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Lot 200
An album of six Chinese paintings on silk of lovers, late Ming dynasty, with six adjacent pages of calligraphy on paper, depicting a man courting a lady in a garden, a lady bathing by a lotus pond, a maid and her mistress in a pavilion room, two lovers separated by a mother threading a needle, a couple walking in a garden and a young man presenting flowers to a girl, album 32cm x 26cmProvenance- together with transcripts of the inscriptions translated by Ting Pei Yuan, Shanghai 1933 pages separated, some losses to images and calligraphy***CONDITION REPORT***PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Lot 114
1923 London Underground MAP of the Electric Railways of London "What to see and how to travel". Designed by MacDonald Gill with his distinctive style of calligraphy and map border, this is the issue dated 1/1/23 and the first version thereof which shows pre-Grouping railway company initials at the main-line stations. British Empire Exhibition stations are depicted with red dots. In very good condition. [1]
Lot 1173
Vierkantvase. CHINA, Qing-Dynastie (1644-1912) Hochrechteckige Form mit eingezogener Schulter und weiter Mündung, mit zwei seitlichen Löwenkopfhenkeln, darunter Kalligraphie in Gedichtform, schau- und rückseitig dekoriert in den Farben der famille rose mit Päonien, dem Symbol für Demut und Hingabe und je einer Blauelster, die in China als Glücksbotin verehrt wird, H: 57 cm. Alters- und Gebrauchsspuren.| Square vase. CHINA, Qing dynasty (1644-1911). High rectangular form, with two lion head handles on the sides, below calligraphy in poem form, show and backside are decorated in famille rose colors with peonies, the symbol of humility and devotion and one Iberian magpie each, revered in China as a messenger of good luck, h: 57 cm. Signs of age and use.
Lot 223
HAGIYA KATSUHIRA: A FINE IRON TSUBA WITH FUJIN AND GEISHABy Hagiya Katsuhira (1804-1886), signed Seiryoken Suimin with kakihanJapan, Mito school, c. 1860Of rounded square shape, with some sekigane, decorated in superb iro-e takazogan of sentoku, gold, silver and shibuichi depicting an amusing scene of the Wind God Fujin releasing gusts of wind from his bag in order to lift the kimono of a Geisha who bends over protecting herself struggling to keep her modesty. Fujin's expression is carved with intricate detail, lustfully awaiting results, the eyes of gold with shakudo pupils. The verso shows a man seeking cover from the wind, worked in copper hirazogan with katakiri details. Signed to the back in fluent calligraphy SEIRYOKEN SUIMIN and with the artist's kakihan (cursive monogram). Seiryoken is the art name of Hagira Katsuhira and Suimin 醉眠 literally means 'drunken sleepy man'.HEIGHT 8.3 cm, LENGTH 7.3 cmWEIGHT 181 gCondition: Very good condition with minor wear, some light surface scratches and discoloration.Provenance: Austrian private collection, Vienna, purchased at Dorotheum, Asian Art, 26 April 1994.Hagiya Katsuhira, art name Seiryoken, is recorded in the Haynes Index of Japanese Sword Fittings and Associated Artists on p. 566 (H 02759.0). In 1844, the Matsudaira Daimyo of Mito Domain appointed him an official metal artist to the Tokugawa government.Auction comparison:Compare a related iron tsuba by the same artist, signed Seiryoken Katsuhira, at Bonhams, The Edward Wrangham Collection of Japanese Art Part II, 10 May 2011, London, lot 44 (sold for 4,200 GBP).
