A 19thC Chinese famille rose porcelain Teabowl and Saucer, finely decorated in colourful enamels of a peacock amonst foliage, together with other Chinese Teawares, comprising a Teabowl and Saucer decorated in the Imari palette, two further Saucers, also in Imari palettes, two fruther Teabowls and two Cups (10)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
We found 7240 price guide item(s) matching your search
There are 7240 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
7240 item(s)/page
A small quantity of Chinese and Japanese wooden Carvings, to comprise a well-carved figure of a Man modelled with a frog on his shoulder and one at his feet, with three character incised signature, H 11cm, together with a Netsuke, a small lobed wooden Box, two Chinese root carving Figures and three carved Trees (8)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A quantity of decorative 20thC Chinese Ceramics, comprising a crackleware Bottle Vase, H 24cm, a Vase depicting dragons, H, also with a Chinese pottery figure of a man riding a Water buffalo, H 35cm, two green glazed animals, etc. (a lot)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A large antique Japanese kutani Vase, of baluster form, H 46cm, markings to base, together with a pair of modern Sleeve Vases, decorated with blossom, H 38cm (3)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A 19thC Chinese famille rose Platter, decorated in the typical style, W 27.5cm x L 35cm, together with an 18thC Chinese export Soup Tureen and Saucer, W 15cm x L 19.5cm, with knop finial, body and lid restored, and a Dish, lacking lid, W 7cm x L 8.5cm x H 4.5cm, also with a pair of Chinese export Vases, decorated with underglaze blue and fine flowering baskets, one heavily restored, H 18.5cm (6)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A 19thC Chinese famille rose Vase, of slender waisted form, H 22.5cm, together with a later 19thC famille rose Vase, H 15cm and another Vase, this one of tapering octagonal form in underglaze blue and white transitional decoration, H 20.5cm, a 19th mandarin palette Bowl, restored, D 14.3cm x H 6.5cm, and another Chinese Bowl (5)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A 17thC Chinese blue and white kraak type porcelain Plate, decorated to the well with flower basket, enclosed within border of alternating motifs, lobed rim, damaged and repaired, cracks emanating from rim, chipped to rim also, D 28.5cm.Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
An early 20thC Chinese Yixing pottery Teapot, decorated overglaze in colourful enamels with four character mark to base, H 13cm, together with another, this one of Pumpkin/Melon form, with recumbent foo dog finial, incised with script, character mark to base H 9cm, and three other similar, H 12cm, a pair of Vases and another similar (8)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A quantity of Asian cloisonne Wares, to comprise a pair of shouldered foliate Vases, H 15cm, together with a larger pair of baluster Vases, H 22cm, a pair of slender Vases, with birds flying amongst flora, H 14.5cm, together with some other pieces, including Ashtray, Bowl, Plate etc. (13)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A pair of 18thC Chinese export porcelain Plates, decorated in a Japanese style with iron red and green enamels, D 23.5cm, together with a Chinese famille verte Vase, H 12.5cm together with associated hardwood stand, and a rose Imari Cup and Saucer, decorated with colourful enamels, D 14.4cm and a verte Imari Saucer, damaged and restuck, D 13.4cm (6)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A 19thC Japanese Imari palette porcelain Bowl, with lobed rim, D x H, together with an Imari Plate, another Bowl, this one verte-imari, cracked with staple repair, two further, each with staple repairs, an Imari Saucer, also with a 20thC Satsuma Pot-pourri Urn and Vase of similar palette (8)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A good quality 18thC Chinese verte imari porcelain Charger, with underglaze blue panels interspersed with red flora and fauna, central well decorated with floral basket, further decoration verso, D 25cm, together with two 19thC famille rose Plates, decorated with colourful depictions of objects and creatures, restored, D 25cm, the other with bands of flora, D 25cm, broken and restuck, also with a small finely painted Saucer, D 15.5cm (4)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
An antique Chinese famille noir porcelain Vase, black ground with colourful enamels of prunus and chrysanthemum, of shouldered form and flared rim, damaged and repaired, with concentric circle mark to base, H 46cm.Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A Chinese bronze Han dynasty style Vase, of bulbous square form, flanked by loose rings, damaged, H 32cm, together with a square Chinese bronze Vase, H 23cm, a bronze navette shaped Censer, H 25cm, a metal Box with relief work scenes, a brass lidded Pot, Candlestick, etc. (9) Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
An antique Chinese porcelain monochrome Vase, of bottle shape, with bulbous base and slender neck, turquoise in colour, H 23.5cm, large chip to neck, together with another similar, also chipped to neck, H 24cm, and a monochrome turqouise blue Bowl, D 20cm (3)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
