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Click here to subscribeThree Asian pottery art pieces, featuring a warrior head bust, a vase with brown and green glaze, and a large black round bowl with a central handle. Dimensions of the largest item: 3.5"H x 7.5" dia. The vase has its original box which measures: 3.75"L x 3.75"W x 6"H. Dimensions: See DescriptionCondition: Age related wear.
Circa 12th century A.D.. A matched pair of bronze dragon earrings, each a hollow cone with bands of linear ornament, dragon heads flanking the loop with teardrop wings. 77 grams total, 50 mm each (2 in.). From the collection of the late Asian art specialist Joseph G. Gerena, New York, U.S.A. Ex Derek J. Content, London, UK. From the private collection of a North London lady. [2, No Reserve]
AD 253-268.. IMP GALLIENVS AVG, radiate and cuirassed bust to right / [VIC]TORIA GERMAN, Victory, on the left, standing to right, holding wreath in right hand and palm frond in left, facing Gallienus, on the right, standing to left, holding globe in right hand and spear in left; in field above, star. RIC V.1 452 (joint reign; uncertain Asian mint); Cohen 1173; MIR 1607b. 3.82gr, 20mm, 12h (). Acquired on the UK art market; Property of an Essex, UK, gentleman. Good Very Fine. Much silvering remaining. [No Reserve]
2nd-4th century A.D. or later. A carved schist head with tightly curled hair, wreath to the brow with a vine-leaf at each temple, curled moustache and beard, ears with long lobes; mounted on a custom-made stand. For a similar head, in terracotta, see The Metropolitan Museum of Art, accession no.1979.507.2. 3.75 kg, 29.5 cm (11 1/2 in.). With the arrival of Greek colonists into Central Asia and Northern India and the establishment of the Indo-Greek kingdom, came Greek culture and religion which merged with that of the local population. Greek deities, such as Dionysus, were often merged with Buddhist deities, or worshipped in their own right. The image of Dionysus as a mature male with beard and wreath is often referred to as the Indian Dionysus as it depicts the god after his triumphant return from the East with his retinue of Maenads. The adventures of Dionysus in India are recounted in the Greek epic poem, the Dionysiaca. The image of Dionysus returning from India in a chariot pulled by tigers was a favourite for Classical artists and often appeared on sarcophagi as an allegory for the rebirth of the soul. Drinking wine, dancing, and music making were popular subjects for the embellishment of early Buddhist religious centres. The Buddha condemned intoxicants, and music and dance were considered unfit for the monastic community, although they were tolerated in lay contexts. The reason for the depiction of scenes of revelry, along with the Greek god Dionysus, may be the earlier, pre-Buddhist practices celebrating abundance and agricultural prosperity, which involved wine drinking. Dionysus may have been transformed and and understood in the Gandharan context as the South Asian god Indra, whom lay followers would have known as the deity who rules over the paradise known as the Trayastrimsa heaven. As the lay Buddhist community was more concerned with having a positive rebirth (enlightenment being out of reach for all but the most learned of monks) the idea of being reborn in a heaven associated with Indra would no doubt have been attractive. It is thought that the influence of Dionysus on Indian culture may have inspired the development of the Hindu deities Shiva and Krishna, both of whom share similar characteristics to the Greek god.Acquired 1960-1980s. From an important London, W1, collection. Private collection, England.
A Chinese Qing Dynasty famille vert powder blue ground baluster vase, the sides and neck with quatrefoil shape panels with scenes of courtly leisure. Gilded decorations to the blue ground. 36 cm tall. Chips to rim. Note:- For an almost identical vase see Lot 382 Christies South Kensington, Asian Art Sale of 15 Sep 2005.
A large 20th century Mallard Drake decoy duck, of painted timber and cork construction, 36cm long, together with a Chinese woven wicker and bamboo rice box in the form of a seated duck, ‘People’s Republic of China’ paper label to underside, 33cm long, and an Asian folk art model of a cygnet (3)
A collection of Asian Art, to include: A Persian polychrome glazed tile depicting a huntsman on horseback holding a bow and arrow, 18 x 18 cm, mounted; Three Indian Mughal type paintings, gouache and gilt paint on paper, one with glazing on both sides of frame to reveal calligraphic inscription verso, approx. 9 x 9 cm each; together with another print after a Turko-Mongolian painting (5)
A Group of Asian art prints and paintings, to include: Eiichi Kotozuka (Japanese, 1906-1979) - 'Bamboo', woodblock, bearing seal marks lower right with inscribed label verso, 26 x 39 cm; signed with seals image 39.5 x 25.5cm, framed and glazed; A Balinese Kasman painting depicting a narrative scene with figures, 76 x 41 cm; A batik painting of two flowers, ink on fabric, 43 x 37 cm; together with two Chinese silk paintings depicting fish and a bird on branch, both with red seal marks, all framed (5)
Ca. AD 618 – 909A Chinese terracotta female musician. The lady kneeling, wearing a long robe beneath a short overtop. Her hair is arranged into a high double top knot and she plays the cymbal. For similar see: Asian Art Museum San Francisco, B60P316. This piece has been precisely dated using a thermoluminescence analysis carried out by Ralf Kotalla. The report will accompany the lot.Size: 220mm x 100mm; Weight: 2kgProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. AD 100 - 200A stone fragment in three sections, the central section is carved with a figure of Maitreya standing with his hand raised in the Abhaya mudra and wearing long flowing robes elegantly draped across his shoulder, flanked by two sections of Bodhisattvas backed by pilasters with acanthus leaf capitals. For similar see, Christie's LIVE AUCTION 1974 INDIAN & SOUTHEAST ASIAN ART, lot 541.Size: 390mm x 360mm; Weight: 9.89kgProvenance: Property of an Oxfordshire art professional; previously in an old Canadian collection of F. N., Ontario, formed in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
White Porcelain Statue of Guanyin, The Goddess of Mercy This exquisite white porcelain statue depicts Guanyin, the revered Goddess of Mercy in East Asian Buddhism. Expertly crafted and intricately detailed, Guanyin is shown holding a delicate flower, symbolising purity and compassion. The figure is adorned in flowing garments, rendered with remarkable precision, showcasing the artisan’s skill. Standing on a finely decorated pedestal base, the statue measures 10 inches in height. Although the statue has minor nibbles or small chips on the hands, it remains a beautiful and spiritually significant piece, perfect for collectors and admirers of East Asian art and mythology.