Lot 77
A LARGE AND RARE EMAKI HANDSCROLL WITH FOUR SEPARATE LEAVES, ONE WITH A DEPICTION OF GASHADOKUROJapan, 19th centuryWatercolor and ink on paper. Large horizontal emaki scroll depicting villagers armed with swords, sticks, and torches chasing a fox (kitsune) into a cave. The four separate leaves illustrate their journey inside the cave where they are greeted by a large Gashadokuro. As they rush and hide for cover, they are confronted by more yokai. The scroll with stag antler handles. Scroll: SIZE 29.4 x 600 cmLeaf (I): SIZE 29 x 80 cmLeaf (II): SIZE 29 x 88 cmLeaf (III): SIZE 29 x 73 cmLeaf (IV): SIZE 29 x 50.5 cmCondition: Each scroll in a superb state of preservation with fresh colors, the scrolls were evidently stored well. Some minor non-distracting surface wear, little soiling and creasing, few minuscule losses and tears. Provenance: Family collection of either Felix Tikotin (1893-1986) or his son-in-law Louis (Loek) Borensztajn (1935-2021), Netherlands. Felix Tikotin (1893-1986) was an architect, art collector, dealer, and founder of the first Museum of Japanese Art in the Middle East. He became one of the world's leading collectors of Japanese art, starting at the age of 18, and continued to collect and work as an art dealer in Berlin in the 1920s. In the 1930s Felix Tikotin fled from the Nazis and hid his collection in the Netherlands. After the war, he decided that his collection should be taken to Israel, where in 1959 and with the help of Abba Hushi, who was the mayor of Haifa, The Tikotin Museum of Japanese Art was established. The Museum's collection comprises more than 8,000 items of art and crafts.Gashadokuro is a Yokai made up of the bones of soldiers or victims of famine whose bodies rotted and didn't have a proper burial. These people die with anger and pain in their hearts. Unable to pass on, their souls gather to form a giant skeleton. As their bodies further decay, they grow angrier and more vengeful, holding a grudge against humanity for what they have. They wander fields in the night their teeth chatter and bones rattle making a “gachi gachi” sound, hence the name Gashadokuro. If they happen upon a human, they will silently sneak up behind them and catch their victim. Crushing them in their hand or biting their head off. Gashadokuro are too large and powerful to be defeated. As such they will wander the fields until the malice stored in their bodies fade away.Yokai is a term in Japanese folklore that refers to supernatural monsters, spirits, or demons. They are often depicted as strange or bizarre creatures with unusual appearances or behaviors and can range from mischievous and playful to terrifying and malevolent.Emaki, also called emakimono (or less commonly ekotoba), is an illustrated horizontal narration system of painted handscrolls that dates back to the Nara period in 8th century Japan, initially copying its much older Chinese counterparts. They combine calligraphy and illustrations and are painted on long rolls of paper or silk sometimes measuring several meters. The reader unwinds each scroll little by little from right to left, revealing the story as seen fit. Emakimono are therefore a narrative genre similar to the book, developing romantic or epic stories, or illustrating religious texts and legends. The format of the emakimono, long scrolls of limited height, requires the solving of all kinds of composition problems: it is first necessary to make the transitions between the different scenes that accompany the story, to choose a point of view that reflects the narration, and to create a rhythm that best expresses the feelings and emotions of the moment. In general, there are thus two main categories of emakimono: those which alternate the calligraphy and the image, each new painting illustrating the preceding text, and those which present continuous paintings, not interrupted by the text, where various technical measures allow the fluid transitions between the scenes. Today, emakimono offer a unique historical glimpse into the life and customs of Japanese people, of all social classes and all ages, during the early part of medieval times.Auction comparison:Compare the skeleton to a print by Kuniyoshi at Bonhams, Japanese and Korean Art, 23 March 2022, New York, lot 540 (sold for 150,312 USD).
Lot 63
A Chinese Scroll Calligraphy By Su Shi 113 x 54cm. Song dynasty. Johann Wilhelm Normann Munthe (1864-1935), military officer and art collector. Munthe was born in Bergen, Norway, in July 1864. After receiving military education at the Cavalry Cadet School (Kavaleriets underoffiserskole), he came to China in 1887 and served in the Chinese Customs. He later held various positions, including commander and chief of staff in Yuan Shikai's cavalry. He lived in China for over 50 years and collected more than 2,500 Chinese cultural relics, many of which were scattered remnants from the Yuanmingyuan (Old Summer Palace) that were in private hands. His collection included stone carvings, jade artifacts, bronze objects, ceramics, paintings, silk embroidery, and the most extraordinary pieces were the stone carvings from the Yuanmingyuan. Munthe was a passionate collector of Chinese art. His collection comprised porcelain, paintings, costumes, bronze sculptures, and marble statues. On multiple occasions, Munthe entrusted a significant number of porcelain and paintings to British & Foreign Marine Ins, Co., Ltd for transportation to his hometown in Norway, where they were handed over to his family. Some of Munthe's family members donated a portion of the collection to museums, while the remaining substantial collection was preserved. The Vestlandske Kunstindustrimuseum in Bergen, Norway, and The Jordan Schnitzer Museum of Art at the University of Oregon both have a large number of artworks donated by General Munthe. Munthe passed away in Beijing in 1935 and was buried in the British Municipal Cemetery in Tianjin.
