A GANDHARA STUCCO RELIEF OF BUDDHAAncient region of Kushan, 300 - 500 AD. Finely sculpted standing, holding the collar of his sanghati in his right hand and the lower hem in his left, the serene face with almond-shaped eyes and full lips forming a subtle smile, the slightly roughened surface on the top of the head indicates the Buddha's curls, backed by a halo.Provenance: From a private collection in Belgium, by repute acquired at Galerie du Carre, Versailles, c. 2000.Condition: Good condition with old wear, few restored vertical breakages to neck and back plate as well as losses as seen on the images, remnants of old pigment. Presenting very well and overall commensurate with age.Weight: 5.6 kg (total)Dimensions: Height 34.5 cm (excl. base) and 39.5 cm (incl. base)In addition to schist, stucco was a popular medium for sculpture in the ancient Gandhara region. A lightweight, malleable ware, stucco readily lends itself to delicate detailing and sensitive modeling, conveying a sense of emotional presence.Mounted to a recent metal base. (2)Literature comparison: Compare a related head of Buddha from a stucco figure, dated to the 2nd - 4th century, in the collection of the Victoria & Albert Museum, accession number IM.106-1939.Auction result comparison: Compare with a larger (81 cm high) stucco figure of Buddha displaying the same posture at Bonhams London in Fine Asian Art on 8 November 2004, lot 458, bought in at an estimate of EUR 14,000-18,000. 健陀羅灰泥浮雕佛像貴霜帝國，公元300 - 500 年。佛陀立像，右手扶衣領，左手托著下擺，安詳的面部，杏仁狀的眼睛和豐滿的嘴唇形成微笑，頭頂略顯粗糙的表面象徵了螺髻，身後有光背。 來源：比利時私人收藏，據説2000年購於 凡爾賽Galerie du Carre藝廊。 品相：狀況良好，磨損，頸部和背面的缺損處有少量修復，舊時顏料殘餘。整體狀況非常好，與年齡相稱。 重量：總5.6 公斤 尺寸：高34.5厘米(不含底座) ，總39.5厘米 拍賣結果比較：比較一件更高 (高81厘米) 的灰泥佛像，見倫敦邦翰思Fine Asian Art 2004年11月 8日 lot 458, 估價EUR 14,000-18,000。
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A WHITE MARBLE RELIEF OF UMA MAHESHVARA, 13TH-15TH CENTURYIndia. The divine couple seated in lalitasana on Shiva's mount Nandi. Shiva's primary left hand around Uma's back and cupping her breast, one of his upper hands holding a trident, Uma with one arm draped around Shiva's shoulders, her left hand holding a mirror.Provenance: Austrian private collection.Condition: Fine condition, commensurate with age, extensive old wear, encrustations and soiling, losses, dents, cracks and scratches here and there.Weight: 15.5 kgDimensions: Height 42 cm, length 24.5 cmUma-Maheshvara represents the sacred embrace, alingana, of the Lord Shiva joined with the Goddess Uma. The Great Ascetic, Lord Shiva, who was overcome with the beauty of Uma, Daughter of the Mountain, succumbed to their union for the benefit of his devotees (S. Kramrisch, Manifestations of Shiva, Philadelphia, 1981, page 57). Their union is principally metaphysical, though during the Pala period, Shiva and Uma's relationship can be most immediately observed through their corporal interplay. It is through their sensual relationship that they are meant to become a gateway for the devotee to enter their sacred realm.The divine couple is featured here in the moment before their union, the anticipation of which accentuates the possibility of entering the divine realm. This expectancy is what creates a feeling of activity, carried throughout the piece in the swaying movement of the surrounding figures and swirling foliate carvings throughout.Auction result comparison: Compare with a related marble relief at Christie's New York in Indian, Himalayan & Southeast Asian Art on 23 July 2020, lot 9, bought-in at an estimate of USD 8,000-10,000.
A LARGE FLAMBE-GLAZED TIANQIUPING, QING DYNASTYChina, 1644-1912. The globular body rising from a short tapered foot to a tall cylindrical neck, covered overall with a rich glaze of a vibrant red hue streaked with lavender and blue, thinning to mushroom at the rim, the base left unglazed.Provenance: From a private collection in southern France.Condition: Excellent condition with minor wear and firing irregularities, the foot with few small nicks and glaze losses.Weight: 6,529 gDimensions: Height 47.5 cmAuction result comparison: Compare a closely related flambe-glazed tianqiuping, 44 cm high, dated to the 19th century, at Bonhams London in Asian Art on 19 February 2014, lot 34, sold for GBP 5,625. 清代大型窯變釉天球瓶中國，1644-1912年。瓶直頸，圓腹，圈足。通體滿施窯變釉，口沿呈米黃色，外壁釉質呈紅紫色，鮮亮奪目，多色交融，虛幻變化，底足露胎。 來源：法國南部私人收藏。 品相：狀況極佳，輕微磨損和燒製瑕疵，足部輕微小劃痕和釉料缺損。 重量：6,529 克 尺寸：高47.5 厘米 拍賣結果比較：比較一件十分相近的十九世紀窯變釉天球瓶，高 44 厘米，見倫敦邦翰思Asian Art 2014年2月19日 lot 34, 售價GBP 5,625。
Full title: A pair of Chinese gilt bronze chamfrons or forehead protectors for a horse with engraved animal design, HanDescription: 26,5 x 8,5 cmProvenance (by repute):Ê - Collection 'La Boisseliere'. About this collection, see: Eliane La Boisseliere (de), Guy La Boisseliere (de), Pierre Drugmand, Paul Louis, 'Eperonnerie et parure du cheval de l'antiquite à nos jours', Brussels, 2005. Items of this collection are part of the collection of the Met Museum (link available on our website).Ê Ê Ref.:Ê -A very similar piece can be found in the collection of the Museum of East Asian Art, Bath, United Kingdom, inv. no.BATEA : 248 (link available on our website).Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
Full title: A Tibetan silver mounted kapala or scull cup, first half of the 20th C.Description: H 6,5 cm - L 17,7 - D 14 cmProvenance:Ê - Auction 1093, Asian Art II China, Tibetan/Nepalese Art, Lempertz, Brussels, 18 June 2017, Lot 1038 (Result: 868 Euro) (link available on our website)Ê Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
