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Click here to subscribeA Mughal style picture of two horsemen, possibly intended as a Maharana of The Mewar Kingdom, framed and glazed; together with an Asian picture, possibly Thai, depicting a horseman, an elephant rider, and other figures beside four domestic fowl, also framed and glazed [2] Please note that there are some areas of deterioration, fading, damage or fold marks that are extant in this lot.
VAJIRALONGKORN: (1952- ) King of Thailand since 2016. He ascended to the throne when his father died, as the only son of King Bhumibol and of Queen Sirikit. Also known as King Rama X, Monarch of the Chakri dynasty. He is the oldest Thai monarch to ascend to the throne. Rare signed postcard photograph by the Crown Prince as Vajiralongkorn, the postcard showing to the front a colour photograph of the young Prince, wearing his military uniform, in a half-length pose. Signed in bold purple ink to a clear area of the image. Dated to the verso May 1966. VG
3 Ladies Sterling Jewelry Items and 1 Thai Silver Box, 4 total items. 1st item: Ladies sterling silver necklace featuring 20 emerald cut amethysts accented by 78 cabochon synthetic turquoise stones. The necklace is marked "925" and "Mexico". 20" L and gross weight of 172.7 grams. 2nd item: Ladies sterling silver earrings, matching the necklace and featuring 2 emerald cut amethysts accented by 8 cabochon synthetic turquoise stones. The earrings are marked "925" and "Mexico." 1" H and gross weight of 18.0 grams. 3rd item: Ladies Filigree sterling silver beaded necklace and pendant featuring a carved stone scarab with hieroglyphics en verso. The item is marked with a crown hallmark for sterling silver. 30" L and gross weight of 52.7 grams. The gross weight of jewelry is 243.4 grams. 4th item: Thai sterling silver box having scrolling foliate and deity repousse decoration to the exterior and a fitted wood interior. Underside marked "Made in Siam Sterling". 4" H x 10 1/2" W x 7 1/4" D. CONDITION: All pieces overall good condition with light general wear.
Oh de Laval Lady, 2020 Acrylic on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Oh de Laval (born Olga Pothipirom, 1990, Warsaw) is half Polish, half Thai. She likes "seeing what people are afraid of and why," an interest that culminates in overtly sexual painting that challenges the viewer. Laval seems to delight in the melange of awkward apprehension and floundering rage her work instills in British viewers, whilst noting the inverse reaction in international audiences. Laval's self professed manifesto dictates that the painter should have an inarticulate desire for something beyond the daily life; they should explore old artists' way of living rather than studying their way of painting and they should never ask for feedback on an unfinished painting - other opinions will affect the work and the artist will end up trying to please others. There's evidence to say Laval upholds these manifesto commitments: she's heavily influenced by Francis Bacon, however this is not a direct, technical or stylistic influence, she speaks of how she likes the way he lived, likes the risk and the hedonism. In Bacon's words "the art that has no balls has no value," Laval's deliciously unsettling work would certainly have interested him. Finally, Laval states "I'm not calling myself an artist, I'm a painter. I'm the only one who knows which one of my paintings is art and which one isn't [...] It's art for me." This unabashed egoism is what makes Laval so appealing, her work is unfiltered and, in an age awash with anxiety and self-doubt, her sultry, divisive compositions shine through. Laval studied for two years at the Academy of Fine Arts Warsaw, before moving on to study sociology at the University of Warsaw, where she became fascinated by Durkheim's notions of deviance, something that influences her work today.
Oh de Laval Tigeo TIGER, 2020 Watercolour on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Oh de Laval (born Olga Pothipirom, 1990, Warsaw) is half Polish, half Thai. She likes "seeing what people are afraid of and why," an interest that culminates in overtly sexual painting that challenges the viewer. Laval seems to delight in the melange of awkward apprehension and floundering rage her work instills in British viewers, whilst noting the inverse reaction in international audiences. Laval's self professed manifesto dictates that the painter should have an inarticulate desire for something beyond the daily life; they should explore old artists' way of living rather than studying their way of painting and they should never ask for feedback on an unfinished painting - other opinions will affect the work and the artist will end up trying to please others. There's evidence to say Laval upholds these manifesto commitments: she's heavily influenced by Francis Bacon, however this is not a direct, technical or stylistic influence, she speaks of how she likes the way he lived, likes the risk and the hedonism. In Bacon's words "the art that has no balls has no value," Laval's deliciously unsettling work would certainly have interested him. Finally, Laval states "I'm not calling myself an artist, I'm a painter. I'm the only one who knows which one of my paintings is art and which one isn't [...] It's art for me." This unabashed egoism is what makes Laval so appealing, her work is unfiltered and, in an age awash with anxiety and self-doubt, her sultry, divisive compositions shine through. Laval studied for two years at the Academy of Fine Arts Warsaw, before moving on to study sociology at the University of Warsaw, where she became fascinated by Durkheim's notions of deviance, something that influences her work today.