Lot 69
A Chinese Scroll Calligraphy By Su Shi 118 x 50cm. Song dynasty. Johann Wilhelm Normann Munthe (1864-1935), military officer and art collector. Munthe was born in Bergen, Norway, in July 1864. After receiving military education at the Cavalry Cadet School (Kavaleriets underoffiserskole), he came to China in 1887 and served in the Chinese Customs. He later held various positions, including commander and chief of staff in Yuan Shikai's cavalry. He lived in China for over 50 years and collected more than 2,500 Chinese cultural relics, many of which were scattered remnants from the Yuanmingyuan (Old Summer Palace) that were in private hands. His collection included stone carvings, jade artifacts, bronze objects, ceramics, paintings, silk embroidery, and the most extraordinary pieces were the stone carvings from the Yuanmingyuan. Munthe was a passionate collector of Chinese art. His collection comprised porcelain, paintings, costumes, bronze sculptures, and marble statues. On multiple occasions, Munthe entrusted a significant number of porcelain and paintings to British & Foreign Marine Ins, Co., Ltd for transportation to his hometown in Norway, where they were handed over to his family. Some of Munthe's family members donated a portion of the collection to museums, while the remaining substantial collection was preserved. The Vestlandske Kunstindustrimuseum in Bergen, Norway, and The Jordan Schnitzer Museum of Art at the University of Oregon both have a large number of artworks donated by General Munthe. Munthe passed away in Beijing in 1935 and was buried in the British Municipal Cemetery in Tianjin.
Lot 79
A Chinese Scroll Calligraphy By Huang Tingjian 108 x 48cm. Song dynasty. Johann Wilhelm Normann Munthe (1864-1935), military officer and art collector. Munthe was born in Bergen, Norway, in July 1864. After receiving military education at the Cavalry Cadet School (Kavaleriets underoffiserskole), he came to China in 1887 and served in the Chinese Customs. He later held various positions, including commander and chief of staff in Yuan Shikai's cavalry. He lived in China for over 50 years and collected more than 2,500 Chinese cultural relics, many of which were scattered remnants from the Yuanmingyuan (Old Summer Palace) that were in private hands. His collection included stone carvings, jade artifacts, bronze objects, ceramics, paintings, silk embroidery, and the most extraordinary pieces were the stone carvings from the Yuanmingyuan. Munthe was a passionate collector of Chinese art. His collection comprised porcelain, paintings, costumes, bronze sculptures, and marble statues. On multiple occasions, Munthe entrusted a significant number of porcelain and paintings to British & Foreign Marine Ins, Co., Ltd for transportation to his hometown in Norway, where they were handed over to his family. Some of Munthe's family members donated a portion of the collection to museums, while the remaining substantial collection was preserved. The Vestlandske Kunstindustrimuseum in Bergen, Norway, and The Jordan Schnitzer Museum of Art at the University of Oregon both have a large number of artworks donated by General Munthe. Munthe passed away in Beijing in 1935 and was buried in the British Municipal Cemetery in Tianjin.