An unusual antique Chinese carved hardwood tile top side Table / Plant Stand, square top inset with Chinese tile depicting butterflies, beaded edges above carved and pierced foliate frieze, raised on four carved cabriole legs with masked figures to tops upon claw ball feet, note, split to tile, see images, W 41 cm x H 43 cm x D 41 cm. Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A Chinese nest of three hardwood Tables, probably huanghuali, circa 1900, rectangular tops above moulded scroll friezes, (larges) W 44.5 cm x H 61 cm x D 31 cm, (smallest) W 32 cm x H 40 cm x D 22 cm(3)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A matched pair of 19thC Chinese celadon Chargers, typical colouration with central depiction of ornate yellow flower basket, character mark verso, one with staple repair, the other with hairline, D 25.8cm, together with another similar, cracked, D 26cm, and a small celadon Bowl, also with a late 19thC famille rose and powder blue Charger, crazed and cracked, D 37cm, a late 19thC famille Verte Plate, D 21.5cm, a Republic Period Plate, D 24.5cm, and another Republic Period Plate, D 20.5cm (7)Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A collection of Asian art reference books, including 'Kraak Porcelain' by Maura Rinaldi, 1989, 'Chinese Export Porcelain from the Museum of Anastacio Goncalves, Lisbon' by Maria Antonia Pinto De Matos, 1996, 'Chinese Export Porcelain: Chine De Commande from the Royal Museums of Art and History in Brussels' by Dr C.J.A. Jorg, 1989, and 'Chinese Cloisonné: the Pierre Uldry Collection' by Helmut Brinker and Albert Lutz, 1989. Provenance: from the private collection of David Armitage, former conservator to the Department of Eastern Art at the Ashmolean Museum, Oxford, between 1970 and 1999.
Keith Proctor (British, b. 1961) Don't Get Me Started, 2011 Oil on Canvas Signed by artist on lower right Framed Measures approx. 49cm x 49cm (19" x 19") Keith Proctor (British, b1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Sandra Blow (British, 1925-2006) Cambridge, 1999 Silkscreen print in colours Signed and numbered 45/8547/100 Framed and glazed Measures approx. 72cm x 72cm (28.5" x 28.5") Sandra Betty Blow (14 September 1925 – 22 August 2006) was an English abstract painter and one of the pioneers of the British abstract movement of the 1950s. Blow's works are characteristically large scale, colourful abstract collages made from discarded materials. Born in London, she suffered scarlet fever as a child, spending weekends and holidays at her grandparents' fruit farm in Kent. There she spent time painting, before enrolling at Saint Martin's School of Art between 1941-1946, and then the Royal Academy Schools, 1946-1947. She later enrolled at the Accademia di Belle Arti in Rome, where she met Alberto Burri, her partner of a few years. Blow and Burri travelled in Italy together before moving to and working in Paris, and Burri became a life long influence in her work. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Keith Proctor (British, b. 1961) Small Change! Oil on Canvas Signed by artist on lower right Framed Measures approx. 49cm x 60cm (19" x 24") Some damage (moulding) to paint & canvas. Keith Proctor (British, b. 1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
After Banksy (British, b. 1974) Dismaland Bemusement Park program Printed on paper Measure approx. 34cm x 29cm (13.5" x 11.5") Banksy (British, b.1974 ) is perhaps the most controversial street artist of the modern day. He is famous for his stenciled graffiti works, which appear in public spaces around the world. His use of stenciling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Banksy often uses multi-layered stencils to employ multiple colours, and he frequently incorporates permanent environmental fixtures, such as street signs and architectural elements, into his work. Marked by dark humour, satire, and political commentary, much of his street art has become viral on the Internet. His most notable early work was the result of a trip to Palestine and the West Bank, where he stenciled nine images on the Bethlehem Wall. Despite his stealth presence, Banksy has become a mainstream phenomenon. In 2010 Banksy directed Exit Through the Gift Shop, a chronicle of the underground world of street art, which was nominated for Best Documentary at the Oscars. In 2015, he opened Dismaland Bemusement Park, a temporary exhibition of an inverted, dystopian Disneyland. Although Banksy has continuously emphasized an aversion to the art world through his output, he also produces traditional works on canvas and prints as well as branded merchandise such as t-shirts. His cultural significance, widespread popularity, and, certainly, the mystery of his identity have all contributed to the desirability of his art. According to Sotheby’s Mei Moses, the average compound annual return for Banksy is 8.5%, with 76.5% of works increasing in value. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Keith Proctor (British, b. 1961) Down By The River, 2012 Oil on Canvas Signed by artist on lower right Framed Measures approx. 60cm x 44cm (24" x 17") Keith Proctor (British, b1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Raymond Leech RSMA (British, b. 1949) Would I Lie to You? Oil on Board Signed by artist on lower left Comes with Certificate from Jamie Leigh Fine Art Framed Measures approx. 60cm x 58cm (23.5" x 23") Raymond Leech studied fine art and graphics at Great Yarmouth College of Art from 1965 to 1970. Leech works across various mediums and incorporates a sense of motion, romance, and rhythm through his figurative works and coastal scenes. Leech is part of the Royal Society of Marine Artists, the Guild of Norwich Painters, and the East Anglian Group of Marine Artists and he has won various awards for his works, such as the Not The Turner Prize. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Banksy (British, b. 1974) Group of four Banksy's books and ephemera comprising one Banksy's Bristol HOME SWEET HOME art book, one Banksy Wall and Piece art book, one Dismaland Bemusement Park brochure and one Dismaland Bemusement park map Printed on paper Brochure measure approx. 