chicago. USA 2019 International Open Juried exhibition of Original Prints, 'NOPE' Bankside Gallery, London. 2017 Shakespeare: A celebration, Kwan Fong Gallery of Art and Culture, California, USA 2015 Chicago Invasion, Blue Rider Gallery, Taipei, - Taiwan 2015 Artress, Research House for Asian Art, Chicago, USA 2015 Elmhurst Museum; Artists Interpret Shakespeare, USA Collections The Victoria and Albert Museum, London Jiangsu Art Museum, China Ashmolean Museum Oxford BBC Sheffield Castle Lesley, Ireland University of Aberystwyth, Wales   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.

Corinna Button 1N Transit II, 2023 Oil and mixed media on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About After completing a BA honours degree in painting, I pursued a printmaking postgraduate degree in the UK, where I am from. It was during this time that I was impacted by the German Expressionists, whose works, particularly in printmaking, left an indelible impression on me. I dedicated many subsequent years to developing my work in etching and other forms of printmaking. Today, printmaking continues to be a medium that intrigues me and is hugely influential in the way I approach my painting and sculpture. People are the subjects of my work and I am intrigued by moments that, despite initially appearing quite commonplace, are (for me) charged with great significance and meaning. My inspiration is drawn from experiences or predicaments I encounter in daily life, such as social gatherings, images from social media and words from a song or a poem. All these generate ideas for themes that I can build upon, "dress-up" and weave into my work. I compose figures either in groupings or as a single figure or just a face. My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface. Everything about the way I work (both technique and subject) is motivated by the desire to reveal or "bring something to light." Thus, my process involves layering then scraping back, building then excavating; otherwise, peeling back layers to "carve out" and reveal something hidden beneath the surface. Select Exhibitions/Awards Selected Solo Shows 2020 Caught in a Fast Lane - Cupola Gallery, Sheffield UK 2017 Interfaces' - Hyde Park Arts Centre, Chicago (Featuring sculpture, printmaking and painting) Media made Great, Chicago 'Caught in an act II '(Featuring sculpture, printmaking and painting) 2016 Caught in the Act Cupola Gallery, Sheffield UK Watching you, watching me Sculpture and painting. Pistachio, Chicago 2014 Moments of Being, Gallery C, Dubuque, IA, USA University of Illinois, ULC Health in the Arts clinic, Chicago USA Specially Selected Exhibitions 2023 & 2020 Royal Academy Summer Show, London 2020 & 2019 ING Discerning Eye, Mall Galleries, London 2020 In Print; 20/20 Vision: Watts Contemporary, Watts Gallery Artists' Village, Surrey 2019 The Prince's Trust Auction, Highgrove House, Doughton, Gloucestershire. 2019 'Not Just Another Pretty Face', Hyde Park Art Center, Chicago. USA 2019 International Open Juried exhibition of Original Prints, 'NOPE' Bankside Gallery, London. 2017 Shakespeare: A celebration, Kwan Fong Gallery of Art and Culture, California, USA 2015 Chicago Invasion, Blue Rider Gallery, Taipei, - Taiwan 2015 Artress, Research House for Asian Art, Chicago, USA 2015 Elmhurst Museum; Artists Interpret Shakespeare, USA Collections The Victoria and Albert Museum, London Jiangsu Art Museum, China Ashmolean Museum Oxford BBC Sheffield Castle Lesley, Ireland University of Aberystwyth, Wales   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Ming Furniture, An Asian Private Collection, Sothebys 2016. 'Exceptional Chinese Works of Art From an Important European Collection, Christie's Hong Kong 2011' and 'A Connoisseur's Choice, Voyages of Discovery, Imperial Masterworks from a Private Portuguese Collection, Bonhams Hong Kong 2012'. (3)

