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Lot 35

A group of five old Tibetan sun baked clay Buddhist pilgrimage souvenirs, collected and taken home as proof of pilgrimage and as sacred objects for a home. H. 5.5cms. Condition good but objects are simple in their production in temples and may suffer from original defects.

Lot 93

A Tibetan Buddhist woven and gilt thread thangka of the Buddha and other deitys, 89 x 59cm. Good condition with no visible damage.

Lot 3116

A Chinese polychrome carving, of a Buddhist monk, he stands serene, upon a lortus, his hands clasped in meditation, 32cm high; another, similar, of a bodhisattva, 33cm high (2)

Lot 3200

A Nepalese gilt bronze Buddhist temple ritual object, lotus base, 22cm high

Lot 231

AN EARLY 19TH CENTURY BRONZE TIBETAN FIGURE, a fierce Buddhist guardian figure, depicted standing upon a body, a skull cup in hand, on a lotus plinth base beneath a flaming Mandorla, 46cm high. (Provenance; Our vendor purchased from Dr P.B.Wolfson Co llege, University of Oxford Tibetan/Chinese studies) Condition report – condition good, nothing appears broken or missing, good patera

Lot 106

A Chinese dudou, Qing dynasty (1644-1911), the centre with a bat and a ruyi sceptre, surrounded by butterflies and sprigs of flowers, all on red silk, 53cm wide, and an embroidered skirt, with butterflies amongst peony and other flowers against blue silk with Eight Buddhist Emblems in relief, 117cm wide 96.6cm long (2) 清 红地蝶恋花纹肚兜 及 蓝暗花缎地蝶恋花纹百褶裙 一组两件

Lot 166

1- Tolman, Mary and Norman: Karhu@77: A Personal Tribute. 2004, 1st. edn. dw. folio, VG; 2- Michener J A: Japanese prints from the early masters to the modern. Rutland, Tuttle, 1959, dw. & original shipping box & receipt ($125), VG; 3- Ishida, M: Japanese Buddhist prints. Tokyo, 1964, 1st. dw & slipcase, folio, VG; 4- Edward Burr Van Vleck Collection of Japanese Prints. 1990, dw. Folio, Fine; 5- Tolman, M & N: Collecting Japanese prints then & now. Rutland, Tuttle, 1994, 1st. edn. dw, VG; Plus 6 others. (11)

Lot 182

A pair of Chinese cloisonné enamel censers, each as a Buddhist lion, with hinged lid to its back, 14cm long (2)

Lot 191

A Chinese jade circular box and cover, carved with a boy and a girl lying on their stomachs, the border with key fret, the stone of greyish-white tone, 7cm diameter, a hardstone box, with a pair of mandarin ducks to the side, 9.5cm long, a hardstone jar with Li Bai holding a wine cup to the side, 8.5cm high, and a hardstone jar and cover on three stud feet, with Buddhist lion mask handles, 6cm high (6)

Lot 202

A Chinese jade bodhisattva, standing with a Buddhist attribute in each of his hands, his left leg straight and pressing on the back of a pig, the right leg bent on a kneeled figure, all on a lotus pedestal, 22.2cm high

Lot 209

A Chinese lacquered four-fold table screen, 19th century, decorated with a horse and a Buddhist lion under a bodhi tree, inscribed , each fold 76 x 19cm

Lot 22

A Chinese famille rose vase, Daoguang (1821-1850), of tapering square form, one side painted with three literati drinking below a pine tree, together with their attendants, the other sides with pine trees and flowers, the neck with shou characters, Buddhist lion and ring handles, two-character mark Zaisou in iron-red to the base , 40cm high 清道光 粉彩高士图铺首双环耳四方瓶 《载叟》矾红篆书款

Lot 23

Two Chinese blue and white vases, c.1900, of tapering cylindrical form, each painted with a phoenix above a qinlin amongst clouds, all against a pea green ground, pine or Buddhist lions handles, 58.5cm high (2) 清约1900年 青花凤凰麒麟纹瓶 一组两件

Lot 28

A Chinese celadon jar and cover, c.1900, of ovoid form, painted with a Buddhist lion playing with a brocade ball with its pups in blue, all against a pea green glaze, the cover with a spear knop, 31cm high (2) 清约1900年 豆青地堆白太狮少狮纹盖罐