DESCRIPTION"GRIP FACE"; DAVID OLIVER (Son Ferriol, Palma de Mallorca, 1989)."Neon Mask 01".Polyurethane resin, synthetic hair injection on pigmented silicone, pigmented velvet. With a yellow Plexiglas structure that can be completely separated from the sculpture.Measurements: 164 x 54 x 42 cm.Grip face is the alter ego of the visual artist David Oliver. His visual training, in which the American underground currents of the 90s, the counterculture, the punk graphics of the 80s and naïve Asian art, is filtered through the aesthetics of comics, illustration and graphic design. Through his work, Grip Face finds his own character, totally transgressive and renewing the aesthetic postulates of the moment, which becomes a true declaration of intent against everything he disagrees with, such as climate change, racism or immigration. His output ranges from works on paper, books and gallery installations to outdoor interventions, including large-scale murals. He uses disparate materials in his works: faces, hair and hands are recurring motifs. His creations are "a reflection of what I see around me", he explains. He currently has works installed in urban environments in Amsterdam, Naples, Vienna, Helsinki, Barcelona, Madrid (Solo Collection), Bilbao and Palma. Grip Face has also exhibited in prestigious galleries, such as the Ses Voltes Contemporary Art Centre, the Hyvinkää Art Museum (Finland) and the Miró Foundation in Mallorca. He was commissioned to create a site-specific work for Espacio SOLO in 2018.
South-Est Asian Art A white stone Pi disc bangle Thailand, Ban Chiang Culture, I milennium b. C. . . Cm 13,50. White stone bracelet tapered towards the outer border and provided with a raised edge at the central hole. The precise function of these sort of object is still quite uncertain as they are common in many oriental cultures, testifying the high level of symbolic abstraction reached by the Asian populations of the Neolithic period (IV-I millennium BC). The disk Pi, possibly meant to be a metaphysical representation of the firmament, firstly appears in China around the 4th millennium BC, in the Yangtse delta region. It is usually associated with its "earthly" counterpart, the Cong, a quadrangular artifact crossed by its entire length by a circular hole, symbolizing the earth. The essential and rarefied lines of the Pi and the solid ones of the Cong are unified by the central hole, a mystical passage of the primordial energies that form the invisible axis on which the sensible world eternally rotates. As for their function during the Neolithic period, historical evidence confirms that although they were ritual items, they were also used as jewelry or exchange currency.
South-Est Asian Art A white coral currency bangleThailand, Ban Chiang Culture, ca. I millennium b.C. . Cm 15,00 x 6,00. A white coral “Pi” disk, tapered towards the outer border and provided with a central hole. Its shape replicates that of contemporary disc bracelets made of marble or hard stone, but differs in the material used which, in this case, is a white rock encrusted with precius coral. This is an object connected to religious practices but also used as a precious jewel and exchange currency.
South-Est Asian Art A large bronze standing Buddha Burma, 19th century or earlier . . Cm 53,00. A large bronze sculpture depicting the standing Buddha in varadamudra, his left arm raised and the hand in karanmudra touching the sanghati, or the typical Buddhist vest. The smoothness of the beautiful natural patina highlights the soft movement of the limbs and body. The Ushnisha is surmounted by an unusual architectural structure similar to a stupa, the sacred building in which the relics of the Buddha are contained. Stylistically, this image can be traced back to the bronze statuary from the Pagan era (849-1297), from the 13th century developed in the city of the same name in today's Myanmar.
South-Est Asian Art Walking Buddha Thailand, 19th century . . Cm 42,00. Gilded bronze cast figure of the standing Buddha in the act of proceeding towards the observer with his right arm extended and his left hand in abhayamudra. This iconography, known in the West with the Anglo-Saxon name of "walking Buddha", appeared in Thailand in the 14th century and was indicated by the term "cankrama" (the one who goes back and forth) with reference to the long and continuous path of the Buddha in the third week after Enlightenment, when he turned into a wandering beggar.
South-Est Asian Art A large gilt bronze flame shaped Buddha topknot (Ushnisha)Thailand, Ayutthaya (1351-1767), 15th century . . Cm 20,00. Large gilt bronze flame originally part of a colossal sculpture of Buddha where it was placed at the top of the Ushnisha, according to the Buddhist iconography. The Ushnisha is the 32nd of the features attributed to Buddha Shakyamuni and it is a cranial protuberance at the top of the head of Buddha. In Thai iconography, already developed by the 12th century, the Ushnisha is always depicted as surmounted by an elongated flame in order to symbolize the spiritual power of the Buddha and his "enlightenment".
South-Est Asian Art A sandstone frieze Cambodia, Khmer period, 9th-15th century . . Cm 23,00 x 46,00. An imposing sandstone acroterion in the shape of a palmette. The high quality of the craftmanship and the rigorous formal balance suggest that it is an architectural fragment belonging to a building of primary importance. Fragments stylistically similar to this are still visible at the remains of Preah Ko, the temple of the "Sacred bull", in the disappeared city of Hariharalaya, or in Angkor on the walls of Banteay Srei, the temple dedicated to Shiva. Both temples, built between the 8th and the 9th century, are an example of the technical and aesthetic virtuosity achieved by Khmer era architecture characterized by perfect volumes embellished by striking and brave relief decorations.