A RARE PAIR OF CHINESE BLUE AND WHITE PORCELAIN ‘SOLDIER' VASES AND COVERS, QING DYNASTY, KANGXI PERIOD, 1662 – 1722Boldly painted in underglaze-blue with four circular panels of court ladies at leisure on pavilion terraces playing a Qin, another group looking at a scroll painting, all reserved against a peony ground flanked by lotus-leaf shaped panels, the domed covers similarly decorated with ‘bronzed’ Buddhistic lion dog knops, all on later giltwood stands (6)Height: 112cmProvenance: Purchased from Christie’s London, 4th November 2010, lot 226, previously with Vanderven & Vanderven Oriental Art, Hertogenbosch, NetherlandsThe term ‘Soldier’ or ‘dragooner’ vase was adopted in the early 18th century to describe types of incredibly large vases after Frederick Augustus I (1670-1733) Elector of Saxony, and King of Poland, an avid porcelain collector, traded a regiment of cavalry for a group of vases from the collection of Freidrich Wilhelm I of Prussia in 1717The present pair of vases are a very unusual type, and would appear to have no direct comparable and rarer than the vases typically now found in the East Asian Porcelain from the Collection of Augustus the Strong, State Art Collections Dresden, Porzellansammlung. See also Charlottenburg Palace, Berlin, GermanyCondition ReportVase 1UV light inspected. With two holes drilled to base. Appears to be sprayed to interior and exterior around the foot rim. The upper body is overall good with no obvious faults/areas of spraying to interior . There are three marker labels inside which correlates to an area of overpainting to the exterior behind the scene of the ladies playing the Qin to the left hand side, confined to some foliage, possibly running down the panel to the lady outside the compound.Some old over-spraying around the foot, with related hairlines, with some retouching which can be seen under UV light. Although hard to ascertain exactly the extent of damage. It is likely that it could be just some consolidation of luting faults, hairlines. Firing imperfection/bubble burst to ladies punting panel, right hand side.The cover has been restored, probably in three, with a replacement lion dog. Typical frits around rims, shoulder and some minor staining.Vase 2UV light inspected. with two drilled holes in the base. Some fluorescence along luting lines but doesn’t appear to be restored to upper body. Small three pointed star crack to shoulder interior, not visible to exterior.Base with one hole visible. No over spraying to exterior. Firing fault to shoulder. Section of rim re-stuck in two pieces, frits and 3cm scale chip to interior of rim, with associated short hairline confined to the rim.The cover with four small areas of the rim over-sprayed. Minor restoration to original lion dog. Otherwise good.Typical frits around rims, shoulder and some minor staining.Please also see additional natural light and UV photographs.Please note our conditions of business and sale regarding condition reports, paragraphs 6 & 14

A collection of Asian art auction cataloguesIncluding Bonhams, Christies and Sothebys among others, mainly 2010s with some earlier, approximately 69.

NO RESERVE Johnson (Samuel) The Works, 8 vol., contemporary ink signature to head of titles, very occasional light foxing, handsome contemporary diced calf, gilt, spines gilt with black roan labels (one or two slightly chipped), a little rubbed and marked, gouge to lower cover of vol.6, Dublin, J.Christie, 1816 § Churchill (Charles) Poems, 2 vol., first collected edition, half-titles, vol.2 with signature "J. Churchill" at end of 'The Journey', a few stains, B.W.Robinson's copy with his signed note of acquisition and bookplate to front endpapers, contemporary calf, rubbed, joints split, spine ends worn, [Rothschild 621], 1763-1765 § Life and Memoirs (The) of Mr.Ephraim Tristram Bates, commonly called Corporal Bates, a broken-hearted Soldier, first edition, advertisement leaf at end, woodcut ornaments, title browned, small stain to margin of G1, contemporary sheep, worn, spine defective at ends, upper cover detached, by Malachi ⁂*, for Edith Bates, 1756; and c.20 others, miscellaneous, v.s. (c.30)⁂ The third item is a scarce libertine novel and a model for Sterne's The Life and Opinions of Tristram Shandy, Gentleman of 1759.Basil William (B.W.) Robinson (1912-2005), art historian and expert on Islamic and Asian art, and Metalwork, Keeper for many years at the Victoria & Albert Museum.

NO RESERVE Lovecraft (H. P.) The Haunter of the Dark and Other Tales of Horror, first English edition, 1951 § Blackwood (Algernon) Strange Stories, first collected edition, upper hinge weak, 1929, both with ink signature of B.W.Robinson to front free endpaper, original cloth, a little rubbed and soiled, spines faded, the second a little stained, 8vo (2)⁂ Basil William (B.W.) Robinson (1912-2005), art historian and expert on Islamic and Asian art, and Metalwork, Keeper for many years at the Victoria & Albert Museum.