Mid-Century Chinese Wall Hanging with Mother of Pearl Inlay This exquisite mid-century Chinese wall hanging is a captivating depiction of a mountainous scene with a sailing ship. Encased within a sophisticated black frame, the artwork employs vibrant colours and features a distinctive three-dimensional effect, likely achieved through the intricate use of Mother of Pearl inlay. Prominently displayed in the scene are stylized nautical elements, including a boat with billowing sails crafted from Mother of Pearl, set against a backdrop of mountains and clouds that echo traditional Chinese artistic motifs. The left side of the artwork showcases detailed vegetation, including a tree, contributing to the piece's naturalistic charm. Adding to the authenticity and cultural significance, Chinese characters are inscribed at the top right section, accompanied by a red seal below which indicates the artist’s signature or workshop mark. The wall hanging is framed with distinction, featuring a dual-colour scheme: a delicate green inner frame complemented by a robust black outer frame. Though exact dimensions are not specified, this piece represents a harmonious blend of traditional craftsmanship and mid-century aesthetic, making it an exceptional addition to any collection of fine Asian art.
Susan K Phillips McMeekin Des RCA FRSA (British, 20th Century) Two framed designs for jewelled eggs enclosing timepieces Pencil and gouache on tracing paper Signed Each approx 29cm x 20cm (2) Susan Phillips McMeekin is a British designing goldsmith and a Freeman of the Goldsmiths Company, best known for designing high-end objects for Royalty and Heads of State during a career spanning some fifty years. Originally trained in jewellery design and silver smithing at the Royal College of Art, she has applied the techniques of jewellery design to a range of luxury objects, including clocks, gold boxes, pens, handbags, lamps, tableware and objets d'art. McMeekin has been self employed throughout her career, and has designed for McCabe McCarty (now David McCarty Ltd.) since 1977. Many of McMeekin's commissions come from clients in the Middle East, including Saudi Arabia, Oman and Qatar. Her work is characterised by the use of gold and precious stones, Plique-à-jour enamel, and the inclusion of mechanised moving parts. She frequently includes imagery taken from the natural world and conducts extensive research into the flora and fauna of the local region before including it in her designs. McMeekin makes extensive preparatory drawings before executing each piece. Her work includes private roughs, drawings communicating instructions to the craftsmen who execute her designs, and highly-finished gouache presentation drawings. Similar designs by Susan Phillips McMeekin are in the collection of he V&A , for example a presentation drawing for the 'Butterfly Egg' designed for Asprey of Bond Street and made by James Miller for McCabe McCarty Ltd, pencil and gouache on tracing paper, Britain, 1983 (E.212:1, 2-2015). Artist Resale Right may apply
A PAIR OF HUALI-WOOD DISPLAY CABINETS20th century, the rectangular tiers with fret pierced galleries, each centred by a pair of drawers carved with confronting dragons, 175cm high x 86cm wide x 31cm deep (2)Height: 175cmWidth: 86cmDepth: 31cmProvenance: Acquired from Duke's, Asian Art, November 2020, Lot 50.
* Buddha. A Thai bronze buddha, mid-Ayutthaya period, 17th century, with a dark brown patina, seated with his right hand lowered in bhumisparsimudra (the gesture of summoning the earth to witness), traces of gilding to the eyes, 36 cm high, presented on a black slate base, overall height 45 cm QTY: (1)NOTE:Provenance: Private collection, Cotswolds.Jonathan Tucker & Antonia Tozer Asian Art, 2003, with receipt of sale.There is a hole in the top of the head, we are informed a finial would sit. This is missing and not with the lot.
An elegant cream-colored background sets the stage for Asian-style vignettes that grace the surroundings, adding a touch of refinement and cultural beauty. Halcyon Days Enamels backstamp. #Enamel #Art Dimensions: 2"L x 1.75"W x 2"HManufacturer: Halcyon DaysCountry of Origin: EnglandCondition: Age related wear.
Unusually large Chinese Han dynasty green-glazed pottery boshan lu hill-form incense burner or lian. The lid molded in the shape of hills or mountains, depicting five sacred mountains between earth and paradise. The exterior molded with a landscape filled with beasts, likely big cats, birds, and monkeys. Resting on a tripod of three bear-form legs.Provenance: Tai Sing Fine Antiques Ltd., Hong Kong, 2000; From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota; Private Minnesota Collection.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection.Height: 12 in x diameter: 9 1/2 in.Condition: There is calcifications throughout consistent with burial. Small losses to the glaze throughout; crazing to the glaze. There is a large chip the underside of the rim of the lid. One of the descending prongs along the underside is chipped off. Small chips to the rims. There is a series of cracks to one side of the vessel, possibly original to the firing.
Chinese mingqi cauldron (ding) spirit or funerary green-glazed pottery vessel, likely Han dynasty. Consisting of a deep basin on three legs molded in the forms of bears. With a pair of luted S-curved upraised strap handles. The domed lid with two registers of low-relief molded animals, likely big cats and monkeys, with three bosses. The glazed interior and underside with iridescence. In the form of bronze vessels of similar style.Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota; Private Minnesota Collection.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Height: 6 1/2 in x width: 10 in x depth: 7 1/2 in.Condition: Small chips and losses to the glaze throughout. There are three larger chips to the top of the lid. There is a crack extending vertically downwards from the upper rim approx. 2 inches. Wear to the feet.