South-Est Asian Art A sandstone fragment Cambodia, Khmer, pre Angkor period, 7th-8th century . . Cm 12,00 x 16,00. A sandstone half-length fragment most possibly attributable to the figure of a bodhisattva, as can be deduced from the complex hairstyle and from the precious jewels that adorn the face.
South-Est Asian Art A Buddha sandstone fragment Thailand, Ayutthaya period (1351-1767), 15th century . . Cm 23,00. A grey sandstone fragment, most possibly the face of Buddha, which can stylistically be traced back to the Sukhotai-style statuary characterized by the elongated and smooth shapes of the limbs and the serene and meditative expression of faces.
South-Est Asian Art A wood carved dragon Cambodia, Khmer dynasty, 14th century . . Cm 29,00 x 107,00. Sinuous wood carving depicting an S-shaped dragon with a flaming tail tip balancing its crest in the symmetrical section.Ancient wood carvings are rare in all cultures and at all latitudes due to the perishable nature of the material. In particular, the Khmer culture used to build and decorate with: bricks, wood and sandstone which they used to mine from domestic mountains such as the Phnom Kulen.The dragon is a mythological animal and has always been of great importance in the East, having an ambivalent symbolic character as it can both destroy and protect, which is why a dragon is often placed at the entrance of buildings and templar complexes. The dragon is also a symbol of water, which it collects when placed on rooftops as a decorative element or as a drainpipe.
South-Est Asian Art A large wooden figure of Buddha Burma, 18th century . . Cm 33,00 x 74,00. A gilt lacquered wooden sculpture depictingi Buddha Shakyamun seated in padmasana on a high double level base. His right hand touches the Earth as a witness of his enlightenment, while his left hand rests on his lap.The high pedestal with carved double lotus flower is reminiscent of the Ava period (1364 to 1555), while the monastic robe with elaborate decoration is characteristic of the stated period and later, this later with higher degrees of complexity.
South-Est Asian Art A large brightly painted alabaster Buddha figureBurma, early 19th century . . Cm 34,00 x 59,00. White marble sculpture depicting Shakyamuni Buddha seated in padmasana on a single lotus flower base. His right hand is in bhumisparsamudra, the gesture with which he calls the Earth to witness his enlightenment, while the left is lying on his lap. The figure is dressed in a sober monastic robe painted in brown, while the black pigmented hair contrasts with the serene facial features made florid by the addition of polychromy.Figures of the Buddha in polychrome marble can be found in Burma from the Ava period to which this sculpture refers, but showing more slender and sober forms.
South-Est Asian Art A large grey sandstone sculpture of GaneshaCambodia, Khmer, Bayon style, 12th-13th century . . Cm 50,00 x 75,00 x 37,00. Large gray sandstone sculpture depicting the elephant deity Ganesh, son of Shiva, better known in the Khmer territories as Ganapati, or "Lord of the Ganas", little helpers of Shiva. The bursting belly betrays its Indian origin associated with fertilit and wealth, hence the association with Kubera.In this representation Ganesh is composedly seated in virasana on a rectangular plinth, his right hand holds the tusk that he lost. In Hindu mythology there are several myths that explain how Ganesh lost one of his tusks and devotees believe that the one left is the symbol of overcoming duality, one of the key concepts of the Vedas. Her left hand holds a modaka, one of his favorite sweets. His head supports a tiered Bayon-style crown and his waist is encircled by the sampot robe.For a comparative example see Christie's, Asian ceramics and works of art, 8 May 2001, lot 585.
South-Est Asian Art A stone fragment of Durga slaying the buffalo demon (Mahisasura Mardini)Cambodia, Khmer, pre-Angkor, 7th-8th century. . Cm 38,00 x 86,00. Large sandstone fragment depicting the Hindu deity Durga slaying the buffalo demon Mahisasura with a spear. Sculpture of exceptional impact, dominated by the threatening head of the buffalo on which the feet of the goddess rest. The fragment was certainly part of a large Templar sculpture devoted the cult of Durga, one of the major deities of the Hindu pantheon and it is likely that the iconografy of this sculpture closely follows a recurring pattern prescribing the goddess standing in samapada position, and equipped with four arms, two hands close to the hips and two facing upward, one with a lotus flower and the other with the Shankha shell. The figure of Durga first appeared in ancient times. Early depictions are connected to some seals Indus valley seals dating back to the 4th millennium BC. The worship of Durga is connected to the Shakti, or the eternal feminine of supernatural reality, anchored on the theme of the spiritual battle against the evil demon of ignorance Mahisasura. This episode is often depicted in its most dramatic and final moment of the clash, when the evil demon, transformed into a mighty bull, is finally successfully overwhelmed and defeated by the goddess.
South-Est Asian Art A large Pang proht sat Buddha Thailandia, Ayutthaya (1351-1767), 17th century . . Cm 25,00 x 64,50. A large cast bronze with brown patina depicting the standing Buddha, with his right hand raised in abhayamudra and his left arm stretched along the side. Abhayamudra, or the gesture of "removing fear", is part of the typical Buddhist iconography and very popular in Thai Buddhist statuary. In Thailand, sculptures of the standing Buddha, with one hand in abhayamudra, form the group of the so-called Pang Proht sat Buddha, or the one who“ rejects the furious animal ”. As a matter of fact, the Buddhist Chronicles say that Prince Gautama, with this gesture, subdued the elephant that had attacked him.