34cm x 29cm Banksy (British, b.1974 ) is perhaps the most controversial street artist of the modern day. He is famous for his stencilled graffiti works, which appear in public spaces around the world. His use of stencilling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Banksy often uses multi-layered stencils to employ multiple colours, and he frequently incorporates permanent environmental fixtures, such as street signs and architectural elements, into his work. Marked by dark humour, satire, and political commentary, much of his street art has become viral on the Internet. His most notable early work was the result of a trip to Palestine and the West Bank, where he stencilled nine images on the Bethlehem Wall. Despite his stealth presence, Banksy has become a mainstream phenomenon. In 2010 Banksy directed Exit Through the Gift Shop, a chronicle of the underground world of street art, which was nominated for Best Documentary at the Oscars. In 2015, he opened Dismaland Bemusement Park, a temporary exhibition of an inverted, dystopian Disneyland. Although Banksy has continuously emphasized an aversion to the art world through his output, he also produces traditional works on canvas and prints as well as branded merchandise such as t-shirts. His cultural significance, widespread popularity, and, certainly, the mystery of his identity have all contributed to the desirability of his art. According to Sotheby’s Mei Moses, the average compound annual return for Banksy is 8.5%, with 76.5% of works increasing in value. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Elisabeth Collins (British, 1904–2000) Untitled Ink and watercolour on paper Signed lower right in pencil Framed & glazed Measures approx. 27cm x 21cm (10.5" x 8.5") Elisabeth Collins (British, 1904-2000) was a painter, sculptor. Trained at Leeds School of Art and Royal College of Art, London. Elisabeth Ramsden; on 3 April 1931 married Cecil Collins. Both artists worked in similar styles and often featured elements of folklore or fantasy in their paintings, which led to Elisabeth Collins' work being somewhat overshadowed by that of her husband. Elisabeth also frequently modelled for her husband and worked to support and encourage his work. For a time she exhibited under the name Belmoat to distinguish her work from his. From 1937 to 1945 the couple lived near the artistic community at Dartington Hall, the then home of Leonard Elmhirst and Dorothy Elmhirst, and this was perhaps Elisabeth Collins' most productive period as an artist.[5] Working in gouache, ink and watercolour, Collins produced dream-like images of mystical figures that recalled the work of the surrealists she had previously met in Paris in the early 1930s. From 1948 the Collinses lived in Cambridge where they were among the founders of the Cambridge Society of Painters and Sculptors. At other times the couple lived in London, Yorkshire and Oxford. In 1973 Collins and her husband were jointly commissioned to decorate a chapel in Chichester Cathedral.[5] After his death in 1989, Elisabeth Collins used her husband's studio to produce a body of work. Retrospective exhibitions of Elisabeth Collins' art were held at both the Albemarle Gallery in London during 1989 and at England & Co. in 1996. Following the England & Co. exhibition, the Tate in London acquired four works by her. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Cecil Collins (British, 1908-1989) The Joy Of The Fool, 1944 Roneo print on paper Signed and numbered 13/30 in pencil by the artist Personal message written ' With love and friendship from Elisabeth and Cecil September 19th London 1973 ' Framed & glazed Measures approx. 30cm x 20cm (12" x 8") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Cecil Collins (British, 1908-1989) Kneeling Fool, 1977 Lithograph on paper Signed and tilted by artist Artist's proof and dated 1977 in pencil by the artist Personal message written "For Eric and Anne, with warm best wishes from Cecil and Elisabeth Collins". Framed & glazed Measures approx. 20cm x 13cm (8" x 5") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Cecil Collins (British, 1908-1989) The Voice of The Fool, 1944 This edition limited to 30 copies was drawn and printed by Cecil Collins for this friends. Screenprint on paper Signed and numbered 22 in pencil by the artist Framed and glazed Measures approx. 40cm x 32cm (16" x 12.5") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
After Banksy (British, b.1973) Walled Off Hotel "Palestine" poster and a "The Walled Off Hotel - The Worst View in The World" porcelain mug Poster measures approx. 57cm x 40cm, mug measures 12cm in diameter including the handle. If postage is required, any print within this sale will be posted rolled unless informed otherwise. Banksy (British, b.1973 ) is perhaps the most controversial street artist of the modern day. He is famous for his stencilled graffiti works, which appear in public spaces around the world. His use of stencilling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Banksy often uses multi-layered stencils to employ multiple colours, and he frequently incorporates permanent environmental fixtures, such as street signs and architectural elements, into his work. Marked by dark humour, satire, and political commentary, much of his street art has become viral on the Internet. His most notable early work was the result of a trip to Palestine and the West Bank, where he stencilled nine images on the Bethlehem Wall. Despite his stealth presence, Banksy has become a mainstream phenomenon. In 2010 Banksy directed Exit Through the Gift Shop, a chronicle of the underground world of street art, which was nominated for Best Documentary at the Oscars. In 2015, he opened Dismaland Bemusement Park, a temporary exhibition of an inverted, dystopian Disneyland. Although Banksy has continuously emphasized an aversion to the art world through his output, he also produces traditional works on canvas and prints as well as branded merchandise such as t-shirts. His cultural significance, widespread popularity, and, certainly, the mystery of his identity have all contributed to the desirability of his art. According to Sotheby’s Mei Moses, the average compound annual return for Banksy is 8.5%, with 76.5% of works increasing in value. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Mike Bernard (British, b. 1957) Orange Rooftops, Cornwall, Fishing village Mixed media on paper Signed lower right Framed & glazed Measure approx. 47cm x 76cm (18.5" x 30") Mike Bernard was born in Kent in 1957. He trained at the West Surrey College of Art & Design, Farnham, followed by postgraduate studies at the Royal Academy Schools. Since then he has exhibited widely in London and the provinces. The artist was elected a member of the Royal Institute of Painters in Watercolour in 1997. He moved to Devon in 2008 where he has been inspired by the amazing light. Mike Bernard enjoys experimenting with media and techniques, often using mixed media incorporating collage and acrylics. Mike has used paper collage for several years and has developed a highly original and appealing style of his own. As a base to his paintings it has allowed him to create abstract structures that in turn develop into those “happy accidents” which come about from time to time. Random textures, colours and shapes suddenly fall into place. This method allows picture to evolve their own personality as they progress, which avoids them becoming over-representational. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Kate Nicholson (British, 1929-2019) Untitled (Coastal Light), 1967 Watercolour and gouache on paper Signed indistinctly Measures approx. 73cm x 52cm (29" x 20.5") Kate Nicholson, painter, especially of still lifes and flower pieces; teacher. Nicholson was born at Bankshead, Brampton, Cumberland, the only daughter of the artists Ben and Winifred Nicholson. She attended Bath Academy of Art, 1949–54, after which she taught for two years at Totnes High School. She had visited Cornwall and in 1956 settled in St Ives. She worked there, at Bankshead and regularly visited Greece. As well as showing with Penwith Society from 1956, Kate Nicholson was included in the Arts Council tour Six Young Painters in 1961 and The Nicholsons, Crane Kalman, 1983. Solo shows included Waddington Galleries, Marjorie Parr Gallery and LYC Museum and Art Gallery, Brampton, 1981. Arts Council holds her work. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Keith Proctor (British, b. 1961) Just Us Two Oil on Canvas Signed by artist on lower right Framed Measures approx. 90cm x 68cm (35.5" x 27") Keith Proctor (British, b1961) is a self-taught artist, specialising in oils who originally spent his time painting nature scenes, depicting birds, dogs and horses, before progressing to people and town scenes capturing his native North East. Nowadays, Proctor puts children and youngsters very much at the centre of his works of art, displaying a knack for framing his joyful subjects in timelessly innocent, playful, adventurous poses. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Michael Lawes (British, b. 1948) Tower Bridge, 2007 Oil on Board Signed by artist on lower right Framed Measures approx. 75cm x 75cm (29.5" x 29.5") Michael Lawes (British,b 1948) studied at Birmingham College of Art & Design 1964-68. He became a member of the Royal Birmingham Society of Artists in 1994. His geometric abstract reliefs are concerned with the interaction between complimentary colours, 2D & 3D shapes, actual and optical space and the play of light on projected surfaces. The interaction between all these elements of the my work changes in relation to the spectators angle of vision. Lawes's work has appeared in numerous exhibitions in the Midlands, London and south west of England. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Cecil Collins (British, 1908-1989) Head In A Tree (Tree And Hills), 1944 Roneo print on paper Signed and numbered 11/30 in pencil by the artist Framed & glazed Measures approx. 21cm x 27cm (8.5" x 10.5") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Cecil Collins (British, 1908-1989) Kneeling Fool, 1977 Lithograph on paper Signed, tilted and numbered 15/50 in pencil by the artist Personal message written ' For Anne, for her birthday, many Happy Returns of the Day with Love from Elisabeth and Cecil June 15th 1980 ' Framed & glazed Measures approx. 20cm x 13cm (8" x 5") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Cecil Collins (British, 1908-1989) Head, 1939 Drypoint on paper Signed, tilted, dated and numbered 12/40 in pencil by the artist Framed & glazed Measures approx. 8.5cm x 7.5cm (3.5" x 3") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Beryl Cook (British, 1926-2008) Street Market Screenprint on paper Signed in pencil lower right Published by Alexander Gallery Publications Blind stamped FDA Framed and glazed Measures approx. 