NO RESERVE Japanese Prints & Drawings.- Hillier (Jack) Japanese Prints & Drawings from the Vever Collection, 3 vol., 1976; The Harari Collection of Japanese Paintings and Drawings, 3 vol., 1970-73 § Tamba (Tsuneo) The Art of Hiroshige, introduction by B.W.Robinson, signed presentation copy from Tamba to Robinson in English and Japanese to front free endpaper, text in English & Japanese, Tokyo, 1965 § Robinson (B.W.) Kuniyoshi|: Ein Meister des japanischen Farbholzschnitts, Essen, 1963 § Speiser (Werner) Kuniyoshi, signed and inscribed by B.W.Rosinson "from Walter Exner Februrary 1970" on front free endpaper, Bad Wildungen, 1969 plates and illustrations, many colour, some folding, original cloth with dust-jackets and/or slip-cases, the first with small tear to fold of one dust-jacket; and 6 others on Japanese prints & drawings, 4to & folio (15)⁂ Basil William (B.W.) Robinson (1912-2005), art historian and expert on Islamic and Asian art, and Metalwork, Keeper for many years at the Victoria & Albert Museum.

A GRAY JADE PENDANT OF A RECUMBENT HORSE, c. 1920sChina, late Qing Dynasty (1644-1912) to Republic period (1912-1949). Well carved in Sino Siberian style in openwork as a recumbent horse with the legs tucked in, the head turned backwards and featuring pierced eyes and mouth. The translucent stone is of a pale gray tone with cloudy inclusions. Condition: Very good condition with minor wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 50 g Dimensions: Length 6.9 cm

A HONGMU ALTAR COFFER, 1900sChina, late Qing Dynasty (1644-1912). The rectangular-panel top supported on recessed square corner posts, the single drawer above the pair of doors fitted flush around a removable center stile, with reticulated spandrels below the projecting top on either side of the drawer, the coffer fitted with brass mountings.Condition: Commensurate with age, natural age cracks, minor splits and gaps as expected, few small losses, the spandrels reattached, old wear and traces of use, few shallow surface scratches. Provenance: From the private collection of Michael B. Weisbrod, New York, USA. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong.Dimensions: Size 84.5 x 78.6 x 59.8 cm13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

A GROUP OF THREE ARCHAISTIC CONG-FORM BEADSChina, 20th century. All of square section, carved as miniature congs, each register is finely incised with characters. The opaque stones of a celadon tone with paint application to mimic surface alteration.Condition: Very good condition with minor wear and minuscule nibbling here and there. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Weight: 35.3 g Dimensions: c. 2.6 cm each

AN ORDOS STYLE 'WOLF HEAD' TURQUOISE PENDANTChina, Inner Mongolia, in the style of the Ordos culture, yet of a later period. Finely carved to each side as a wolf's head, vertically pierced for suspension. The opaque stone of a rich turquoise tone, overall with grayish-green patches an delicate banding. Condition: Very good condition with minor wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 4.8 g Dimensions: Height 2.8 cm

A FINE ORDOS SILVER 'HORSE' ORNAMENTChina, Inner Mongolia, Ordos, presumably 5th -3rd century BC. Crafted in openwork with a horse standing foursquare, its head lowered towards the ground. Condition: Good condition with some wear, casting flaws, erosion, and tiny nicks here and there. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 19.2 g Dimensions: 4.2 x 5 cm

A RARE TANG DYNASTY BRONZE MIRROR WITH WOLFESChina, presumably Tang Dynasty (618-907). Of circular form, the central knob surrounded by three canine creatures chasing each other, all within an outer border of joined arcs. Condition: Fine condition, commensurate with age, presenting well. With wear, a crack to one arc, minor nicks, and tiny losses. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 315 g Dimensions: Diameter 13 cm

A LARGE 'SWAN' BRONZE EWERChina, 20th century. Cast in the shape of a swan with flexed neck forming the spout, standing on its two legs, the handle with two beast masks. An apocryphal four-character Qianlong reign mark underneath.Condition: Very good condition, minor wear, and casting flaws. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 2,470 gDimensions: Height ca. 36 cm (incl. handle)