Lot 34

A collection of four Chinese Yixing zisha teapots, comprising: one of lobed circular form, incised with flowers and an inscription, the cover with a Buddhist lion knop, mark to base and interior of cover, 14.5cm long, one of globular form, incised with a magpie standing on a blossoming prunus tree, the reverse with archaic characters, mark to base and interior of cover, 14cm long, one of squat circular form on three stud feet, incised with an inscription, ribbed handle, mark to base and interior of cover, 12cm high, and another, of tapering cylindrical form, plain, the cover with a ball knop, mark to base and interior of cover, 18.5cm long (8) 宜兴紫砂壶 一组四件

Lot 38

Two Chinese Yixing zisha teapots, 20th century, of lobed circular form, one enamelled with a Buddhist lion playing with a brocade ball, the other with flowers, both with a Buddhist lion knop to cover, 16.5 and 18cm long (4) 二十世纪 宜兴紫砂壶 一组两件

Lot 54

A Chinese soapstone carving, 18th century, of a luohan wearing a long robe with cloud and wave borders, seated on a rock with his right hand resting on the right knee, his left hand holding a hoop teasing a Buddhist lion by his feet, with 'Stodel Amsterdam C4' label, 9.5cm high Provenance: Acquired from Jacques Aalderink, Amsterdam, in the 1930s. 清十八世纪 寿山石雕罗汉坐像

Lot 66

A Tibetan bronze bodhisattva, 17th century, seated cross-legged on a double lotus pedestal, each of his three heads wearing beaded jewellery, three of his three pairs of hands holding Buddhist attributes, the back engraved with a mantra, 13.5cm high 十七世纪 西藏铜尊圣佛母

Lot 78

A Chinese cloisonné bowl, late Ming dynasty, of waisted circular form with a flared mouth on a slightly splayed circular foot, enamelled with Buddhist lions chasing brocade balls amongst clouds against a blue ground, the interior with a carp amongst waves in a roundel, surrounded by scrolling lotus against a white ground, 22.8cm diameter 明晚期 铜胎掐丝珐琅佛狮戏球纹碗

Lot 95

A Chinese embroidered robe, Qing dynasty (1644-1911), the white silk with Eight Buddhist Emblems in relief, the border with birds amongst bamboo, orchid and prunus against a yellow ground, 132.5cm wide 104cm long 清 白暗花缎地八宝纹氅衣

Lot 247

A 20TH CENTURY TIBETAN PRAYER STONE, of irregular form, the red pigmented surface engraved with a Buddhist mantra in Tibetan script.

Lot 261

A GOOD 19TH CENTURY SINO-TIBETAN BUDDHIST PAINTED SILK / COTTON THANKA, depicting panels of Buddhist deity's / immortal, 81cm high x 53cm wide.

Lot 455

A large Chinese hardwood carving, of an emaciated Buddhist, his thin flowing robes exposing his skeleton, his staff with prayer beads, the base carved and pierced as a rocky outcrop with prunus and foliage, inset opaque white glass eyes, 53cm high, c. 1900

Lot 162

A Chinese iron red decorated 'Buddhist lion' vase, late 19th century, signed by Wang Yi Shun, with inscription in black enamel to one side, H.43cmCondition: The vase has heavy wear to the painted enamels colours and gilding, otherwise in reasonable condition with no restoration, cracks or chips detected.

Lot 639

A Greek pottery oil lamp and Buddhist stone charm

Lot 508

A rare 18th Century cast bronze Indian Buddhist deity figurine in the form of a female figure seated in the lotus position with clasped hands, dressed in a crown / head dress and traditional robes. Measures 18cm tall. 

Lot 24

清 骨雕掏耳羅漢 roundly carved in royal ease seated pose on a gnarled tree pedestal, the ear-picking arhat with his left hand clutching the hem of his loose hanging kasaya exposing his chest, his face delicately carved with demure expression, with a gilt-bronze lotus throne decorated with various Buddhist emblems in low relief and nimbus in openwork (Dimensions: figure: 9.7cm high; stand: 23cm high) (Qty: 1)

Lot 282

明治 半林畫款 薩摩燒人物紋梅瓶 the baluster body rising to a short neck and flared rim, the exterior depicting a gathering of Buddhist Kannon and rakan in a landscape setting, the design reserved on a gilt ground, the base signed 'Hanbayahi' in gold underneath a Shimazu family crest (Dimensions: 31cm high) (Qty: 1)