Chinese Art A rare blue and white porcelain armorial dish decorated with the Ginori Family coat of armsChina, Qing dynasty, Kangxi mark and period, late 17th century . . Cm 32,60 x 7,00. Resting on a disc, the interior delicately painted in underglaze blue with a double band containing floral and vegetal motifs that prelude the central circle with the Ginori family coat of arms: a shield with three stars surmounted by a helmet without a crown. Kangxi leaf mark within double circle on the base.The dish is part of a set commissioned by the noble Florentine family and reported in documentary sources as "Nagasaki set", a name that was probably associated with it by reconstructing the path that the porcelain, commissioned to the factories of Jingdezhen, made to reach Europe through Portuguese trades. which usually stopped by in Nagasaki and Imari and then left for Goa, hence Europe.As a matter of fact, from Ginori documentation we learn that:... an unspecified number of cases (perhaps 6) and the payment for the expenses incurred by the "friends of Goa" will be made on 16 May 1701 (Lucini-Perotto in, Il servito Ginori, uno studio ed un'esposizione, Perotto, Milano, 1988, p.24).Corbellier (China trade porcelain, patterns of exchange. New York, 1974) reconstructs the history of "armorial" pottery produced in China for noble European families, in the period between 1690 and 1710. Among these there is a set with decoration very similar to that of Ginori, but with the blazon of the Coelho family. It is therefore reasonable to assume that the commission of armorial pottery was recurrent among the noble families of the time and that there was a figurative repertoire to some extent shared.A plate of the same service, with a decorative variant, but always bearing the Ginori coat of arms is at the MET in New York Acc. 62.188 and published in CORBEILLER, FRELINGHUYSEN, Chinese Export Porcelain, The Metropolitan Museum of Art Bullettin, 2003, Volume LX , Number3, cat. 16, p. 19;Another was sold by Christie's, lot 219 in 2003A third was sold by Bonhams, Lot 21 in 2004Finally, recently, a dish was at Wannenes, lot 21, Asian Art auction, 2 December 2021.
South-Est Asian Art A large bronze sculpture of Bussha Thailand, Lan Na Kingdom, 16th-17th century . . Cm 44,00 x 63,00. Important and rare bronze cast figure of the historical Buddha Shakyamuni portrayed in his canonical iconography; with the left hand softly placed in the lap in the Avakasamudra gesture and the right hand touching the ground in bhumisparsamudra. He is also seated cross-legged on a base with a wide plinth.The figure is wrapped in a light vest that adheres to the body and shows traces of lacquer which can be observed in particular between the curls of the hairstyle and in the corneas of the eyes. Note the refined and delicate rendering of face, hands and feet.Provenance: private collection, Milan, Italy
South-Est Asian Art Zoomorphic incense holder Viet-Nam, Tran period (1225-1400) . . Cm 7,00 x 11,00. A votive incense holder, shaped as a tiger crouched on its hind legs and made porcelain with underglaze blue decoration.Objects of this type, connected to a vast folk production, were popular throughout the East and used to be produced in various kilns, such as the Chinese Chizou manufacture.
South-Est Asian Art A celadon glazed saucer dishThailand, Sukhothai (1238-1351) . . Cm 15,00 x 3,00. Small dish with barbed edge and cavetto decorated with a wavy pattern. This dish, which stylistically duplicates the contemporary Yuan celadon pottery made in Longquan, was probably produced in Thailand in the Sukhothai province.
South-Est Asian Art A porcelain water container Viet-Nam, 20th century . . Cm 11,50 x 8,00. A small round-shaped vase with a short splayed neck and small circular handles meant to contain the water used to dissolve the ink during calligraphic practices. The peculiar dense and slightly golden lattice covering the white glaze is inspired by the splendid “Ge” porcelain of the Song period.
South-Est Asian Art A stoneware honey jarCambodia, Khmer dynasty, 12th-13th century . . Cm 12,00 x 8,50. Container with circular section, provided with a top hole surmounted by a thick rounded edge. The stoneware body is covered with a thin olive glaze that leaves the most exposed areas of the relief decoration formed by concentric bands with a linear geometric motif uncovered. This type of containers, common throughout the countries of Southeast Asia, used to store liquid or creamy nourishments such as honey and soy extract.
South-Est Asian Art A celadon bowl with engraved decorationThailand, Sukhothai (1238-1351) . . Cm 14,50 x 7,00. Hemispherical cup inspired by the flower bud of the lotus with lightly engraved decoration readable in transparency. This has been possibly made in Thailand in the kilns of Sawankhalok which were specialized in this type of production.
South-Est Asian Art A pottery bowl with pale celadon enamel Thailandia, Ayutthaya, 15th century . . Cm 20,00 x 9,50. Pottery bowl with inward mouth; the outside covered with a beautiful brown glaze that leaves the bottom uncovered; the inside enemeled with pale green celadon. The bowl draws inspired from the Chinese Jian-type prototypes, produced in the region of Fujian.
South-Est Asian Art A pale green celadon cup Thailand, Sukhothai (1238-1351) . . Cm 17,00 x 7,00. Hemispherical cup with floral scratched decoration under the green/blue glaze. This type of artifacts, characterized by their cursive decoration and large unglazed areas, were produced in large quantities in various countries of Southeast Asia and were meant both for local and for export use.
South-Est Asian Art A Celadon bowl with craquelè glazeThailand, Sukhothai (1238-1351) . . Cm 19,50 x 8,00. Flaring body covered with an elegant pale green glaze with a thick intentional craquelure. This is a ware most probably intended for the domestic market, inspired by the Chinese models of the Song period.