Original color serigraph on paper by Japanese Contemporary artist Hisashi Otsuka who has fused Asian iconography with a Noh mask to the profile of a Western woman in profile with black ribbons that float on the surface. Signature, date, and red seal on lower left: Otsuka 88. Edition number on lower right: 91/300. Housed in an Art Deco style black frame with a grey mat. Sight size: 23"W x 14.75"H. Frame size: 32.75"W x 24.75"H x 1.25"D. Artist: Hisashi Otsuka (Japan b.1948)Issued: 1987Edition Number: 91 of 300Country of Origin: JapanCondition: Age related wear.
Unusual mixed media work of art by Red Grooms. Multi-layered three-dimensional painted depiction of an Asian man eating a meal from a bowl using chopsticks. Signed to upper left. Artwork dimensions: 18"H x 16"W x 6"D. Box: 23"L x 20.5"W x 11"H. Artist: Red GroomsIssued: 1979Edition Number: Artist proof 9 of 10Country of Origin: United StatesCondition: Age related wear.
Ca. 3000 - 2200 BC A large Indus Valley painted jar with a vertical rim, bulbous body, and a flat base. The exterior of the jar is painted with scenes depicting a ritual procession of zebu bulls with characteristic humps and curving horns. They are surrounded by a geometric background comprising of repeating suns and swastikas. The Indus Valley Civilisation was a significant Bronze Age culture that emerged around 3300 BC and persisted until about 1300 BC. The bull, with its hallmark hump and robust horns, is a recurring theme in Indus Valley artefacts. For similar see: Christie's Asian Ceramics and Works of Art (Live Auction 2584), Lot. 601. Size: 300mm x 280mm; Weight: 3.18kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 2nd to 1st millennium BC A Bactrian or central Asian cylinder seal depicting a figure next to the tree of life. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz. Size: 43mm x 17mm; Weight: 21.5g Provenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.; ex. 1970s/early80s UK art market.
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.
A small quantity of 19thC Chinese famille rose celadon Plates, each decorated in the typical style, some with marks verso, the smallest: D 18.7cm, the largest: D 26cm, some damages (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.
λ ANWAR JALAL SHEMZA (BRITISH 1928-1985) PAINTING 1959 Oil on canvas Signed and dated in Urdu (lower left); further signed, inscribed and dated 59 (verso) 84 x 64cm (33 x 25 in.) Provenance: Denis Bowen Acquired from the above by the present owner Exhibited: New Vision Centre Gallery, A.J.Shemza, 1959 London, Commonwealth Institute, Commonwealth Vision, 1961 (illustrated in catalogue) Bristol, Royal Commonwealth Society, Centenary Exhibition, 1968 Jarrow, Bede Gallery, New Vision 56-66, 1984, no. 45 Born in Simla, India, in 1928, Anwar Shemza initially studied Philosophy and languages at Punjab University before enrolling at the Mayo School of Art in Lahore. Graduating in 1947 he opened the Shemza Commercial Art Studio there and as an artist, poet and writer he quickly became a central figure in the cultural life of Pakistan. In 1956, he left Lahore to study at the Slade School of Art in London where his work began to fuse the earlier literary and artistic influences from Lahore with imagery and techniques that he discovered in the Museums and Galleries of London, most notably those of Paul Klee and Piet Mondrian . The Art Historian, Professor Iftikhar Dadi, describes Shemza's work from this period as "Calligraphic Modernism", observing that "among the lessons he learned from Klee was the importance of surface as the plane of modernist experimentation rather than a stress on modelling and the freedom and ability to deploy abstraction, geometry and pattern - much of it derived from Islamic art - towards modernist exploration."(I.Dadi, Calligraphic Abstraction: Anwar Jalal Shemza, London, 2015, p.12) Indeed Shemza's work from the late 1950s and early 1960s uniquely explores and celebrates his past and present artistic experiences while fighting the insular attitudes of the Post War British art establishment. His past successes in Lahore found admirers in the likes of Denis Bowen at the New Vision Centre Gallery and Victor Musgrave at Gallery One, however more mainstream galleries and critics were dismissive and hostile. As the artist and curator of the Hayward Gallery 1989 exhibition, The Other Story, Raheed Araeen observed; "Although Anwar Jalal Shemza belongs to that generation of artists who arrived here in the 50s and who had already established themselves in their countries of origin, his experience in Britain led him to an entirely different direction to his contemporaries. But his experience was not unique. Almost every Afro-Asian artist must have his or her own story to tell: how their dreams and aspirations were shattered, how they had to recover their confidence in themselves, their identity as human beings and as artists; and how the memory of their own cultures played an important role in this recovery." (Rasheed Araeen, The Other Story, Exhibition Catalogue, The Hayward Gallery, London, 1989) Shemza's work has been exhibited widely including The Other Story: Afro-Asian Artists in Post-War Britain, at the Hayward Gallery, London, 1989; Anwar Shemza, at the Birmingham Museum and Art Gallery, 1997; Anwar Shemza, at the Tate Britain, 2015; and Postwar: Art Between the Pacific and the Atlantic, 1945-1965, at Haus der Kunst, Munich, 2016. Works are also held in the permanent collections of the Ashmolean Museum, Oxford, Tate Gallery, London, Metropolitan Museum of Modern Art, New York, the Lahore Museum, Pakistan National Council of the Arts, Islamabad, the Sharjah Art Foundation, and the Guggenheim in Abu Dhabi. Condition Report: Not relined. Craquelure scattered across the surface. Slight rucking to the canvas, upper left. Stretcher marks visible. There are some small patches of light flaking and losses to the red pigment which reveals the yellow ground, areas may be consistent with artist's intent. Overall the surface appears stable. Light surface dirt throughout. Small dent to the upper right quadrant. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
λ AHMED PARVEZ (BRITISH/PAKISTANI 1926-1979) ABSTRACT Oil on canvas Signed and dated '62 (lower left) 76 x 51cm (29¾ x 20 in.)Provenance: Private Collection, Denis BowenExhibited: London, New Vision Centre Gallery, 1962 Nottingham, Commonwealth Festival Exhibition, 1966 London, Hayward Gallery, The Other Story, 1989, no. 4 Belgrave Gallery, British Abstract Artists of the 50s and 60s, 1992 (illustrated in exhibition catalogue p. 40)The present work was notably exhibited in the ground breaking exhibition The Other Story: Afro-Asian Artists in Post-War Britain, at The Hayward Gallery, London in 1989. This exhibition brought together works from Asian, African and Caribbean artists working in Post-War Britain, celebrating and promoting these artists to the mainstream that had otherwise been side-lined by critics and established institutions. Victor Musgrave from Gallery One called Parvez "Without question the outstanding artist from Pakistan who has made a very strong impact upon the English art world. His extension into the West of the ideals implicit in Muslim art has been an effort of unique importance." (S. Ali, Homage: Remembering the Maestro, Dawn, 15 September 2013.) Condition Report: Very fine craquelure to the extreme edges and corners. Light surface dirt throughout. Inspection under UV reveals retouching to the upper left quadrant in the shape of a right angle. Condition Report Disclaimer
SEGA MEGA DRIVE - A group of three boxed and complete video game cartridges for GOLDEN AXE I, II and III (1990-1993), all with instructions. Golden Axe III is the Asian version. Golden Axe II features cover art by artist Boris Vallejo who is famous for his fantasy art, especially on comic book covers.PLEASE READ CAREFULLY - All items in this sale are SOLD AS SEEN in compliance with UK Auction Law. They are not tested in any way, and we cannot guarantee the working condition of any consoles or games in this section of the auction. Electrical items should be PAT tested by a competent electrician before use. PLEASE make sure you are satisfied with the condition of each lot BEFORE bidding, either by viewing in person, or asking for further pictures or a condition report.