Lot 283

明治 保土田款 薩摩燒瓶(兩件) each of baluster form, rising from a circular base to a flared rim, the body decorated various Buddhist rakan and an appliqued gold dragon running across the body surrounded by a white dotted border, the base signed 'Hododa' in gold in a rectangular panel below a Shimazu family crest (Dimensions: 20.8cm high each) (Qty: 2)

Lot 237

Buddhism.- A panel from a Sinicized Tibetan Buddhist ritual crown, embroidered in silk, gold and other metallic threads on an ivory silk ground, 12.5 x 8.5 cm (4 ½ x 3 ¼ in.), in very good condition with fresh colours, on a 19th century card backing, from an album compiled by Cyril Davenport (1848-1941), Superintendent of Bookbindings at the British Museum, [?18th century]⁂ From a five-paneled ritual crown, the leaves depicting the five meditation buddhas, as worn by a Tibetan lama or devotee during ceremonies to summon buddhas and other deities.

Lot 74

Anglo Indian Interest - six black and white photographs depicting India including a parade, Bangalore Girl by Vandyke Studio, Bannu station tents, Entrance to the Shwedagon Pagoda Yangon the most sacred and impressive Buddhist site for the people of the Union of Myanmar, locomotive with foot soldiers and Waterport Gate on the reverse. 

Lot 722

dating: Second quarter of the 20th Century provenance: Japan, Blade (nagasa 66 cm) shinogi zukuri. Hada compact ko itame with muji aspect. Hamon gunome midare with ko nie. Mei: KANE TAKA. Mounted in Koshirae with iron tsuba heianjo with rinzu motifs (series of swastika joined together, Buddhist symbol of universality) and hira zogan; the shape is nademarugata with namako sukashi, that is the ana for kozuka and kogai in a shape of oloturia (item used by Miyamoto Musashi for his tsuba). length 92,5 cm.

Lot 197

A MID 19TH CENTURY BRONZE TIBETAN YAB-YUM, a transcendental deity, having many arms, each hand holding a symbolic artefact of the Buddhist faith, posed in Vanquishment beneath a Mandorla, upon a lotus base bearing monastic workshop mark engraved unde rneath, 40cm high (Provenance; Our vendor purchased from Dr P.B. Wolfson College, University of Oxford Tibetan/Chinese studies)

Lot 339

Tibetan Buddhist Alters By Tad Wise Robert Beer & David Carter. Unsigned small hardback popup book no dust jacket printed in 2004 in Thailand 14 pages. Good condition. This book is sold on behalf of the Michael Sobell Hospice Charity. UK Shipping from £4.99, Europe from £6.99 and ROW from £9.99.

Lot 1028

A famille rose bowl, decorated with Buddhist Deities and motifs, the base with six-character Daoguang mark but not of the period, 15. 5 cm diameter; together with two yellow-ground, Chinese ginger jars, each one about 14 cm high; a small two case inro, about 5.5 cm high; and a small metal cylinder, 6.5 cm long (5). Please note that this is a group lot where condition may vary from object to object. Some damage extant, including: areas of fatigue, repair to cover of ginger jar, and deterioration

Lot 1059

Two 'Egg and Spinach' figures of Buddhist Lions, 18 cm high; together with a blue and white bowl decorated with scholars beneath a pine tree, 25.5 cm diameter; a metal alloy vase, decorated with a dragon, 27 cm high; and a Japanese dish, decorated with a kacho-ga of birds and peonies, 37.5 cm diameter (5). Please note that this is a group lot where condition may vary from object to object. Some damage extant, including a crack to the bowl; and the vase with fatigue, bruising and other deterioration.

Lot 1079

A famille rose rectangular tray decorated with a scholar and acolyte, 23.5 cm high; together with two small figures of Buddhist Lions; a Japanese cloisonne enamel vase and cover; a Kutani ewer and cover; two small pink ground vases; a famille rose vase, 8.5 cm high; two Japanese sakazuki; a Kiyomizu chaire decorated with kacho-ga, 11.5 cm high; and two small Chinese cups (one possibly a bird feeder) (13). Please note that this is a group lot where condition may vary from object to object; some areas of damage, deterioration or wear extant.Two small Chinese cups in good condition, one with floral decoration with only minor fritting to base. The other decorated with bamboo trees with minor scratches to base and rubbing to gilt on rim.