South-Est Asian Art A petal engraved celadon glazed pottery bowl Thailand, Sukhothai (1238-1351) . . Cm 18,50 x 10,00. Of trncated cone shape covered with blue-green glaze that leaves the foot partially uncovered. The exterior decorated with a simple ribbed relief motif while the interior shows an elegant floral scratched decoration visible in transparency under the glaze.
South-Est Asian Art A Sawankhalok celadon bowl Thailand, Sukhothai (1238-1351) . . Cm 7,50 x 22,00. Hemispherical cup with short brim decorated with beads and inner part of the bowl embellished with a woven scratch pattern visible under the olive glaze. This bowl has probably been made in the Sawankhalok kilns, known for this type of production stylistically linked to the Chinese celadon.
South-Est Asian Art White bowl with brown decoration Thailand, Sukhothai (1238-1438) . . Cm 23,50 x 8,50. A glazed pottery hemispherical cup decorated with geometric and figurative motifs. The internal part, embellished with a large fish design on the bottom, shows the edge decorated with a band filled of geometric motifs. This type of objects, produced in large quantities for domestic use, stylistically refer to the so-called Chizhou Chinese production in which the characteristic white/brown color contrast is commonly found.
South-Est Asian Art A Celadon brush washer Thailand, Sukhothai (1238-1351) . . Cm 13,50 x 9,00. Container for calligrapher used for cleaning brushes made in the form of a stylized lotus flower bud and covered by a thin olive green glaze, common to much of the production of "green ceramics", produced in Thailand around the 13th-14th century as imitation of the Chinese specimen.
South-Est Asian Art A brown glazed monochrome pottery jar Cambodia, Khmer period (802-1431), 13th century . . Cm 12,50 x 17,50. Container for liquids in the form of a bottle, covered by a dark brown monochrome glaze baring the foot. The elongated body has four suspension loops near the junction of the neck. This type of artifact is attributable to the Cambodian fictile production of the 12th-13th century, known for the polished leather-colored glaze that leaves the lower part uncovered.
AN ANTIQUE CHINESE JUMU DISPLAY STAND 19th Century, the central shelf fitted with two short drawers 171cm high x 84cm wide x 38cm deep Condition: Minor signs of wear commensurate with age and use, there is a light peeling on the top varnish. Provenance: Acquired from Young Asian Art, Brussels, with receipt
A GROUP OF MOSTLY ASIAN ART AND ANTIQUES BOOKS Comprising of Paintings by Chua Ek Kay Collection of, Ruth Bloch, Christies Singapore Pre War Balinese Moments: 1928 - 1942 29th September 2001, Watercolours & Sketches of Malaya, Mary Cassatt Reflections of Women's Lives, Paintings of Wu Ch'ang Shou and Ch'i Pai Shih, Chinese Celadons and Other Related Wares in Southeast Asia, Cheong Soo Pieng, Chen Wen Hsi Condition: Signs of wear commensurate with age Provenance: From the collection of Mr Frank Hickley and Mrs Pamela Hickley, OBE
Attributed to Juan Patricio Morlete (San Miguel el Grande, Guanajuato, Mexico, 1713/1715 - Mexico, 1772)"Triumphal entrance of Alexander in Babylon"Six-panel folding screen. Oil on canvas. 192 x 312 cm. The first panel is missing.An oil painting on canvas (n.d.) by Juan Patricio Morlete was exhibited in 2015 at the Museo Nacional de San Carlos in Mexico, as part of the permanent exhibition “Neoclasicismo” with the same theme and great compositional similarities to this painting. There is another canvas also by Morlete which is very similar to the former, which forms part of the artistic patrimony of the Fomento Cultural Banamex. It is one of the paintings of the set of battles of Alexander the Great which the artist painted in 1767, inspired, as Ilona Katzew explains (2014), by a monumental series of engravings by Charles Le Brun (Paris, 1619 – 1690) of “The Triumphs of Alexander”, which were commissioned by Louis XIV and sent to European governors as propaganda. One of the engravings by Jean Audran (Lyon, 1667 – Paris, 1756), can be found in the Barcelona Museu Nacional d’Art de Catalunya (MNAC). We find it curious that the scene in our painting is in reverse, compared with the two canvases we mentioned, the engravings and the original picture by Le Brun (1665), which is exhibited in the Louvre Museum. This may also be due to the fact that, as this is a screen and not a fixed painting, the final location of the piece of furniture would have influenced whether the painter would decide to develop the scene in this direction, considering that this would have been a commission, which is most likely. Moreover, the artist moved the scene to an environment with more vegetation and no architectural structures, he varied the treatment of the colour by adding more reddish tones, incorporating some native elements (feathers, cloaks, etc.) and he even draws some faces which, in our opinion, have more indigenous features. It is known that Morlete made variations on the original engraving on occasions, for fun or because the commission he received required it. He would augment the margins or add characters and vegetation, which could explain these modifications. In any case, as well as the obvious similarity in the theme, composition and main elements of the painting, we would like to go deeper with this comparison and point out the treatment that the artist gave to the horses, giving them special expressivity, as if he was painting their portraits or wished to humanise them or give them a certain personality, with some features that are recognisable in the three paintings we are concerned with. With regard to the support of our painting, folding screens arrived in the New World through the route that united the Far East and Spain via Mexico, on vessels known as the China Ship or Manila Galleon. It is not exactly known when the first contact with New-Hispanic society with this and other products of an Asian origin happened, but it is known that they formed part of the embarkations in 1585, when a Japanese ambassador came to Mexico City