Lot 124
A double-sided album page from the Imperial Mughal Library during the reign of the Emperor Aurangzeb, Herat, 16th century, with Deccani and Mughal additions of the second half of the 17th century, opaque pigments heightened with gold on paper, recto with scene of a prince enthroned, with a inscription identifying the ruler as Genghis Khan, being entertained by musicians, perhaps excised from a manuscript of Jami's Nafahat al-Uns, laid down on an album page with an inner border of fine gilt floral interlace and small birds delicately painted in polychrome, and outer silver-sprinkled light blue border, the page with nasta'liq inscription within gold cloudbands in upper border, Devanagari inscription in gold to lower border, seal impression of Mughal Imperial Librarian at lower right corner; verso, a calligraphic panel signed Qasim 'Ali, with four ll. of diagonal black nasta'liq text outlined in gold, on a green ground, within a border of small panels with 2ll. of black nasta'liq within cloudbands on gold and polychrome, numbered ?? in Arabic at lower left corner, painting verso 21 x 30.5cm. and calligraphy recto 22.7 x 16cm.; album page 41.6 x 29.5cm. (VAT charged on hammer price)Provenance: The Imperial Mughal Library, apparently during the reign of the Emperor Aurangzeb (reg. 1658-1707); Private UK collection, early 1970s-80s.The seal impression in the lower right corner (recto) is that of a Mughal official, and reads: sohrab khan khaneh zad-e 'alamgir padshah, 'Sohrab Khan, born in the household of 'Alamgir Padshah'. The date is not clear, possibly (10)69AH/ 1658-59AD, but it is clearly from the reign of Aurangzeb/'Alamgir I (1658-1707), and the terminology indicates the early years of his reign.Two folios from the same album have appeared at auction, both bearing the seal impression of Sohrab Khan. Bonhams sold most recently a folio from a Private American collection, 25th October 2021 Lot 4 and another appeared at Sotheby's, The Khosrovani-Diba Collection, 19th October 2016, lot 15. This album page featured a calligraphy by Javaher Raqam to the recto. The name Sohrab Khan is found on other album pages including one in the Philadelphia Museum, and on a portrait of the Mughal nobleman Farrukh Fal, dated 1650-75, with Francesca Galloway (Indian Miniatures, London 2005, pp. 16-17, no. 6). This also has the same kind of Devanagari inscription indicating a Rajput collection, perhaps Amber. The calligrapher's name Javaher Raqam was the title given by Alamgir to Sayyid Ali Tabrizi who had lived in Isfahan and moved to India with his father during Shah Jahan's reign. He is said to have taught Prince Aurangzeb. He held posts in the Royal court, including the Royal Librarian and his seal impression is found in numerous manuscripts. All his recorded works are calligraphic pages dating between 1062AH (1651-2) and 1086AH (1675-1676AD). The absence of text makes it impossible to say if the paintings recto were excised from a manuscript of Jami's Nafahat al-Uns, or another text on Sufis, or were simply depictions of the life of Shaykh Majd al-Din, made in an album for a specific patron.Jami's Nafahat al-Uns told the lives of six hundred and eleven Sufi saints. Shaykh Majd al-Din Baghdadi was a pupil of Najm al-Din Kubra. Khwarazm Shah asked the Caliph of Baghdad to send him a physician and Majd al-Din was sent. The Khwarazm Shah threw him in dajlah (referring, it seems, to a river as large as the Tigris - a scene perhaps depicted at lower left). Examples of the complete text have appeared at auction a few times: the only illustrated instance was a single leaf, dated to Herat, circa 1500 (see Christie's South Kensington, Indian and Islamic Works of Art and Textiles, 11th April 2008, lot 102. For complete examples of the text, see: Christie's, Islamic, Indian and Armenian Art and Manuscripts, 12th October 1999, lot 80 (dated AH 910/AD 1504); Bonhams, Islamic and Indian Art, 5th December 2002, lot 496 (Afghanistan or North India, 17th Century); Christie's, Art of the Islamic and Indian Worlds, 31st March 2009, lot 138A (a Turkish translation, dated 1520).The verses are unrecorded, the signature reads Qasim Ali, who could be identified with the calligrapher from Shiraz active at the beginning of the 16t century scribe of a manuscript now in the Smithsonian Museum, Washington, inv.no. S1986.194.1-2.Footnotes: Provenance: Property from an Important Private CollectionCondition Report: Condition report: In good condition, minor smudges and losses to the paint, a later Indian inscription on the lower border, minor holes and flaking, some stains and rubbing
Lot 272
A Persian wool carpet attributed to the Benlian workshops,early 20th century, Tabriz, the pale field woven in vibrant colours, with bold Shah Abbasi motifs and leaves with lines of Farsi calligraphy, with a star mark signature to one corner, 375 x 285cm Condition ReportSome marks and stains to the pale ground. Areas of wear and lower pile to the field. Areas of moth damage. Colours remain vibrant. Would benefit from a clean. Stains and some fraying to the fringe. Separation to a section of one selvedge.