Lot 1205

A Burmese Buddhist, or other, gilded wood figure on a shaped red-lacquered stand; the right hand extended forward, apparently in mudra; about 87 cm high, 19th or 20th CenturyProvenance: The Property of a Lady. From a Private UK Collection.. Please note that there are some areas of damage and deterioration to this sculpture which includes: some chipped or otherwise damaged extremities; and two digits of the right hand missing.

Lot 1208

A Nepalese, or other Asian, rectangular text with 15 leaf pages, all written in Sanskrit, or another script, on both front and back; the decorated wood covers with Buddhist Deities and iconography; each cover about 29 x 9 cm. Provenance: The Property of a Lady. From a Private UK. Collection. It is uncertain as to whether this manuscript originated in Nepal, where a variety of text, including Bhujimol script, Newari Script, and Sanskrit were all used. However, the Endangered Archives Programme at The British Library [EAP 676], in its survey of Buddhist Sanskrit Manuscripts from The Kathmandu Valley, points out the high incidence of Sanskrit text in Nepal. For those following the devotion of Mahayana Buddhism across Nepal, Sanskrit Sutras, Mantras and other texts are greatly revered, and there are many extant therefore [See for instance The Pancaraksa Sanskrit Mantras BL.Or 13946. See also the 'Book of Omens', circa 1800, also written in Sanskrit and listed by Pratapaditya Pal in his 'Art of Nepal'].. Please note that areas of damage/text loss and soiling or wear to both the leaves and cover.

Lot 260

Asian / Indian Buddhist Votive Pottery Figure  Height 13 cm (5 inches). Age unknown but appears to be worn smooth from handling. Comes with wooden box.

Lot 92

Large Chinese Song / Yuan Dynasty Glazed Buddhist Covered Jar decorated with various Buddhist motifs and lotus leaves. Inner and outer surfaces coated in a green glaze of different shades with a silver iridescence in places due to long burial in damp conditions, most pronounced on the outer surface of the jar. 13th/14th Century. Height 36cm (14.25 inches).

Lot 553

Ca.200-300 AD. A rare Substantial Gandhara stucco head of fasting Buddha with Halo; Expressively carved with gaunt cheeks, deep-set sunken eyes, a long pointed nose and veined neck, framed by a full beard and with wavy locks of hair pulled up and over the ushnisha; Good condition; restored ; on custom stand;Size\;550mmx420mm;over 6kg; Reference for Gandhara: Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Provenance: Important estate collection from Oxfordshire; formed in the 1970s-2000.

Lot 490

Ca.400-500AD. A Fine example of a Gandhara Stucco Buddha; the finely accomplished image portraits the Buddha seated on a cushioned pedestal with hands down in a meditating position; Reference for Gandhara: Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition, original pigment, on a custom stand; Size:350mmx190mm;3634g; Provenance: Private collection of an Oxford professional, formed in the 1980s/1990s on the UK art market.

Lot 630

Late 20th C AD or earlier. A beautiful bronze Buddha decorated with turquoise and coral appliques. The "awakaned one" is showing a peaceful expression; sitted in a lotus position holding a typical prayer bell in the left hand and a dorje in the right hand. The two objects were the most important ritual items in buddhist tradition; both respectevely symbolizing the sounds of Buddha's voice and the "thunderbolt" of enlightenment. Very Good Condition; intact.Size:330mmx230mm;3920g; Provenance: Private Somerset Estate collection of Asian, Ancient and Oriental Art, acquired 1980-2010.

Lot 552

Ca.400-500 AD. An exceptional Gandhara schist panel of a much larger Arch; depicting seated Buddha in a meditation position surrounded by worshippers and a snake in the right corner; Good condition, on a custom stand; Size:270mmx500mm;over 6kg; Reference for Gandhara: Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press; Provenance: Private London collection, formed in the 1990s on the UK and European art market.

Lot 554

Ca.300 AD. Important grey schist statue of bodhisatva; Old Region of Gandhara; He is represented standing in a light tribhanga with a big Halo. Adorned with jewelry; dressed in a pleated dhoti and scarf. .Reference for Gandhara: Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition; on a custom stand;Size:770mmx220mm;over 6kg; Provenance: Private collection of an Oxford professional, formed in the 1970s-1990s on the UK art market.