40cm x 27cm (16" x 10.5") Beryl Cook, OBE (10 September 1926 – 28 May 2008) was a British artist best known for her original and instantly recognisable paintings. Often comical, her works pictured people whom she encountered in everyday life, including people enjoying themselves in pubs, girls shopping or out on a hen night, drag queen shows or a family picnicking by the seaside or abroad. She had no formal training and did not take up painting until her thirties.She was a shy and private person, and in her art often depicted the flamboyant and extrovert characters so different to herself. Cook admired the work of the English artist Stanley Spencer, his influence evident in her compositions and bold bulky figures. Another influence was Edward Burra, who painted sleazy cafés, nightclubs, gay bars, sailors and prostitutes, although, unlike Burra, she did not paint the sinister aspects of scenes. She had an almost photographic memory. Although widely popular and recognised as one of the most well-known contemporary British artists, Cook never enjoyed acceptance by the art establishment. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Beryl Cook (British, 1926-2008) Two On A Stool Screenprint on paper Signed in pencil lower right Published by Alexander Gallery Publications Blind stamped ECA Framed and glazed Measures approx. 40cm x 27cm (16" x 10.5") Beryl Cook, OBE (10 September 1926 – 28 May 2008) was a British artist best known for her original and instantly recognisable paintings. Often comical, her works pictured people whom she encountered in everyday life, including people enjoying themselves in pubs, girls shopping or out on a hen night, drag queen shows or a family picnicking by the seaside or abroad. She had no formal training and did not take up painting until her thirties.She was a shy and private person, and in her art often depicted the flamboyant and extrovert characters so different to herself. Cook admired the work of the English artist Stanley Spencer, his influence evident in her compositions and bold bulky figures. Another influence was Edward Burra, who painted sleazy cafés, nightclubs, gay bars, sailors and prostitutes, although, unlike Burra, she did not paint the sinister aspects of scenes. She had an almost photographic memory. Although widely popular and recognised as one of the most well-known contemporary British artists, Cook never enjoyed acceptance by the art establishment. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lin Fengmian 林风眠 (1900 - 1991) Pair of Herons 双鹭 Oil on canvas Signed and mounted Measures approx. 60cm x 80cm Lin Fengmian was a pioneer of modernism known for his brilliant hybridization of Chinese and European styles, subjects and methods. In his role as a prominent educator, Lin laid the foundation for Chinese modern art. Throughout his long and productive life, Lin absorbed a wide array of stylistic approaches into his paintings, and was one of the earliest Chinese artists to make a serious study of European modern art along with traditional ink paintings. By 1920 Lin was working as a signboard painter in Marseilles, sketching and studying French in his spare time. Lin’s work as a sign painter would help develop the steadiness and clarity of his later brushwork. Following six months of study at the School of Fine Arts in Dijon, Lin left for Paris where he studied at the École des Beaux Arts and the studio of Fernand Cormon (1845-1924). He had a highly eventful year in Germany, where he saw the works of German Expressionists and held a one-man exhibition, married his first wife, and exhibited 42 paintings in an Exhibition of Traditional and Modern Chinese Art. Soon after, with the untimely and sudden death of his wife and first-born child, the stunned Lin’s art and outlook were transformed. He remarried in 1925 and then returned to Beijing in 1926, committed to revitalizing Chinese art through education. After serving as the first principal of the National Beijing Fine Art School he founded the Hangzhou National College of Art where he taught Western style painting to students including Zao Wou-Ki, Chu Teh-Chun, and Wu Guanzhong. Lin Fengmian’s life was marked by numerous upheavals and tragedies including the destruction of may of his works during the Sino-Japanese War and Cultural Revolution. After leaving China in 1977 to reunite with family members Lin Fengmian ultimately settled in Hong Kong where he died in 1991 at the age of 90 years old. His work can be found in many museum collections including the Metropolitan Museum of New York, the Cernuschi Gallery of Asian Arts of Paris, and the Art Gallery of New South Wales. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Darren Baker (b. 1976) Black Seduce, 2014 Oil on canvas Signed by artist on lower left Comes with Certificate from White Rose Fine Art Framed Measures approx. 30cm x 38cm (12" x 15") Darren Baker (British, b1976) graduated from Bradford Art College in 1998. After College, Baker quickly became an acclaimed artist. By age 23, Baker exhibited his artwork in London and New York and became the official artist of The Professional Footballer & 39;s Association (PFA). Baker’s artistic success continued to develop as he was commissioned to capture a portrait of HM Queen Elizabeth II and later became the official artist for the London Olympics 2012. Baker’s artworks are at the forefront of classical realism, with The Sunday Times describing his work as “thrilling” and “virtuosic”! This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Raymond Leech RSMA (British, b.1949) Another One Of Those Crazy Feelings Oil on Board Signed by artist on lower left Comes with Certificate from Jamie Leigh Fine Art Together with limited edition signed print of same painting. Framed Measures approx. 60cm x 58cm (24" x 23") Raymond Leech (British, b 1949) studied fine art and graphics at Great Yarmouth College of Art from 1965 to 1970. Leech works across various mediums and incorporates a sense of motion, romance, and rhythm through his figurative works and coastal scenes. Leech is part of the Royal Society of Marine Artists, the Guild of Norwich Painters, and the East Anglian Group of Marine Artists and he has won various awards for his works, such as the Not The Turner Prize. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Cecil Collins (British, 1908-1989) Head, 1974 Lithograph on paper Signed and numbered 10/75 in pencil by the artist Framed & glazed Measures approx. 40cm x 32cm (16" x 12.5") Cecil Collins (1908-1989), a Plymouth born painter inclined towards the Neo-Romanticism movement, was unusual amongst the artists at Dartington between the wars in that he was local to the area. He was initially apprenticed to an engineering firm in Millbay Docks. He went on, however, to Plymouth School of Art in 1924 and thence to the Royal College of Art until 1931. There he met and married fellow student Elisabeth Ramsden. In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981 was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Terry Frost RA (British, 1915-2003) Untitled Pen on paper Signed lower left in pen Measures approx. 36cm x 52cm (14" x 20.5") Sir Terence Ernest Manitou Frost RA (13 October 1915 – 1 September 2003) was a British abstract artist, who worked in Newlyn, Cornwall. Frost was renowned for his use of the Cornish light, colour and shape to start a new art movement in England. He became a leading exponent of abstract art and a recognised figure of the British art establishment. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A Khmer greystone head of Buddha, likely 13th to 14th century. The face is carved with a subtle smile and the figure wears an elaborate headdress. With a wooden display stand.Provenance: Hindman's Chicago, sale 785, "Chinese and Southeast Asian Works of Art," September 24, 2020, Lot 370; Private Minnesota Collection.Height: 14 in x width: 6 in x depth: 6 in.Condition:The work is in overall stable condition with no major damages, cracks, or restorations. Wear and erosion throughout consistent with age and display. The top of the headdress is chipped. Light wear to the wooden plinth. There is a Hindman's auction sticker affixed to the wooden plinth.
Vladimir Griegorovich Tretchikoff (South African, 1913-2006)Zulu Girl signed and dated 'TRETCHIKOFF/ 51' (lower right)oil on canvas 66.5 x 49.5cm (26 3/16 x 19 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist by Mark & Aleen Dawson;Bequeathed to Aleen Dawson's niece, Donna Regan Lefeve;By direct descent to the current owners.Never exhibited in the lifetime of the artist, this work was painted during Tretchikoff's golden decade. It was in the 1950s that he produced such mass-market masterpieces as the Chinese Girl (a high-profile sale was handled by Bonhams in 2013), Miss Wong and Balinese Girl. The Broadway actor Mark Dawson purchased Zulu Girl in 1953, when Tretchikoff brought his show to Chicago. The second painting that Dawson acquired from the artist was the iconic Lost Orchid (seen also in this catalogue).It is probably an early version of the Zulu Girl, a work that first became available in reproduction in 1952, during Tretchikoff's tour of South Africa. The following year, he brought both versions to the USA for his tour of North America. After the phenomenal success of the tour, he took one of the Zulu Girls to London, where Frost & Reed, an old Bond Street art dealership, had lithographs made of the painting. Tretchikoff may be credited with introducing the African theme in popular prints of the post-war Britain. If we examine the issues of the Art Bulletin, a journal of the Fine Art Trade Guild, the leading association of British makers, distributors and framers of art reproductions, we will notice an absence of African portraits until Tretchikoff's Zulu Girl appeared on the market in 1955. The Zulu Girl is Tretchikoff's typical 'exotic' portrait. In his oeuvre, it is this kind of portraits that is most sought after. Unlike his pictures of Asian women, it is purely South African in its subject matter. With such studies, Tretchikoff created images of serenity for the industrialised world. In his exhibition catalogues, Zulu Girl was described as follows, 'A portrait in repose, suggesting the essential spirit of Africa, still so little known and so greatly misunderstood by the European.'The early version, like the often-reproduced picture, is dated 1951. The most obvious difference is the presence of a dappled red-and-blue background in the work in the Dawson collection. However, a more significant difference is the unembellished look of the model in this version. Tretchikoff tended to produce pastiches, where visual elements of different cultures were put together for effect. In the better-known Zulu Girl, as well as in many other 'ethnic' portraits by Tretchikoff, the model wears European jewellery that contrasts with her traditional African dress. Her large gold earrings, bracelet and necklace were unaffordable to a Zulu woman in apartheid South Africa.Depicting the same model without the inappropriate accessories, the Zulu Girl from the Dawson collection is a more authentic representation of African reality.We are grateful to Boris Gorelik for his completion of this footnote.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Two Japanese jade set kogai, length 16.5cm and 13cm. Two Japanese crystal kogai, length 13.5 and 12.5cm; an Art Deco yellow glass kogai, length 13.5cm; and a Japanese gold and black lacquer hairpin, signed, length 11cm and another unsigned, length 12.5cm; and a Japanese lacquer comb with three matching hairpins, all 19th and 20th century. (11)From the collection of Pat Johnstone, a Cornish artist and sculptor, who also had a passion for collecting Asian antiques and especially Japanese combs, kogai and kanzashi. Her collection has been curated for over 40 years and includes items from the Miriam Slater collection.