A rare black-ground Sèvres hard-paste plate, circa 1791Asiette uni, fond noir chinois en or platine, decorated with a black ground over its entire surface in imitation of Chinese lacquer, the chinoiseries after Jean-Baptiste Pillement, in two-tone tooled gold and platinum, the rim with three individual cartouches in the same manner, 24.4cm diam., interlace double L enclosing date letters oo for 1791, painters mark 2000 in gold for Henri-François Vincent (le jeune) and Bn for Nicolas Bulidon, (flat chip inside footrim)Footnotes:The Production and Legacy of Black-Ground Sèvres Porcelain (1778-1794)For a discussion of decoration in imitation of lacquer, see Selma Schwartz, Chinoiserie Decoration on Black-ground Sèvres Porcelain, in M. Köpplin (ed.), Schwartz Porcelain - The Lacquer Craze and its Impact on European Porcelain, vol. III (2003), pp. 98-107.With the rise of Neoclassicism in the 1770s, there was renewed interest in the furniture of André-Charles Boulle (1642-1732) as well as furniture inspired by his designs. Their materials: tortoiseshell, brass, and tin, in their black, gold, and silver appearance matched perfectly with lacquer objects. In fact, the inventories of some of the most prominent lacquer collectors show that their furniture was more often in the Boulle genre rather than made from lacquer. Selma Schwartz (op.cit., pp.98-107) explains the incorporation of lacquer imitation beyond the obvious technical advancements. In the late 1780s, a series of important lacquer furniture was delivered to the French court, including pieces for Versailles, Saint Cloud, Compiègne, and Bellevue; for Louis XVI, his aunt Adelaide, and Madame Victoire. Notably, Jean Henri Riesener created furniture for Marie Antoinette in 1783 (now in the Metropolitan Museum of Art, see catalogue illustration), intended for her Grand Cabinet Intérieur at Versailles. This furniture harmonised with the collection of Japanese lacquer boxes inherited from her mother, Empress Maria Theresa (1717–80) of Austria, by reusing choice fragments of seventeenth-century Japanese lacquer as veneer.The interest in creating porcelain that resembled lacquer and related experiments seem to have started in Sèvres around 1769, shortly after the manufactory began producing hard-paste porcelain. This was driven by the new technical possibilities and the ongoing fascination with East Asian lacquer. Two documents in the Sèvres archives (Archives, Cité de la céramique, C2/9) suggest that the manufactory explored the process of producing lacquer, possibly for applying lacquer decoration to already fired pieces. In one letter, a Parisian manufacturer of vernis (imitated lacquer) describes his recipes and the process of using black and white lacquer on porcelain. The second document, signed by the director of the manufactory, Melchior François Parent (1772-78), specifies the mixture ratios for black and red lacquer and the application of gold. However, it would take another ten years before the first lacquer imitations were produced.Between 1778 and 1782, the Sèvres manufactory produced a remarkable series of porcelain decorated in imitation of lacquer. This included a notable series from 1779 with black ground colours, achieved using a combination of iron oxide, cobalt, and manganese. These black backgrounds were often adorned with gold and silver decorations, echoing the renewed taste for lacquered furniture. However, the production was marred by technical difficulties related to the tarnishing nature of silver. Platinum, which does not tarnish, quickly replaced silver.In April 1790, the Comte d'Angiviller, Director-General of the King's Buildings and in charge of the Sèvres Manufactory, wrote to Antoine Régnier , the new director of the manufactory (1778-93), congratulating him on acquiring 3.5 pounds of platinum:It was an acquisition not to be missed, and I strongly approve of it. For I rely heavily on this new kind of decoration that no other manufactory will certainly achieve(Archives, Cité de la céramique, H5 vol.1, sincere thanks to Cyrille Froissart who first published this reference).Notable Productions and SalesBetween 1790 and 1793, Sèvres created around forty pieces with black grounds, decorated with coloured gold and platinum. These included vases, flower bowls, water pots, candlesticks, tea services, and table services. The first of these services, though with a sparser decoration of polychrome flowers on the cavetto, was sold on May 6, 1791, to the Marquis de Sémonville (1759-1839), Louis XVI's ambassador to Genoa. A second service was purchased on 4 April, 1792, by James Milmes (sic), consisting of 48 plates at 48 livres each. Some plates featured enamel flowers, while others had entirely black backgrounds with Chinese figures in gold and platinum, similar to our plate. James Milmes, as listed in the Sèvres archives, likely refers to James Milnes (1755-1805), heir to a wealthy Wakefield woollen merchant and member of Parliament. Milnes was an inconspicuous Member. He joined Brooks's Club, sponsored by Fox, on 17 May 1803 and a week later voted with the Whigs on the failure of negotiations to prevent the resumption of war with France.In late 1794, Citoyen Empaytaz & Compagnie, a company acting as agents for the King of Prussia, bought part of a black-ground service produced in 1791 that remained in stock. This service, composed of 71 pieces including 21 plates, a mix of black ground pieces with others featuring polychrome flowers on a white background. Provenance and LegacyIn the 19th century, specifically in 1844, Prince Nicolay Borisovich Yusupov (1750-1831) owned 107 pieces of the