A FOUR-PART TURQUOISE MATRIX STUPA WITH BUDDHAChina, 20th century. Consisting of four pieces, the circular double-lotus base, rising to a rectangular gallery, the domed mid-section with an opening shaped as a lotus petal and surmounted by a conical harmika ending in a tiered finial featuring bands of lotus petals. The opening set with a separately carved figure of Buddha. The opaque stone of a light turquoise tone with extensive beige and ochre patches. Condition: Good condition with minor wear, few nicks along the edges and natural imperfections to the stone. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 1,752 g Dimensions: Height 24 cm

A TIBETAN LAPIS LAZULI FIGURE OF AMITAYUS, c. 1900sTibet, around 1900. Carved seated in dhyanasana on a lotus pedestal, wearing long flowing robes, a necklace, armlets, and bracelets. The serene face with downcast eyes below gently arched eyebrows and slender lips, flanked by long pendulous earlobes with floral earrings, the hair arranged in a high chignon behind the elaborate crown. The stone of an intense, dark blue hue amid cloudy gray areas beneath glimmering mica flecks. Condition: Very good condition with minor wear and tiny nicks here and there. The stone with natural inclusions and fissures. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 305.4 g Dimensions: Height 11 cm

A MOTHER-OF-PEARL INLAID WOODEN OPIUM TRAY, QINGChina, Qing Dynasty (1644-1912). The rectangular tray lacquered in an elegant reddish-brown color, and finely inlaid in mother of pearl depicting horses and figures in gardens and rocky landscapes, the aprons decorated with scrolling foliage. The short cabriole legs raised on a stretcher. Condition: Overall good condition with old wear and minimal small losses to the inlays. The apron possibly reattached and the stretcher with a small repair. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 1,212 g Dimensions: Size 36.5 x 21.5 x 12 cm

A COPPER MOUNTED KAPALA AND STAND, 19TH CENTURYTibet, 19th century. The copper trianagular flamiform stand with fierce heads at each corner, the domed oval cover carved with Tibetan characters and deities on a scrolling ground surmounted by a vajra finial. The skull cap with a copper lining and rim. All three elements inset with turquoise. Condition: Good condition with minor wear and casting flaws, few small dents, and small nicks here and there. Provenance: Private collection in the South of France. Weight: 2495 g Dimensions: Height 27 cmAuction result comparison: Compare to a similar mounted kapala at Bonhams New York, Indian, Himalayan & Southeast Asian Art on 17 March 2014, lot 43, sold for USD 3,750.

A TIBETAN AGATE 'CHUNG DZI' BEADHimalayan region, presumably Tibet, around 500-1000 CE or later. The translucent cylindrical bead with beautiful milky-white and grayish-brown stripes and shades, well-polished and with central drilling showing ancient toolmarks. 'Chung dzi' beads are believed to have been created in ancient times by bead makers from agate or chalcedony and were worn as protective amulets. The prefix chung in this instance refers to a specific type of stone material that has unique healing properties.Condition: Good condition with expected, age-related wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 19.8 g Dimensions: Length 6.9 cm

TWO ANCIENT HIMALAYAN BANDED AGATE BEADSHimalayan region, around 500-1000 CE or later. Each bead of cylindrical form flaring at both ends, one of opaque dark-brown color, the other of brown and ochre colors with white bands. Well-polished and with central drilling showing ancient toolmarks. Condition: Very good condition with minor wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 40.9 g Dimensions: Length 7 cm and 8 cm

A TIBETAN AGATE 'CHUNG DZI' BEADHimalayan region, presumably Tibet, around 500-1000 CE or later. The cylindrical bead made from etched agate, decorated with broad white areas at both ends. Well-polished and with central drilling showing ancient toolmarks. 'Chung dzi' beads are believed to have been created in ancient times by bead makers from agate or chalcedony and were worn as protective amulets. The prefix chung in this instance refers to a specific type of stone material that has unique healing properties.Condition: Good condition with expected, age-related wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 17.2 g Dimensions: Length 5.8 cm

A PAIR OF CORAL AND TURQUOISE SET METAL EARRINGS, c. 1880sTibet, late 19th century. Each having an upper section crafted from white metal and featuring intricate beaded decoration complemented by inset stones. Moving down to the middle section with a faceted coral inlaid with turquoise stripes, boasting a striking pattern. Finally, the lower section is also made of white metal which is finished with a small hook. A large hook to the top for suspension. Condition: Very good condition with expected traces of use and wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 83.8 g Dimensions: Length 12.2 cm and 11.8 cmThis item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore this item can only be shipped within the EU or picked up in our gallery in person.