as part of her voyage to visit Philip II and Pope Gregory XIII. Katzew (2014) also reminds us that screens were also the central items in 1614 in a gift from the Japanese shogun Tokugawa Ieyasu (Okazaki, 1543 – Shizuoka, 1616) to the viceroy Luis de Velasco (1607 – 1611). This growing Exchange between Asian and Colonial Latin American civilisation was not an accident, it happened in the context of the empowerment of the creoles in which, according to Gauvin A. Bailey (2007) “feelings contrary to Spain” began to grow, and “Asian art gave Hispanic-Americans a way of expressing their pride in the indigenous antiquity of their land.” With regard to folding screens, these were extremely popular in New-Spanish houses, becoming an essential piece of furniture in practically all the homes of the period, almost regardless of the household’s economy. In fact, Sofía Sanabrais (2007) tells of the existence of “biombos ordinarios” (ordinary screens) with cheap textiles and no paintings in humble homes. However, this did not mean that screens became unattractive to richer families; it was quite the opposite, they were widespread among the houses of the élite, and their multifunctionality may be a possible reason for this. On the one hand, New-Hispanic screens were used to delimit spaces or hide furniture, in their most practical aspect, as occurred with the “biombos de cama” or bed screens (Sanabrais, 2007). On the other, their decorative use also had many devotees, whether as “backdrops or as central pieces for social meetings, in which they would serve as a subject of conversation,” (Katzew, 2014); we imagine that these conversations would be especially lively when they were referring to screens painted by the best artists of the period: Cabrera, Correa or Morlete himself. In fact, the majority of screens that have survived to the present day are anonymous as they were not normally signed by the artist (Codding, 2007). We know of a screen in the Franz Mayer Museum in Mexico that is signed by Juan Correa: “The four elements and the liberal arts” (c. 1670); and “Folding screen with fête galante and musicians” (c. 1760) can be attributed to Miguel Cabrera.Finally, focussing on the artistic value of the “protection against the wind” (if we refer to folding screens using the literal translation of the Japanese term ‘byôbu’, which the Spanish ‘biombo’ comes from), the suitability of their format with, usually, ten screens around two metres high, for depicting narrative compositions must be highlighted. It is not surprising, therefore, that they made the ideal support for mythological and allegorical subjects which we see in the screen by Correa that was previously mentioned. They are also ideal for views of cities, as we see in one of the first screens that illustrates the Mexican capital (1690 - 1692), in the Franz Mayer Museum, as well as scenes of high-class parties, such as the screen attributed to Cabrera;, or for historical themes, good examples of this being "The Conquest of Mexico" attributed to Miguel González (Mexico, active 1662 - 1698) or the folding screen we have here, which we attribute to Morlete. Bibliographic references: - Bailey, G. A. (2007). Asia en las artes de la América Latina colonial. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 57-71). Fondo de Cultura Económica. - Brown, J. (2014). De la pintura española a la pintura novohispana, 1550-1700. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 103-148). Ediciones El Viso. - Codding, M. A. (2007). Las artes decorativas en América Latina, 1492 - 1820. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 98-145). Fondo de Cultura Económica. - Kagan, R. L. (Ed.). (1998). Imágenes urbanas del mundo hispánico. 1493 - 1780. Ediciones El Viso e Iberdrola. - Katzew, I. (2007). Estrellas en el Mar de la Iglesia: los indios en la pintura novohispana del siglo XVIII. En J. J. Rishel y S. Stratton-Pruitt (Comps.), Revelaciones. Las artes en América Latina, 1492 - 1820. (pp. 337-481). Fondo de Cultura Económica. - Katzew, I. (2014). Pinceles valientes. La pintura novohispana, 1700-1785. En L. E. Alcalá y J. Brown (Eds.), Pintura en Hispanoamérica, 1550 - 1820. (pp. 149-204). Ediciones El Viso. - López Guzmán, R. (Ed.). (2021). Tornaviaje. Arte iberoamericano en España. Museo Nacional del Prado. - Museo Nacional de San Carlos (30 de marzo de 2015). Juan Patricio Morlete Ruiz, Mexico,1713-1772 Entrada triunfal de Alejandro el Grande, s.f. Óleo sobre tela, 83 x 127 [Tweet] [Imagen adjunta]. Twitter. Https://twitter.com/museo_sancarlos/status/582608136462204928
André Maire (French, 1898-1985)'Trichinopoly' signed and dated 'André Maire 1938' (lower left); further signed, dated and titled 'André Maire/1938/Trichinopoly' (lower right)ink, pencil and wash32 x 40cm (12 5/8 x 15 3/4in).Footnotes:ProvenancePrivate collection, Paris.With Grosvenor Gallery, London. ExhibitedLondon, Grosvenor Gallery and Rob Dean Art, Views of India Asian Art in London 2019, 31 October 2019 - 9 November 2019, no. 49.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Col. George Francis White (British, 1808-1898)'View of the Himalayas from Mt Tyne' signed with initials and dated 'GJ.W. May 3d 1829.' (lower right); titled (lower left)pencil24.8 x 36.5cm (9 3/4 x 14 3/8in).Footnotes:ProvenancePrivate collection, UK.Anon. sale, Sotheby's, London, 24 October 1990, lot 61 (an album of sketches).With Abbott and Holder, London.Private collection, UK.With Grosvenor Gallery, London.ExhibitedLondon, Grosvenor Gallery and Rob Dean Art, Views of India, Asian Art in London 2019, 31 October 2019 - 9 November 2019, no. 24.London, Grosvenor Gallery, South Asian Art: 1820-2020, Asian Art in London, 22-29 October 2020, no.13, illustrated on p.26.Between 1825 and 1846 Lt.-Col. George Francis White was a member of the thirteenth regiment of foot which was stationed in India. White was a keen draughtsman and some of his sketches were worked up and engraved for Views in India, chiefly among the Himalaya Mountains taken during the tours in the direction of Mussooree, Simla, the sources of the Jumna and Ganges in 1829, 31, 32, London, 1836. Some of his sketches done in conjunction with Commander Robert Elliot have been reworked by professional artists such as Cotman, Cox, Prout, Copley Fielding, and J.M.W. Turner, for example, engravings entitled Hindostan, the shores of the Red Sea and the Himalaya Mountains, illustrated, London, 1845. Today White's work is represented in the collection of the India Office Library, the Tate and private collections.For further information on this lot please visit Bonhams.com