black-ground service. By 1887, the Yusupov family possessed only 32 pieces. Fifteen of these are now housed at the Hermitage Museum in Saint Petersburg, including five plates with entirely black backgrounds (see Nina Birioukova and Natalia Kazakevitch 'La porcelaine de Sèvres du XVIII siècle' The Hermitage Museum (2005), pp. 189-193, nos. 946-954). Twelve plates are in the Metropolitan Museum of Art, New York (Christian Dauterman, Sèvres (1969), p. 52, pl. II); and two others are in the Nelson-Atkins Museum of Art, Kansas City (cat.no. 33-1369 and 33-1370). Two 'seau à demi bouteille' dated 1791 are in the Getty Museum, Malibu (Adrian Sassoon, The J. Paul Getty Museum, Vincennes and Sèvres Porcelain (1991), no. 30, pp. 152-157). A jug and two hexagonal double-gourd bottles are in the collection of Belton House, Lincolnshire, NT 433527 (Patricia F. Ferguson, Ceramics: 400 Years of British Collecting in 100 Masterpieces (2016), p..). Two plates were sold at Christie's in New York in 2010 (Christie's, New York, 22 October, 2010, lot 639) and another plate was sold in 2018 from the collection of Christophe Perlès, Pescheteau-Badin, 18 June, 2018, lot 120). The source for the central scenes on the plate can found in the work of Jean-Baptiste Pillement (1728-1808). The prints after Pillement used at Sèvres can be found in Jean Avril's 'Cahier de Balançoires chinoises' of circa 1770, and the image used for this plate is on the title page (see catalogue illustration). For a study on Sèvres black-ground dessert services, see David Peters, Sèvres Plates and Services of the 18th Century (2015), Vol. IV, no. 91-4, pp. 943-945; no. 92-4, pp. 965-968, and vol. V, no. 94-11, pp. 1075-1078.For further information on this lot please visit Bonhams.com
A small ‘Gouyun Pei’ plaque made of jade with ochre-coloured flecks. It has a rectangular shape ornamented with archaic relief and incised mirror motifs and a serrated base.Although its purpose is unclear, it may have been a decorative ornament for clothing due to the hole in the upper area. It shows patina from ageing. Size: 4.5 x 0.1 x 9.3 cmWeight: 27.1 gReferences: - The Metropolitan Museum. Accession Number: 2009.176. The Collection, Asian Art ‘Plaque’.
Pair of bronze candlesticks decorated with cloisonné enamel. They have a bell-shaped base, which rises to a flat, rounded bulb that holds a large circular tray designed for dripping wax. Above this is an elongated tubular centre crowned by a smaller bulb and a small circular tray, on which is placed an elongated tip into which the candle is inserted later on. The surface is profusely decorated with scrolls of leaves from which beautiful lotuses blossom against a deep turquoise background. The gilt rims are interspersed with decorative borders of small ruyis and chiselled square scrolls. Height: 26.3 cm (approx.); 26.6 cm (approx.); Diameter base: 8.9 cm; 8.9 cmTotal weight: 1742 gProvenance:- French private collection. References: - Christie's: A pair of cloisonné enamel pricket candlestick. THE MARIE THERESA L. VIRATA COLLECTION OF ASIAN ART: A FAMILY LEGACY (2017), Lot 657.
Small porcelain vase decorated with a rich flambé glaze. The body, which stands on a flared foot, has the form of a deep bowl and is decorated with two horizontal ribs arranged at the height of the shoulders, which gradually narrow to form an elongated neck, on which rest two beautiful handles ending in scrolls, ending in a thin turned mouth. The surface is decorated with a rich “flambé” glaze of intense raspberry color with purple and sky blue spots that becomes thinner in the mouth and handles, revealing the ocher and creamy color of the ceramic. The interior shows a milky light blue color with lavender veins. On the base it shows a six-character incised seal “大清乾隆年制”. Height: 22 cmReferences:- Christie's: AN IMPERIAL FLAMBÉ-GLAZED VASE, HU; THE MARIE THERESA L. VIRATA COLLECTION OF ASIAN ART: A FAMILY LEGACY, Lot 614 (2017).
Sandra Blow (British, 1925-2006) Borderline, 2000 Screenprint in colours on paper Signed, titled and numbered 45/85 Framed & glazed Measures approx. 72cm x 72cm (28" x 28") Sandra Betty Blow 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 also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Alan Davie C.B.E., R.A., H.R.S.A. (Scottish, 1920-2014) Village Myths drawing 283 Black ink on paper Gimpel Fils Gallery label on reverse Exhibition - Loft Gallery 1984 Acquired from Gimpel Fils Gallery London Framed Measures approx. 30cm x 36cm (12" x 14") Alan Davie (1920-2014) was a Scottish painter and musician. Born in Grangemouth and having studied at Edinburgh College of Art, Davie worked initially as a jazz musician. A large focus of his work was spontaneous mark making, arguing that his spiritual path was incompatible with planning ahead. His work often blends the abstract and the figurative, influenced by Pictish symbol stones, Jungian psychoanalysis, maps, Aboriginal art, contemporary abstract painters and music. Davie's work can now be found in collections all over the world, including the Art Institute of Chicago, National Galleries of Scotland, Peggy Guggenheim Museum in Venice, the Museum of Modern Art in New York, Harvard University Art Museums, and the Stedelijk Museum in Amsterdam. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A HONGSHAN STYLE CARVED JADE DISC OR PENDANT The rectangular section carved with a central hole and two further smaller holes to the upper edge 9.5 x 8cm Provenance: Hotlotz, Singapore, Asian Ceramics & Works of Art from the Collection of Quek Kiok Lee, 29 Aug 2020, Lot 49 (part) 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.