A HIMALAYAN NECKLACE WITH THIRTY-FOUR AMBER BEADSHimalayan region, 19th century or earlier. The oval shaped beads, increasing in size towards the center, of rich orange color with organic inclusions in shades of ochre and creamy caramel streaking across. With a later metal clasp. Condition: With minor wear, three beads with a crack and one chipped. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 26.2 g Dimensions: Length 22.5 cm

A HIMALAYAN NECKLACE WITH TWENTY-FIVE LAPIS LAZULI BEADSHimalayan region, 19th century or earlier. The 25 beads of various sizes and biconical form, strung with a fabric string. The stones of intense, striking blue hues amid veins in various shades of gray beneath glimmering mica flecks.Condition: Very good condition with minor surface wear and few minor nicks here and there. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 53.6 g Dimensions: Length 35 cm (when fastened)

TWO HIMALAYAN BEADS IN IMITATION OF AMBERHimalayan region, 20th century or earlier. One of flattened quadrangular form with round corners and of rich yellow to orange color, the other of flattened disc shape and of rich orange color with creamy caramel inclusions. Both made of resin and with a central drilling. Condition: Very good condition with some wear and surface scratches. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 108.3 g Dimensions: 4.9 cm - 5.5 cm

A GROUP OF THREE HIMALAYAN BUDDHA EYE AGATE INSET SILVER RINGSHimalayan region, late 19th century. Each ring inset with a domed octagonal agate stone, the silver partly gilded, incised and with silver applications. The stones are characterized by their unique irregular patterns of concentric circles, displaying an array of different colors, each circle within the pattern boasts its own distinct hue, making each ring a striking and visually appealing statement piece of jewelry.Condition: Very good condition with minor wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 100 g (total) Dimensions: Inner diameter 2.4 cm, 2.2 cm and 2.2 cm

A GROUP OF THREE HIMALAYAN BUDDHA EYE AGATE INSET SILVER RINGSHimalayan region, late 19th century. Each ring inset with a domed octagonal agate stone, the silver partly gilded, incised and with silver applications. The stones are characterized by their unique irregular patterns of concentric circles, displaying an array of brown, black, gray, and white colors, each circle within the pattern boasts its own distinct hue, making each ring a striking and visually appealing statement piece of jewelry. Condition: Very good condition with minor wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 93.8 g (total) Dimensions: Inner diameter 2.4 cm, 2.2 cm and 2.2 cm

A GROUP OF THREE HIMALAYAN BUDDHA EYE AGATE INSET SILVER RINGSHimalayan region, late 19th century. Each ring inset with a domed octagonal agate stone, the silver partly gilded, incised and with silver applications. The stones are characterized by their unique irregular patterns of concentric circles, displaying an array of green, red, orange, and white colors, each circle within the pattern boasts its own distinct hue, making each ring a striking and visually appealing statement piece of jewelry. Condition: Very good condition with minor wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 90.2 g (total) Dimensions: Inner diameter 2.1 cm, 2.5 cm and 2.4 cm

A GROUP OF THREE HIMALAYAN BUDDHA EYE AGATE INSET SILVER RINGSHimalayan region, late 19th century. Each ring inset with a domed octagonal agate stone, the silver partly gilded, incised and with silver applications. The stones are characterized by their unique irregular patterns of concentric circles, displaying an array of green, orange, and white colors, each circle within the pattern boasts its own distinct hue, making each ring a striking and visually appealing statement piece of jewelry.Condition: Very good condition with minor wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 96.3 g (total) Dimensions: Inner diameter 2.1 cm, 2.2 cm and 2.4 cm