Col. George Francis White (British, 1808-1898)'View on the Ganges, near Hurdwar' signed with initials and dated 'G.J.W. 10th April 1831' (lower right); titled (lower left)pencil24.8 x 36.2cm (9 3/4 x 14 1/4in).Footnotes:ProvenancePrivate collection, UK.Anon. sale, Sotheby's, London, 24 October 1990, lot 51 (an album of sketches). With Abbott and Holder, London.Private collection, UK.With Grosvenor Gallery, London.ExhibitedLondon, Grosvenor Gallery and Rob Dean Art, Views of India, Asian Art in London 2019, 31 October 2019 - 9 November 2019, no. 25.London, Grosvenor Gallery, South Asian Art: 1820-2020, Asian Art in London, 22-29 October 2020, no.14, illustrated on p.27.For further information on this lot please visit Bonhams.com
![A collection of Asian wall art to include cork dioramas, embroidery, wooden carving and similar. [6]](https://cdn.globalauctionplatform.com/09e640c2-8191-4db1-bab7-ae3700c24a94/ace03ea1-b6ac-4870-a4ad-ae3e00bb4265/468x382.jpg)
![A collection of Asian wall art, predominantly embroideries, varying image sizes. [5]](https://cdn.globalauctionplatform.com/09e640c2-8191-4db1-bab7-ae3700c24a94/9da940e1-9cc5-49a2-bc33-ae3e00bb45e4/468x382.jpg)
Eight reference books on Chinese art to include. Volumes 1 and 2 'Chinese Ceramics' & 'Chinese Metalwares and Decorative Arts' from the Museum of East Asian Art - Inaugural Exhibition. Three books on Chinese lacquer and Chinese & Japanese CloisonnŽ by Sir Harry Garner. Plus three other books on Chinese jade, celadon wares and Korean celadon. (8)
Four reference books on Chinese jade. To include 1. 'Chinese Jade Carving' by S. Howard Hansford. 2. 'Jade Wares', Neolithic - Qing, China Shaanxi Travel & Tourism Press. 3. 'Jades from China' The Museum of East Asian Art, Bath, England - Angus Forsyth, Brian McElney. 4. 'Jade' by J.P.Palmer. (4)
A Chinese Qingbai glaze pottery ewer and cover. Song dynasty (960-1279). The ewer with melon shaped body on splayed foot with long spout and handle. Height approx. 15.5cm. Provenance: Purchased in Sworders Asian Art sale - 16th May 2018 (Lot 1038)Areas of loss to the glaze mostly on base and handle. Minor loss of glaze across the ewer and cover. No visible cracks or chips and no signs of repair. In overall good condition for its age with general wear.
3rd-7th century AD. A silver U-section bowl with flat rim and rounded base, with a possibly later stylised peahen engraved to the interior. Cf. The British Museum, museum number 135700, for this genre of bowl, dated 6th-7th century AD; cf. The David Collection, Inv.no.4/1967, for a similar bird of this date on a belt fitting; cf. The National Museum of Asian Art, accession number F1957.20, for a bowl of similar form and date. 158 grams, 15cm wide (6"). Abelita family collection, 1980-2015. Very fine condition.
Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring Uddiyana region, depicting two Buddhas (Shakyamuni and Prabhutaratna) kneeling on a tiered base with flaming aureole behind. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. 341 grams, 14.5cm (5 3/4"). Buckingham Collection, early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11075-184861. Gandhara was the principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Northern Wei Dynasty, 386-534 AD. A gilt-bronze figure, influenced by the Gandharan style or that of the neighbouring region of Uddiyana, of Shakyamuni Buddha modelled with hands clasped together in dhyana mudra and seated in dhyanasana posture on a throne flanked by two roaring lions with flaming aureole; robes with U-shaped folds in the Mathuran style and the head with a prominent ushnisha, incised inscription to the reverse in four columns, translating approximately as: a 'dedication by Kang Shen requesting a peaceful life for his family', with Sutra on front legs of four-legged podium. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September - 20 October 2010, extended to 16 November and again to 7 January 2011, Buckingham collections, exhibit TB007, p.59 & 160. 211 grams, 14cm (5 1/2"). Buckingham Collection, from the early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by copies of the relevant exhibition catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11132-168638. Gandhara was a principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Later Yan Dynasty, 384-407 AD. A gilt-bronze statuette, with Gandharan stylistic influence, featuring Buddha standing against an aureole and lotus-flower nimbus, on a lotus podium with flared legs, flanked by attendants or donors; hatched ornament to the podium, incised text here and to the reverse of the flaming aureole which translates approximately as: 'A disciple of Buddha had this made to keep his family safe', and the 'Buddha Disciple' with the years for Later Yan (384-407 [389]) to the right. Exhibited at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September - 20 October 2010, extended to 16 November and again to 7 January 2011, Buckingham collections, exhibit TB011, p.161; accompanied by copies of the relevant exhibition catalogue pages which dates the piece on artistic grounds to the Early Wei period, circa 5th century AD, and a transcription of the Chinese characters inscribed on the piece; recent translation of the previously undeciphered inscription suggests a more precise date range of 384-407 (389), Later Yan era. 235 grams, 13.4cm (5 1/4"). Buckingham Collection, from the early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by copies of the relevant exhibition catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11049-168637. Gandhara was a principal gateway through which Buddhism spread to China, with the connection to Gandharan Buddhist statuary and sculpture evident in the style of this piece.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