![Islamic Calligraphy - a Koran [Quran] leaf, in monumental Kufic script, in ink manuscript on vellum, 17cm x 26cm, c.13th cent](https://cdn.globalauctionplatform.com/4c80be77-9152-490e-83a6-af9c00fbad3e/f9d1379f-3078-434a-b795-b00701288a96/468x382.jpg)
Lot 512
A 19th century Chinese blue and white baluster vase painted in underglaze blue with figures in pagoda landscapes, 18 cm high, Qing dynasty to/w two other similar Kangxi style blue and white vases, one with cover (both damaged) 22 cm high, a pair of 20th century famille rose 'Monteith' bowls painted with insects and flowers, four-character hall marks to each base, a Japanese blue and white hoshi-ami (fish net) pattern bowl and cover, a serpentine/bowenite handled calligraphy brush, two hardwood stands and a Vietnamese blue and white ceramic and metal mounted opium pot and pipe (box)
Lot 474
Housed in a wooden frame. Depicts a stencil dyed print of a cricket and Japanese characters in calligraphy. Artist red Japanese character stamp lower center. Frame size: 13in W x 17.5in H x 1.25in D. Sight size: 11.75in W x 16.25in H. Artist: Kichiemon OkamuraCountry of Origin: Japanbr>Condition: Age related wear.
Lot 150
A GROUP OF FIFTEEN OVERLAID GLASS SNUFF BOTTLES Various decorated with animals, fish or foliage, one example with calligraphy and one with a clock face * Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Lot 127
Ca. 14th century AD. A copper bowl featuring a rounded base on top of three small feet. Its sides gradually taper to a tubular neck with an everted rim, exuding grace and elegance. But it's not just the shape that is remarkable, the intricate decoration on the exterior is truly breathtaking. The masterful metalwork is evidenced in the meticulously etched cartouches with geometric motifs, six-pointed stars, and exquisite Arabic calligraphy, making this bowl a true work of art. Islamic vessels of this type were not only appreciated for their beauty but also for their function. In the Islamic world, metal vessels were often used for storing and serving food and beverages, but they also held important cultural and religious significance.Size: L:140mm / W:175mm ; 1.14kgProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.
Lot 200
Ca. 17th-19th century AD. A square-shaped glazed ceramic tile adorned with elegant calligraphy within its foliate borders, it showcases a sophisticated palette of blue, turquoise, and white hues. Such tiles were not merely decorative elements, but functional components within the Ottoman Empire's architectural marvels. They were often found in grand palaces and modest homes alike, adding aesthetic beauty while also communicating cultural significance. The Ottoman Empire's love of decorative tilework was rooted in a deep appreciation for the artistry, technical skill, and cultural richness of Islamic art.Size: L:305mm / W:305mm ; 3.9kgProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.
Lot 118
Ca. 14th century AD. A brass vessel featuring a round base with walls that gently taper to the opening, which is adorned with a rounded rim. The exterior of the vessel is meticulously decorated with finesse cartouches containing six-pointed stars, calligraphy, vegetal scrolls, and geometric patterns. The exquisite craftsmanship of this vessel showcases the remarkable skill of Timurid metalworkers and their ability to create beautiful works of art. Similar vessels from this period served various functions, such as storing liquids or food, and were often used in ceremonial settings. The intricate decorations on these vessels, like this one, were meant to convey the wealth and status of the owner, as well as to reflect the cultural and religious values of the Islamic world. Islamic metalworking during the Timurid period was characterized by its exceptional craftsmanship and exquisite attention to detail. Metalworkers were highly skilled in a variety of techniques, including engraving, inlaying, and repoussé. The use of precious metals and intricate designs were also important aspects of this craft. The Timurid period saw a flourishing of metalworking in the Islamic world, with metalworkers producing a wide range of objects, including vessels, lamps, and weapons. Size: L:240mm / W:280mm ; 1.46kg Provenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.