Oh de Laval Spanish Beauty, 2020 Watercolour on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Oh de Laval (born Olga Pothipirom, 1990, Warsaw) is half Polish, half Thai. She likes "seeing what people are afraid of and why," an interest that culminates in overtly sexual painting that challenges the viewer. Laval seems to delight in the melange of awkward apprehension and floundering rage her work instills in British viewers, whilst noting the inverse reaction in international audiences. Laval's self professed manifesto dictates that the painter should have an inarticulate desire for something beyond the daily life; they should explore old artists' way of living rather than studying their way of painting and they should never ask for feedback on an unfinished painting - other opinions will affect the work and the artist will end up trying to please others. There's evidence to say Laval upholds these manifesto commitments: she's heavily influenced by Francis Bacon, however this is not a direct, technical or stylistic influence, she speaks of how she likes the way he lived, likes the risk and the hedonism. In Bacon's words "the art that has no balls has no value," Laval's deliciously unsettling work would certainly have interested him. Finally, Laval states "I'm not calling myself an artist, I'm a painter. I'm the only one who knows which one of my paintings is art and which one isn't [...] It's art for me." This unabashed egoism is what makes Laval so appealing, her work is unfiltered and, in an age awash with anxiety and self-doubt, her sultry, divisive compositions shine through. Laval studied for two years at the Academy of Fine Arts Warsaw, before moving on to study sociology at the University of Warsaw, where she became fascinated by Durkheim's notions of deviance, something that influences her work today.
A group of Northern Thai Pottery vessels, 14th-15th century, comprising a circular bowl and cover, with brown glazed flowers and light blue lines, 16cm diameter; four other smaller circular bowls, 14th- 15th century, three with brown glazes and one blue and brown, all approximately 9.5cm to 10cm diameter; a blue and brown glazed two-handled vase, 10.5cm high; a celadon glazed globular ribbed jar, 6.5cm diameter; a small brown glazed jarlet, 5cm diameter and a buff-glazed three lugged jar and cover, 11cm diameter (9)Provenance: From a private English collection formed by the current owner's father circa 1960-1980.泰国北部 14-15世纪 陶罐等一组拍品来源：英国私人家族收藏Condition Report: The larger bowl and cover with 8cm x 1.5cm piece glued on inner rim and the cover inner rim with 5mm x 4mm chip filled and crazing to glaze; the four smaller pots and covers generally good but one with foot rim chip 2cm x 5mm and small firing faults an cracks and glaze crazing; the two-handled vase with some degrading to glazeCondition Report Disclaimer
An ebonised circular Eastern occasional Table, the top with a nicely detailed central carved scene with Thai type figure flanked by an elephant to either side and with a carved surround depicting stylised foliage and flowers within a scroll depicting frieze, raised on three legs framed by elephant heads, the trunks extending to form the supports, 24 3/4" diameter x 24 1/4" high.
A THAI BRONZE HEAD OF BUDDHA 17TH CENTURY Cast with a serene expression, the face framed by his pointed ears with elongated earlobes, his hair cast as many conical spikes, with traces of black lacquer to the face, together with a modern stand, 32cm, 11kg. (2) Provenance: no.29, ST400 in Jonathan Tucker Antonia Tozer Asian Art's 2007 exhibition Brightness from the East: an Important Exhibition of Indian, Southeast Asian and Chinese Art; and then the collection of Mr Richard Nathanson (d.2018), London, purchased from Jonathan Tucker Antonia Tozer Asian Art on 21st September 2007. A copy of the invoice is available. Cf. The Walters Art Museum, Baltimore, accession no.25.188 for a similar 17th century head in stucco from the Alexander B Griswold Collection.
A THAI PAINTED POTTERY BAN CHIANG-TYPE VASE PROBABLY NEOLITHIC Supported on a tall spread foot and surmounted by a flared neck, decorated in red with scrolling designs, 31cm. Cf. Bluett & Sons Ltd, The Legacy of Phra Ruang: An Exhibition of Thai Ceramics and of Ancient Pottery from Ban Chieng, pl.H for a related vase.
Boxing Carl Thompson signed 12x8 colour montage photo. Adrian Carl Thompson (born 26 May 1964) is a British former professional boxer who competed from 1988 to 2005. He held multiple championships at cruiserweight, including the WBO title between 1997 and 1999, and the IBO title twice between 2001 and 2005. Additionally, he held the British title in 1992 and 1999, and the European title in 1994 and 2000. He is also a former Muay Thai fighter, who fought in 1987 and 1989 for World Titles. Good Condition. All signed pieces come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.99, EU from £5.99, Rest of World from £7.99.
A group of three Thai bronze Buddha heads. Ayutthaya Period, Approximately 1450-1767. Having flame finial, snail curl hair and elongated ear lobes mounted on custom wood stand. Largest: 8 1/2" x 3 3/4" x 4 1/4". With base: 12 1/8" x 3 3/4" x 4 1/4". Smallest: 5 1/4" x 2 3/4" x 2 1/2". With base: 7 1/2" x 2 3/4" x 2 1/2".Condition: Wear and patina consistent with age. Smallest missing top of flame finial.Provenance: Largest and Smallest: Purchased from the L. H. Krusi Gallery, San Francisco, California, in December 1959.Middle: Purchased from Bill Meyer, INC., San Francisco, California, in August 1960.From the ex collection of Harry Harding.
A Thai 14th - 15th Century Sukhothai Underglazed Jar. A heavily-potted jar with a wide body. Coated in a white slip with a scrolling underglaze pattern between parallel bands around the shoulder. Diameter 13cm, height 12cm. 14th – 15th Century.Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
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