A GROUP OF THREE HIMALAYAN BUDDHA EYE AGATE INSET SILVER RINGSHimalayan region, late 19th century. Each ring inset with a domed octagonal agate stone, the silver partly gilded, incised and with silver applications. The stones are characterized by their unique irregular patterns of concentric circles, displaying an array of green, orange, red, and white colors, each circle within the pattern boasts its own distinct hue, making each ring a striking and visually appealing statement piece of jewelry. Condition: Very good condition with minor wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 100.9 g Dimensions: Inner diameter 2 cm, 2.5 cm und 2.4 cm

A GROUP OF THREE HIMALAYAN BUDDHA EYE AGATE INSET SILVER RINGSHimalayan region, late 19th century. Each ring inset with a domed octagonal agate stone, the silver partly gilded, incised and with silver applications. The stones are characterized by their unique irregular patterns of concentric circles, displaying an array of green, red, brown, and white colors, each circle within the pattern boasts its own distinct hue, making each ring a striking and visually appealing statement piece of jewelry. Condition: Very good condition with minor wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 110,7 g (total) Dimensions: Inner diameter 2 cm, 2 cm, and 2.2 cm

A FINE AGATE INSET HIMALAYAN GOLD RINGHimalayan region, presumably Tibet, around 500-1000 CE or later. The gold ring inset with a fine agate cabochon of dark-chocolate color with milky-white inclusions.Alloy composition analysis: Gold 16% karat. Silver 23.5% purity. The ring was tested by the Zelnik Istvan Southeast Asian Gold Museum.Condition: Very good condition with minor traces of wear commensurate with age. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Weight: 9.1 g Dimensions: Inner diameter 1.8 cm

A HIMALAYAN BUDDHA EYE AGATE INSET SILVER BRACELETHimalayan region, late 19th century. The silver bracelet composed of three octagonal modules carved with floral decor and interconnected by hinges, each module is inset with a large domed round agate. The stones are characterized by their unique irregular patterns of concentric circles, displaying an array of brown, ochre and white colors, each circle within the pattern boasts its own distinct hue, making this bracelet a striking and visually appealing statement piece of jewelry. Condition: Very good condition with minor wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 95.9 g Dimensions: Length 16.5 cm (excl. the string)

A LOT WITH 10 HIMALAYAN BANDED AGATE BEADSComprising ten beads of oval form with a central drilling. The semitranslucent stones of brown tones with bands and fingerprints of ochre, beige, and russet, some with creamy-white accents.Condition: Very good condition with minor weathering commensurate with age. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 130 g (total) Dimensions: Length c. 3 cm each

A TIBETAN AGATE 'DZI' BEADTibet, 19th century or earlier. The cylindrical bead made from etched agate and decorated with "9 eyes" motif. Dzi beads are considered to provide positive spiritual benefit. They are mostly worn as protective amulets, sometimes ground into a powder to be used in traditional Tibetan medicine. Artisans who made the dzi embellished the beads lines and shapes using ancient methods such as darkening with plant sugars and heat, bleaching and white line etching with natron and protecting certain areas with grease, clay, wax, or a similar substance. Condition: Good condition with expected, age-related wear. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 26.9 g Dimensions: Length 5.6 cm

TWO TIBETAN AGATE 'DZI' BEADSTibet, 19th century or earlier. Each of cylindrical from and made from etched agate, one decorated with "3-eyes" motif and the other with "5-eyes" motif. Dzi beads are considered to provide positive spiritual benefit. They are mostly worn as protective amulets, sometimes ground into a powder to be used in traditional Tibetan medicine. Artisans who made the dzi embellished the beads lines and shapes using ancient methods such as darkening with plant sugars and heat, bleaching and white line etching with natron and protecting certain areas with grease, clay, wax, or a similar substance. Condition: Good condition with minor wear commensurate with age. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 30.8 g (total) Dimensions: Length 4.9 - 5.7 cm