Lot 234
Ca. 17th-19th century AD. A circular tray with a serrated edge, a beautifully sculpted body consisting of two bands of arched-shaped niches, and a central flat field adorned with fine calligraphy inscriptions enclosed in a rounded frame. The entire surface of this tray is covered with interwoven patterns that transport the viewer to a world of infinite beauty and exquisite craftsmanship. The art of calligraphy holds a prominent place in Islamic culture and is evident in the inscriptions that adorn these trays. The Arabic script is a sacred art form that expresses religious themes and serves as a reminder of the divine presence in all aspects of life. The fine calligraphy inscriptions on these trays are masterfully executed, showcasing the skill and creativity of the artisans who created them.Size: L:30mm / W:390mm ; 950gProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.
Lot 149
Ca. 10th-11th century AD. A bronze bowl characterized by a deep body, rounded base, and high sides. The bowl's interior is smooth and unadorned, while its exterior is finely decorated. The bowl's exterior features an engraved band of small circles with a dot around the rim, and the main register is an intercrossing of diagonal lines, interspersed with small circles, to create mesmerizing design. The base features a large six-pointed star within the circle and a dot band. The purpose of this bowl remains elusive, perhaps it was used in religious ceremonies, or as a decorative item for wealthy patrons, or even as a practical vessel for everyday use. Islamic metalwork is renowned for its intricate designs, superb craftsmanship, and ornamental motifs that often draw upon Islamic calligraphy and geometry. Metalworkers employed various techniques such as engraving, inlay, and casting to create a diverse range of objects, including bowls, ewers, lamps, and candlesticks.Size: L:125mm / W:255mm ; 1.4kgProvenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s.
Lot 232
Ca. 17th-19th century AD. A circular plate with a flat base and a convex rim, covered with arabesque designs and fine calligraphy to create a mesmerizing effect. The Arabic script, with its flowing lines and intricate curves, is masterfully executed on the plate, serving not only an aesthetic purpose but also a spiritual one. The arabesque patterns are formed by repeating geometric shapes and floral motifs, creating a sense of infinity and continuity. Arabesque designs are symbolic of the interconnectedness of all things in the universe and represent the infinite nature of God's creation.Size: L:15mm / W:400mm ; 710gProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.
Lot 237
Ca. 17th-19th century AD. A tinned copper water vessel with a tap is a stunning example of the exquisite craftsmanship of the Islamic world. Its bi-conical body sits on a splayed foot adorned with intricate openwork decoration and the same decoration repeats on the other end around the flared mouth. The body is flanked by a pair of arched handles riveted on opposite sides, adding to the vessel's functionality and elegance. The unique feature of this vessel is the perpendicular pipe with a tap finial at the bottom edge, designed for easy dispensing of water. The exterior decoration of the vessel is equally impressive. A central register of highly ornamented cartouches containing animals and complex tendril patterns draws the viewer's attention, flanked from above and below by horizontal bands of the calligraphy of blessings and benedictory inscriptions. The top and bottom of the vessel are adorned with symmetrical decorative bands, finely executed with intricate patterns of floral and geometric shapes. The overall effect of this vessel is one of balance and harmony, with every element contributing to a cohesive whole. Vessels with taps like this were an important part of Islamic material culture, serving not only as containers for water but also as vessels for purification and ritual cleansing before prayer. The combination of functionality and beauty in this vessel exemplifies the Islamic aesthetic, which emphasizes the unity of form and function, beauty and utility.Size: L:480mm / W:375mm ; 3.05kgProvenance: From the collection of a London gentleman; formerly in a collection of A. Kotlar, since the 1970s.
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