c.5th-6th century AD. A substantial bronze figure of Buddha Shakyamuni standing facing on a hollow-formed bell-shaped podium wearing a loose uttariya robe gathered in hand at the left hip in the 'Indo-Greek' manner, the right hand raised in the abhaya gesture of reassurance; the facial expression serene with narrow eyes possibly inlaid with silver, the hair piled into the ushnisha style with tiers of tight curls; to the rear, a separate mandorla or aureole with rim of openwork flames. See Dr. Naiki, S., Similarities and Differences in Gandharan Sculptures Among Regions, Thursday 22nd to Friday 23rd March 2018, The Geography of Gandharan Art: 2nd Workshop of the Gandhara Connections Project, Classical Art Research Centre, University of Oxford. Exhibited at the major exhibition ‘The Buddha Image: Out of Uddiyana’, Tibet House, 22 West 15th Street, New York, 16 September - 20 October 2010, extended to 16 November and again to 7 January 2011, Buckingham collections, exhibit GMB035, p.134; no.238, p.72, & for a photograph of this piece at the exhibition see p.174. 2.1 kg, 39cm (15 1/4"). Richard Kixmiller collection, USA, 1976-1977. Buckingham Collection, early 1960s to 1970s. Late Nik Douglas (1944-2012), renowned author, curator and Asian art expert. Accompanied by copies of the relevant Tibet House exhibition catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.11135-184862. Gandhara was the principal gateway through which Buddhism spread to China. Academic research conducted after the death of Nik Douglas (above) explains that Gandharan sculpture has been found in neighbouring regions, such as in Uddiyana. Sculpture from the Gandharan and Uddiyana regions has similar characteristics and as a result has often remained undifferentiated. As a result of this recent research however, it is becoming more feasible to identify distinctions between the sculpture of these different regions.[A video of this lot is available to view on Timeline Auctions Website.] Fine condition.
Dated 1970 AD. An inked sketch on beige-washed card of a facing male bust with shoulder-length hair and short beard, wearing a smock; the facial features are slim and elongated, the nose and mouth exaggerated while the eyes are set high on the face; radiating lines around the head and minimal detailing to the clothing, in the Art Brut tradition of naïve treatment derived from Dadaism and other 20th century art movements, supplied within a black card reveal; on the top right attributed to F. N. Souza. 118 grams total, 50.8 x 38.8cm including mount (20 x 15 1/4"). Personal collection of Harmadar Singh Thind; thence by descent. Private family collection of a West London gentleman. British Asian artist Francis Newton Souza (12 April 1924–28 March 2002) was a founding member of the Progressive Artists' Group of Bombay. He studied at the Sir J. J. School of Art in Mumbai but was expelled in 1945, having pulled down a Union Flag during a ceremony; he also supported the Quit India Movement of which the aim was to encourage the British authorities to leave the subcontinent, and joined the Communist Party of India. In 1948, some of his paintings were shown in London as part of an exhibition on Indian art while his work was under attack from his own Goan community in Mumbai. Souza emigrated to London the following year after complaints against him were made to the police for obscenity. He is acknowledged to have inspired his protégé, M.F. Husain. Souza's career developed so that he participated in several shows, receiving positive reviews from the art world. [No Reserve] Fine condition.
Dated 1970 AD. An inked sketch on beige-washed card of a nude female reclining on a rectangular rug, the body adorned with the same pattern of hatched patches as appears on the rug; the head tilted back and the solid shading of the hair forming the only substantial element in the design, supplied within a black card reveal; middle top attributed to F. N. Souza, 1970. 123 grams total, 50.8 x 38.8cm including mount (20 x 15 1/4"). Personal collection of Harmadar Singh Thind; thence by descent. Private family collection of a West London gentleman. British Asian artist Francis Newton Souza (12 April 1924–28 March 2002) was a founding member of the Progressive Artists' Group of Bombay. He studied at the Sir J. J. School of Art in Mumbai but was expelled in 1945, having pulled down a Union Flag during a ceremony; he also supported the Quit India Movement of which the aim was to encourage the British authorities to leave the subcontinent, and joined the Communist Party of India. In 1948, some of his paintings were shown in London as part of an exhibition on Indian art while his work was under attack from his own Goan community in Mumbai. Souza emigrated to London the following year after complaints against him were made to the police for obscenity. He is acknowledged to have inspired his protégé, M.F. Husain. Souza's career developed so that he participated in several shows, receiving positive reviews from the art world. [No Reserve] Fine condition.
The lobed begonia-shaped body profusely enameled with butterflies in flight amongst floral spray picked out in tones of blueish-green, pink and yellow, all on an iron-red wan-pattern ground, fitted with later gilt metal mounts, the handles shaped as griffons, tarnishing, minor bruise to enamel, pinhole to body40cm across handles Sold Bonhams, Asian Art, 4 November 2013, Lot 183, London, Knightsbridge
A large Chinese cauldron, the wide and low vessel with two curving strap handles and two cords enclosing groups of seven dots, diameter 39cm x height 22.5cm. NB - A similar cauldron, dated to the Ming Dynasty, sold by Tenmoku Auctions Summer Asian Art decorative sale, 29th June 2019, lot 61.
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