XIAO SHUFANG (CHINESE, 1911-2005) - 'NARCISSUS' Ink on paper, with inscription and seal to right 52.5 x 53.5cm Provenance: Bonhams, Decorative Asian Works of Art, 18-28 June, 2023, lot.386 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.
de Waal (Edmund) The Hare with Amber Eyes, first illustrated edition, original boards, 2011 with Hutt (Julia) Japanese Netsuke, foreword by Edmund de Waal, original boards, dust-jacket, 2003 and Matthew Barton Ltd. [Sale Catalogue] European and Asian Works of Art including Netsuke from the Edmund de Waal Collection, de Waal prices in manuscript, original wrappers, 2018, together with an original wooden netsuke of Tekkai Sennin leaning on his staff purchased at the sale, all together in cloth drop-back box with netsuke in recessed compartment, morocco label to spine § de Waal (E.) & Claudia Clare, editors. The Pot Book, original boards, dust-jacket, 2011, all with illustrations; and 10 others by Edmund or Elisabeth de Waal, 4to & 8vo (11)*** The collection of netsuke formed by Charles Ephrussi, a Jewish Parisian art patron and critic in the later years of the nineteenth century, was given to his Viennese cousin Viktor as a wedding present in 1898. Viktor and his family escaped to England following the Anschluss, leaving behind their art collection and library but a maid hid the netsuke collection and returned it to the family after the war. Viktor was Edmund de Waal's grandfather and Edmund eventually inherited the netsukes, as told in his book The Hare with the Amber Eyes, published in 2010.In 2018 De Waal placed the majority of the collection on long-term loan in the Jewish Museum in Vienna, but sold 78 netsuke at auction in aid of the Refugee Council. The netsuke present here was lot 164: "Wood Netsuke of Tekkai Sennin, circa 1800, very simply carved, leaning on his staff, unsigned, 9.3cm high".
Collection of books and catalogues mostly on Asian art, to include 'Important Chinese Art', London, 11 May 2016, Sotheby's; 'Roman Glass, reflections on cultural change', Stuart J. Fleming, University of Pennsylvania Museum of Archaeology and Anthropology; 'Chinese Works of Art and Paintings', September 10 2018, Bonhams, New York; 'The Vishńu Puráńa, A System of Hindu Mythology and Tradition', H.H. Wilson, Punthi Pustak, third edition, 1961; 'The Indian Portrait 1560-1860', edited by Rosemary Crill and Kapil Jariwala, National Portrait Gallery, London, 2010; 'Islamic and Indian Art', 16 October 2003, Bonhams, London and 'Islamic and Indian Art, Including Modern and Contemporary Paintings from the Indian Sub-Continent', 17 October 2002, Bonhams, London (22) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Large collection of auction catalogues mostly on Asian art, to include 'Art of the Islamic and Indian Worlds, including a private collection donated to benefit the University of Oxford, Part V, 10 April 2014, Christie's, London and 'Islamic and Indian Art', 20 October 1993, Bonhams and 'Islamic and Indian Art', Part I Lot 77, 6 April 2006, Bonhams, London (34) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
A RARE PAIR OF CHINESE EXPORT BLACK LACQUER AND GILT DECORATED FOLDING CARD TABLES EARLY 19TH CENTURY Each with D-shaped hinged top enclosing a baize-lined playing surface, decorated overall with Chinoiserie trellis and scrolling vines, the top, frieze and sides centred by oval medallions decorated with Chinese landscape and architectural scenes each 77cm high, 91cm wide, 44.5cm deep Provenance: Purchased Christie's London, 3rd December 1970, Lot 96 These elegant games tables demonstrate the success of the Chinese export trade in combining Asian art with Western forms to appeal to the European market during the 18th and 19th centuries. Lacquered furniture was being made in such centres as Nanking, Tonking and Canton, following Western forms copied from examples sent to China or from printed European designs. It reached a high point of production and popularity with the Western trade during the early 19th century, when these examples were made. While Western designs were being copied, these games tables are unusual in their demi-lune form. Carl Crossman in his The Decorative Arts of The China Trade describes a pair of tables that may be this very pair, although unfortunately they are not illustrated. A related pair of tables with similar decoration was sold, Christie's, London, Wilton Crescent, A Robert Kime Interior, 23rd July 2020, Lot 121 (£27,500) Condition Report: Both with the marks, knocks, scratches and abrasions commensurate with age and use. Surfaces with flaking, marks, losses and cracks - see images. Various old repairs where the legs meet the friezes - see images. Various old metal supporting brackets between the backs of the legs/undersides of the tables. Some fragility to the joints of the legs/movement within the frames. Some later timber batons to the undersides of the tables/interior of carcasses. Later baize surfaces to the interiors of the tables. These have the expected minor wear.Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Asia interest -to include Moss, Peter ( ed.) " Asian Furniture" Form Asia 2007, profusely ills, large folio, dustwrapper, Schurmann, Ulrich " Oriental Carpets" Octopus 1979,ills, dustwrapper, Nou, Jean-Louis " The Last Maharajas" 1980, dust wrapper, " Krishna The Divine Lover Myth and Legend through Indian Art", B.I. Publications 1982, profusely ills, dustwrapper, and related volumes (1 box plus textbook of Medical Surgical Nursing)
A LOOSE INDIAN COURTLY ALBUM WITH ENTHRONED PORTRAITS OF MUGHAL EMPERORS AND THEIR ANCESTORS PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION Delhi School, Mughal Northern India, first half 19th centuryOpaque pigments, ink, and gold on wove paper, comprising eight vertical-format portraits of Mughal Emperors and their Timurid ancestors seated on golden thrones on a courtly terrace overlooking lush gardens and natural backgrounds, each sitter identified by characterising attributes, favoured attire, and turban models, encased within concentric decorative borders in polychromes and gold, the pictorial style typical of Late Mughal Delhi School official portraits in both three-quarters and profile views, each album page numbered in the upper left corner and accompanied by black ink nominal inscriptions identifying the portrayed ruler, the front top golden border with inscriptions in cursive English, the oval golden cartouches above each sitter and the reverse in Persian nasta’liq script, the reverse marked with a rectangular dynastic grid in-filled with names, dates and brief biographical details, each mounted, glazed and framed, each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame. These