Lot 451

Ca.400 AD. A large stucco bust of a female figure, modeled in the traditional Greco-Buddhist tradition with a full face, fine almond eyes, a naturalistic nose, sensitive mouth, and a large, ornate headdress, similar to a turban, atop the head and chest adorn with jewelry. Alexander the Great conquered Gandhara in 330 BCE and the reign of Indo-Greek kings who followed him introduced classical traditions that would influence Gandhara art for the following seven centuries. Good Condition, some repairs; on a custom stand;Size:400mmx160mm;2205g; Provenance: From an old British collection, acquired on the UK art market in the 1980s.

Lot 732

A 19TH CENTURY TIBETAN BUDDHIST CEREMONIAL COPPER TELESCOPIC HORN with applied ornate embossed silvered bands 170cms extended 123cms closed

Lot 29

Buddhist watercolour depicting heaven and hell

Lot 346

Two Chinese blue and white Swatow chargers with a Buddhist lion and a phoenix, Ming, 16th C.--Dia.: 42 - 35,1 cm -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Lot 373

A pair of Chinese turquoise glazed models of Buddhist lions, 17th/18th C.--H 23 - 21 cm (with and without the stand) -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Lot 276

Three Chinese famille verte biscuit models of Buddhist lions and a figure of a boy, Kangxi and later--H 20,4 - 14,2 cm (the tallest and the smallest figure)Ê Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Lot 279

A Chinese famille verte 'Buddhist lions' dish, Kangxi--Dia.: 28 cm -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Lot 197

A gilt lacquered bronze figure of Phra Malai visiting Buddhist hell, Thailand, Ratanakosin, 19th C.--H 45 cmÊ The monk is depicted visiting the Buddhist hell. -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Lot 162

A Chinese bronze model of a Buddhist lion, late Qing--H 10 - W 13,7 cmÊ Ê -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Lot 61

A Chinese porcelain Guanyin, a pair of sancai Buddhist lions and a pair of Thai gilt bronze lions, 19th/20th C.--H 34,5 cm (the Guanyin)Ê H 23 cm (the pair of sancai lions) -- Please request condition reports by e-mail on info@coronariauctions.com. They're being made on demand and added to the description on our website. High resolution pictures are also available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Lot 3000

A fine and rare ken tanto with dragon mounts. The double sided blade with horimono depicting the standing figure of Fudo Myoo with flaming mandala beneath clouds, the reverse with a further horimono of flames and clouds. The tang with one hole inscribed (the carving done by the same hand). Edo period or earlier. Length 26.5cm exposed plus 7cm sheltered. The 19th century koshirae designed as a silver dragon entwined around and through the scabbard bound in wire and decorated with bands of gilt tiles, silver one-piece habaki with stylised gilt waves. Overall length 41cm. Auctioneers Note - Ken tanto were usually made for presentation by swordsmiths to Buddhist temples for ritual, hence the multiple Buddhist references on the blade and mounts in this example. The art of forging blades is strongly linked to Buddhism. Umetada Myoju (1560 - 1634) showed the genius of the Momoyama age. Not only was he a great tsuba maker but he was a fine swordsmith and a renowned judge of swords. The Umetada school he founded was based in Kyoto though other branches of his school were subsequently founded in other regions. no apparent damage or restoration to the koshirae. as imaged there is light discolouration to the exposed polished part of the blade tand rust to the hidden non-polished tang We are confident that this is not a Meiji period fake. However, it may have been made by a later generation of the Umetada School using his founders name, rather than his own. There are no authentification papers from NBTHK with this blade

Lot 83

AN IMPRESSIVE PAIR OF CANTON FAMILLE ROSE PORCELAIN VASES, 19th Century, the narrow necks applied with red and blue Chilong dragons forming the handles above two rectangular vignettes depicting Manchu figures in military and civilian costume in a mountainous landscape and in an interior reserved on a heavily decorated floral ground with exotic bids, insects and fruit, scrolling lotus and Buddhist symbols to the turquoise borders at the foot and neck, 80cms high ~Condition Report: one vase with chips to blue chilongs, gilt lines slightly worn.Lots marked with ~ can be collected by couriers by appointment 

Lot 27

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.4422 - 2013Signed and dated 2013, watercolour (Dimensions: 20cm x 28cm (8in x 11in))Provenance : Gimpel Fils , London Note: Biography: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

Lot 154

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.3957 - 2012Signed and dated, mixed media (Dimensions: 18cm x 26cm (7in x 10.25in))Provenance: Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

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