A GROUP OF NINE TIBETAN AGATE DZI AND BUDDHA EYE BEADSTibet, 19th century or earlier. Comprising six cylindrical Dzi beads of different sizes, with two, three and nine eyes, the opaque agate stones of red and brown colors. Together with three Buddha eye beads of domed circular form, the stones with brown, white, and gray stripes. Dzi beads are considered to provide positive spiritual benefit. They are mostly worn as protective amulets, sometimes ground into a powder to be used in traditional Tibetan medicine. Artisans who made the dzi embellished the beads lines and shapes using ancient methods such as darkening with plant sugars and heat, bleaching and white line etching with natron and protecting certain areas with grease, clay, wax, or a similar substance. Condition: Good condition with traces of wear and natural imperfections. One Dzi bead with cracks and some losses. Provenance: Estate of Paolo Bertuzzi. Paolo Bertuzzi (1943-2022) was an engineer and fashion stylist from Bologna, Italy. Born as the son of Enrichetta Bertuzzi, the founder of Hettabretz, one of the most important leather merchants in Italy which crafted womenswear for royals and celebrities including The Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and created exclusive pieces, some of which were exhibited in the Costume Institute at Metropolitan Museum of New York. He was also an avid collector of antiques for more than 60 years. His collection includes archaic and contemporary art, focusing mainly on Asian ancient pieces. Over decades he developed close relations with galleries, museums, curators, and auction houses while shaping his collection. He edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Weight: 111.7 g Dimensions: Length 1.4 cm - 5.1 cm

A LARGE HIMALAYAN BUDHA EYE AGATE BEADHimalayan region, 19th century or earlier. Of round domed shape, the translucent banded agate displaying a pattern of concentric irregular circles, ranging from creamy orange hues to brown and gray. Well-polished and with a central drilling. Condition: Good condition with expected wear and small nicks along the borders. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 63 g Dimensions: Diameter 5.3 cm

A LOT WITH 52 HIMALAYAN REGION CARNELIAN BEADSHimalayan region, 19th century or earlier. The translucent round carnelian beads have been engraved with a lattice design and additionally coated in white paint.Condition: Good condition commensurate with age. Natural imperfections to the stones. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 260 g (total) Dimensions: Diameter c. 1.6 cm each

A THANGKA OF DHRITARASHTRA, QING DYNASTY 清代持國天王唐卡Sino-Tibetan, 19th century. Distemper on linen. The leader of the Gandharva and Guardian King of the Eastern direction is depicted seated in lalitasana on a tiger skin whilst playing a lute set with a phoenix head, adorned with an elaborate helmet and multicolored celestial scarves. Behind him ruyi shaped clouds; Buddhist emblems and jewels in the foreground.Provenance: From a private collection in Belgium.Condition: Good condition with minor wear, creasing, soiling, and few minuscule losses.Dimensions: Image size 106 x 82 cm, Size of frame 127 x 103 cmMatted and framed behind glass.As the leader of the heavenly musicians (gandharva), Dhritarashtra is often depicted playing a stringed instrument, such as a vina or pipa. Here, he wears a helmet adorned with feathered plumes and elaborate armor covered in richly patterned silks, following the Chinese style.Auction result comparison: Compare a closely related thangka of Dhritarashtra, of smaller size, at Bonhams London in Asian Art on 14 May 2019, lot 656, sold for GBP 7,812. 清代持國天王唐卡漢藏，十九世紀。麻布膠畫。這位甘達瓦的領袖和東方的守護王，身色皆為白色，手持帶有鳳凰頭的琵琶，成游戲姿坐在虎皮上，戴著威嚴的頭盔，身披盔甲。身前鋪著佛教吉祥法器，身後如意祥雲圍繞。 來源：比利時私人收藏。 品相：狀況良好，磨損、摺痕、污漬和極少的細微小缺損。 尺寸： 畫面106 x 82 厘米, 框127 x 103 厘米 裝於玻璃后。 拍賣結果比較：比較一件十分相近的持國天王唐卡，小尺寸，見倫敦邦翰思Asian Art 2019年5月14日 lot 656, 售價GBP 7,812。

AN INLAID WOOD BRUSHPOT, BITONG, c. 1920sChina, late Qing Dynasty (1644-1912) to Republic period (1912-1949). Of cylindrical form with a flat base, the rim and foot slightly raised, inlaid with fine mother-of-pearl details of yellow, blue, and pearl colors, depicting two boys holding double gourds issuing from leafy branches. The wood is of an attractive deep-reddish brown tone with natural striations and graining. Condition: Overall good condition with minor wear, small nicks, dents, light surface scratches, few expected minor age cracks. Naturally grown patina overall. Few small inlays missing. The base with a central opening. Provenance: The collection of The Zelnik Istvan Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. Istvan Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe. Weight: 1487 g Dimensions: Height 18 cm