eight finely painted portraits were most likely once part of an Indian courtly album collecting the likenesses and official portraits of Mughal rulers and elite members of the court, linking their dynastic heritage directly to the Central Asian Timurids. For an analogous example, please see Sotheby’s Dubai, 13 November 2013, lot 71. The represented sitters are named as follows: Timur (d. 1405); Miran Shah, son of Timur (d. 1408); Sultan Umar Sheikh Mirza II, son of Abu Sa'id Mirza (d. 1494); Emperor Babur, son of Umar Sheikh Mirza II and founder of the Mughal dynasty (d. 1530); Emperor Jahangir, son of Akbar (d. 1627); Jahandar Shah, son of Bahadur Shah (d. 1713); Muhammad Shah, grandson of Bahadur Shah (d. 1748); and lastly, Ahmad Shah Bahadur, son of Muhammad Shah (d. 1775). Each portrait is numbered in the upper left corner, starting from number 1 with Timur and finishing with number 19 with Ahmad Shah Bahadur. Originally, the album would have most certainly contained other portraits of Mughal emperors, such as Akbar and Shah Jahan, as well as the last three members of the dynasty ruling in the first half of the 19th century, who elected Delhi as their capital and settled there until the British forces took over. Portraiture has always played a crucial role in the development of the visual arts of South Asia. From the dawn of the Indian civilisation onward, the figural image encountered in sculptures, coins, architectural settings, and frescoes acted as a powerful reminder of the dharmic hierarchy ruling the world. Nevertheless, until the early 17th century, when the Mughal Empire was fully formed and established in these lands, portraits were often derived from conventional representations with repeating, standard lakshanas (identifying qualities or cognitive attributes) rather than individual likenesses. One of the most remarkable artistic achievements accomplished by the Mughals in India was to foster and spearhead the emergence of portraits of identifiable individuals, unprecedented in both South Asia and the Islamic World (Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 1 - 3). It is known that Mughal Emperors Akbar and Jahangir were eager collectors of portraits of courtly personalities and must have been impressed by specimens of European portraiture, which circulated at their courts thanks to both diplomatic exchanges with the West and the three Jesuits' missions between the 1580s and 1590s (S. Stronge, Painting for the Mughal Emperor: the Art of the Book 1560 – 1660, 2002, p. 120). Such fascination is best recorded in the A’in-I Akbari, where Abu’l Fazl mentions that 'the Emperor (Akbar) ordered to have the likenesses (surat) of all the grandees of the realm. An immense book was thus formed: those who have passed away, have now received a new life, and those who are still alive, have immortality promised them'. Despite the keen 'turn to the individual' promoted in the visual arts under Akbar's and Jahangir's reigns, Mughal portraiture and the formalisation of a 'stately image' reached their most accomplished form in the mid to late 17th century, under the rule and patronage of Shah Jahan (The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 12). By this stage, it had been established that official portraits of Mughal emperors must show the sitter in profile, and not in the Persian-style three-quarters view, as it was considered less formal and thus, reserved to lesser noble members of the court (Ibidem, p. 102). Testifying this rule, our eight portraits are divided into two groups: the four sitters of direct Central Asian lineage are all shown in three-quarters, following Persian portraiture's conventions; whilst the remaining four rulers of the Mughal dynasty are shown in profile. The use of both views in the same album set has been explained by scholars as the Mughal artists' conscious attempt to create historical distance between the current rulers and their ancestors (Laura Parodi in Portraiture in South Asia Since the Mughals: Art, Representation and History, ed. Crispin Branfoot, 2018, pp. 9 - 10). Nevertheless, their Central Asian heritage is exemplified in the Mughals' passion for record-keeping and their keen interest in historical and observational documentation, which are mirrored in the visual arts commissioned at the time. Timurid rulers had already shown an attraction towards physiognomy and figural studies in the 15th century (Ibidem, pp. 64 - 65). As a consequence, their artistic legacy influenced the canons set and followed by their descendants, and the Mughals were no different. Initially through the collection of Timurid studies, and then later on, with the commission of new official royal portraits, the Mughals aimed at not only vaunting their prestigious dynastic descent but also immortalising themselves and their courts through the means of portraiture. The sacks of Delhi in 1739 and 1756 and internal dynastic frictions placed a temporary halt in the courtly production, but the first half of the 19th century witnessed a late flowering, a so-called last hurrah, for Mughal portraiture. Before the final dissolution of the Empire in 1858, artists working at the Delhi courtly atelier, such as Khayrallah and Ghulam Murtaza Khan, produced extremely fine portraits of Mughal rulers and their descent, blending features of the 16th and 17th-century production with a new naturalism derived from Western portrait models (J. P. Losty in The Indian Portrait 1560 – 1860, ed. Rosemary Crill and Kapil Jariwala, 2010, p. 44). The Delhi artists' attempt to revive the dynasty's past glories and distinguished lineage despite the Empire's decline led to the creation of a few high-calibre portrait courtly albums and the group in the present lot must have been among them. each album page approx. 29cm x 19cm, 46cm x 35.5cm including the frame Qty: 8
A Chinese celadon glazed porcelain vase - probably Qing Dynasty, 19th century, six character Chenghua mark but later, the baluster shaped body with vertical ribs and grooves and slightly everted rim, the exterior in a pale celadon glaze with darker glaze to the grooves and leaving the rim white, 25.6 cm high, with later carved hardwood stand. * For a very similar vase with a four character Chenghua mark, dating from the Kangxi period, see the V&A Collection, no. C-429-1910. Another similar vase, Qianlong mark and period, was sold at Dreweatts 1759, 'Chinese Ceramics & Asian Works of Art' on 22nd May 2018, lot 312. * Condition: Some small glaze scratches to the bellied part of the body, and one tiny glaze frit to the surface at this point. No chips, cracks or other faults. No restoration. In good condition.