Edward F. Strange. The Colour-Prints of Hiroshige. Frank A. Turk. The Prints of Japan; Victorian and Albert Museum. Japanese Colour Prints, 1952; George Allen and Unwin. The Birth of Japanese Art; and The Collection of Keisuke Serizawa. (5)From the collection of Pat Johnstone, a Cornish artist and sculptor, who also had a passion for collecting Asian antiques and especially Japanese combs, kogai and kanzashi. Her collection has been curated for over 40 years and includes items from the Miriam Slater collection.
Four Asian sale catalogues and seven reference books & magazines. (11) To include Bonhams 'The Inder Rieden Collection of Fine Chinese Porcelain, November 2011; Hardback 'Exceptional Chinese Art From a European Private Collection', December 2015; Imperial Splendour, December 2015; Asian Art, May 2016; China The Three Emperors 1662-1795; Chinese Art Auction Records, 2000; Dr. Fischer auction catalogue, October 2012; two Orientations magazines and two Jacqueline Simcox textiles brochures. (11)These are generally in a vg condition, with a couple suffering from some light finger soiling.n MMore photos have been uploaded.
A Chinese grey-green jade vase, Qing Dynasty, 18th/19th century. With attached circular paper label inscribed 'L. WANNIECK, PARIS, Kien Song 1736/1795', of baluster form, with ring handles above leaf carved shoulders, the body carved in low relief, with central acanthus leaf decoration above the foot-rim, on original carved wood stand, vase height 12.5cm, width 5.5cm, depth 1.5cm, stand height 2.7cm.Leon Wannieck was a Parisian Asian art dealer in the early 1900's. The Maison L. Wannieck possessed the historical particularity, rare in that period for an antique dealer specialised in Chinese arts in the period, to have founded in Beijing on the Tiananmen Square in 1902. This parent company, where Francis Perault seems to have served as relay, every two weeks or so supplied the Paris gallery, located first at 5 rue d'Enghien (10th arrondissement), then at 1 rue Saint-Georges (9th arrondissement) from 1914 on (Wannieck L. 1911). Some pieces were acquired from Beijing antique dealers, whereas others were purchased from locals undertaking digs (Rostovtzeff M. 1929, p. 111). He or his nephews appear to have archaeologically dug items up themselves! Private collection of a Parisian lady (1876-1964), whence by family descent to the present South West Cornwall vendor. This is in excellent unrestored condition
Masterpieces of Indian Textiles, Rustam J. Mehta. Textiles and Ornaments of India, The Museum of Modern Art, New York; The Cotton Weavers of Bengal, Debendra Bijoy Mitra; The Master Weavers, The Festival of India in Britain, Royal college of Art Autumn 1982; The Arts & Crafts of Kerala, Dr Stella Kramrisch; Francesca Galloway, Asian Textiles, Indian Miniatures & Works of Art 2000; Museums of India, National Handicrafts and Handlooms Museum, New Delhi, Jyotindra Jain and Aarti Aggarwala; and Monks and Merchants, Silk Road Treasures from Northwest China, Annette L. Juliano and Judith A. Lerner. (8)
Asian Art Books, comprising: Four Volumes of 'A Journey into China's Antiquity' Compiled by the National Museum of Chinese History [Editor-in-Chief, Yu Weichao; Managing Editor Xiao Shiling]. All four published by Morning Glory Publishers [1997], covering the periods from the Palaeolithic age to the end of Qing. Together with 'Seeing the Sacred in Samsara/An illustrated Guide to the Eighty Four Mahasiddhas' by Donald S.Lopez Jr. [5]
A portable oratory for suspention, Namban Art, fully black lacquered wood with mother-of-pearl inlay and gold decoration "Birds and flowers" and "Landscapes", Cornice with medallion "Insignia of the Society of Jesus", original copper clasp, nippo-portuguese - Momoyama period (1573-1615), faults, mounts and later consolidation plaques, painting missing. Notes: Portable oratory Japan; ca. 1580-1620 Lacquered and gilded wood with mother-of-pearl inlays; copper fittings 69.0 x 51.0 x 7.0 cm (closed); 69.0 x 102.0 x 7.0 (open) A large, rare, and significant Namban portable oratory, or two-door retable, made in Japan for export to the European market. It features a low curved pediment and simple narrow socle, and is fitted with two doors that once covered a devotional painting, now lost. Designed to be hung on a wall, this oratory was created for private devotion within the context of the Jesuit missionary work in Asia, specifically in Japan. Made from a lightweight wood, likely the Japanese cypress (Chamaecyparis obtusa), locally known as hinoki, it is lacquered (urushi) in black and decorated in gold with mother-of- pearl (raden) inlays. The back panel is lightly coated with lacquer on both sides, and the copper fittings (kazarikanagu) include four hinges (chotsugai), a two-part clasp for securing the doors when closed, and a suspension ring on top. The sides and top are decorated with East Asian arrowroot vines (Pueraria lobata), known as kuzu. Both the exterior and interior sides of the doors are exquisitely decorated in horror vacui, featuring large panels divided into two registers. These panels, as those on the interior, are bordered by a typical frieze of the ‘endless pearl’ pattern (shippotsunagi). This distinctive frieze, inherent to this production, is also used on the border of the arched pediment, the socle, and the interior frame that once secured the now lost painting inside, possibly on copper. The interior frame also boasts a frieze of meandering vines and tendrils (karakusa), characteristic of this production. The exterior side of the left door is decorated with two long-tailed birds: one below perched on the branches of fully bloomed tree peonies (Paeonia x suffructicosa), known in Japan as botan, and the other above, hovering over flowering plants of the Chinese bellflower (Platycodon grandiflorus), or kikyo. On the interior side, a large branch of the Chinese persimmon (Diospyros kaki), or kaki, is depicted on the lower register, while the upper register features, on a rocky landscape, flowering plants of the chrysanthemum (Chrysanthemum sp.), or kiku. Similarly, the exterior side of the right door depicts two long-tailed birds: one below, perched on the flowering branches of the Japanese cherry tree (Prunus serrulata), known as sakura, and the other above gliding over chrysanthemums. The interior side showcases a branch of the Mandarin orange tree, or tachibana (Citrus tachibana), in the lower register, and Chinese bellflowers in the upper register. The decoration of the arched pediment inside features a central round medallion bearing the emblem of the Jesuits: the Christogram inside a flaming sun, surmounted by a cross, and with the nails of the Crucifixion below, set against a ground decorated with Chinese bellflowers. The pediment is bordered by a frieze of alternating triangles. Unlike other examples, the pediment of our oratory, featuring the Jesuit emblem, only becomes visible when opened. This is likely a testament to the growing difficulties faced by missionaries in Japan in the early decades of the seventeenth century and the subsequent persecution of the newly converted and missionaries, some of whom were martyred. The Jesuits were finally banned in 1587 and officially expelled in the 1620s, marking the end of Jesuit missionary work in Japan, which began in 1549, when Francis Xavier (1506- 1552) landed in Kagoshima on August 15. The refined gold decoration applied to this rare portable oratory, known as maki-e, literally ‘sprinkled picture’, was common in the Momoyama and early Edo periods in Japan. Lacquerware made especially for export at the imperial city of Kyoto, which combined mother-of-pearl inlays with hiramaki- e, is referred to as nanban makie or nanban shitsugei - see Pinto (1990), Impey (2000), Impey and Jörg (2005), Curvelo (2010), Kawamura (2013), and Canepa (2016). Namban or nanban-jin (literally, ‘Southern Barbarian’) is a Japanese term of Chinese origin that denotes Portuguese and Spanish merchants, missionaries, and sailors who arrived in Japan in the sixteenth and seventeenth centuries. Over time, Namban has become associated with lacquerware and other goods commissioned in Japan for domestic or export, reflecting Western tastes and often modelled after European prototypes, or included European iconography, such as depictions of Portuguese merchants, officials, and missionaries. Namban- style products thus combine Japanese techniques, materials, and motifs with European styles and shapes, illustrating a cultural fusion that emerged during this period of cultural exchange. Namban portable oratories, usually fitted with doors and featuring a pediment, survive in limited numbers, varying in size and shape, scattered across public and private collections in Japan, Europe, and the United States of America - see Impey and Jörg (2005), pp. 186-189, and Canepa et al (2008), pp. 246- 253, cat. 28. Our example is one of the largest known portable oratories from this production, surpassing the large (68.2 x 30.4 x 5.6 cm) oratory in the Wolverhampton Art Gallery (inv. O.J. 232) - see Impey and Jörg (2005), pp. 186-189, cat. 444. The Wolverhampton oratory, distinguished by its tall triangular pediment, also bears the Jesuit emblem. In contrast to many examples of this production, which often exhibit signs of wear, restoration, or loss of their delicate lacquered and gilded decoration, our large oratory remains remarkably well-preserved, having never undergone restoration., Dim. - (fechado) 69 x 51 x 7 cm; (aberto) 69 x 102 x 7 cm
Loading...-
7240 item(s)/page