Francis Newton Souza, Indian (1924-2002) Untitled, Landscape, Signed and dated "Souza 84" (upper right) Mixed media on magazine paper 50 x 30cm (19.8 x 11.8in), mountedPainted in 1984Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).Gifted by Souza to K.B Goel in the late1980s. To see other works from the same collection, see Bonhams, Modern & Contemporary South Asian Art Online, 20th-28th February 2023, lots 1-5.Condition Report: When examined out of the mount, the surface is overall good; the work is formed of two pages joined together, the left border is slightly uneven
Lots 222 - 225 Four exceptional works by Francis Newton Souza (1924-2002) belonging to Dr. Premlata Goel, widow of the distingished art critic, K.B. Goel (1930-2018), close friend of the artist. All four works were gifted to K.B. Goel by Souza. Francis Newton Souza, Indian (1924-2002) Untitled, Landscape, Signed and dated "Souza 1989" (upper right) Acrylic on canvas,74 x 100cm (29.2 x 39.5in)Painted in 1989Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).Gifted by Souza to K.B Goel in the late1980s. To see other works from the same collection, see Bonhams, Modern & Contemporary South Asian Art Online, 20th-28th February 2023, lots 1-5.This landscape unlike many other landscapes or cityscapes that Souza painted in the 1980s is comprised of structures that appear to acquire form from the juxtaposition of green, blue and red lines. As if Souza while painting this wanted to exclude the use of the colour black which imparts an overall definition to the structure of the painting. However he manages to create a framework with extremely sketchy and rapidly executed strokes in a multitude of colours that remain fresh, none the same and in doing so, reveals Souza the colourist. A vibrancy of greens brings to life the dominant foliage in the foreground, the construction of which divides as well as merges with structure in the background space thereby allowing the eye to rove in and out of the picture. Footnotes: Much has been written about the different aspects of Souza’s life, right from his childhood, to multiple marriages and his journey as an artist. I consider my family very fortunate to have known Souza at such close quarters, away from the controversy and the criticism, the Souza who yearned to lead a regular family life. He was particularly close to my younger son, as if the age gap didn’t exist. He would take him to all sorts of movies, eat at fast food places and even pay a visit to a very cheap salon to get his beard and hair trimmed. Souza mentioned this in one of the letters he used to frequently write to my younger son.He would take a place near our house in old Delhi which was far from the comforts of a five star hotel. He would come every evening and go back late since he lived only a walking distance away. He enjoyed the simple home cooked meals I would serve him and found the food very flavourful. Souza’s every visit used to be cherished by all of us. It was so rich with the anecdotes, one used to feel that here was not just a great artist but a vastly read person who possessed this astonishing range of knowledge. We also sat through some stormy sessions of conversation between Goel and Souza not in agreement on some very deep philosophical issue.This also meant that, much to the chagrin of his many admirers and the gallery owners, he would frequently give up fancy parties and meetings to be with us. Souza’s multi-dimensional personality was evident, from the great artist and writer to enjoying childlike moments with my son and being a master of world affairs and philosophy. He always mesmerized us with his clarity of thought and vision, always deeply worried about wars, the human condition or his take on the ugly side of religion’.As dictated by Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel (1930-2018). Condition Report: Some losses to surface paint, some weathering, reverse of canvas with some staining
A collection of 45 reference books and auction houses catalogues, mostly concerned with Islamic and Indian artsComprising:Contadini, Anna, and Victoria. Fatimid Art at the V&a Museum. London, Victoria & Albert Museum, 1998.Crill, Rosemary, et al. Arts of India 1550-1900. Edited by Rosemary Crill and Deborah Crill, London, Victoria & Albert Museum, 1990.Grube, Ernst J, et al. Architecture of the Islamic World. London, Thames And Hudson, 1984.Islam. Edited by Markus Hattstein and Peter Delius, Koln, Konemann Verlaggesellschaft mbH, 2000.Jaffer, Amin. Furniture from British India and Ceylon. London, V&A Publications, 2001.---. Luxury Goods from India. London, Victoria & Albert Museum, 1 Nov. 2002.Komaroff, Linda, et al. The Legacy of Genghis Khan : Courtly Art and Culture in Western Asia, 1256-1353 : [Exhibition Held at the Metropolitan Museum of Art, New York, Nov. 5, 2002-Feb. 16, 2003 and at the Los Angeles County Museum of Art, Apr. 13-July 27, 2003]. New York (N.Y.), Metropolitan Museum Of Art ; New Haven (Conn.) ; London, 2002.Mez, Adam. Renesans Islamu. Warszawa, Państwowy Instytut Wydawniczy, 1980.Niloo Imami Paydar, et al. The Fabric of Moroccan Life. University of Washington Press, 2002.Nurhan Atasoy, et al. İpek, the Crescent & the Rose. London, Azimuth Editions, 2001.---. Iznik : The Pottery of Ottoman Turkey. London, Alexandria Press In Association With Laurence King, 1994.Splendeurs Du Maroc. Edited by Ivo Grammet and Min de Meersman, Tervuren, Musee Royal de l’Afrique Centrale, 1998.Taylor, Roderick. Embroidery of the Greek Islands and Epirus. Yeovil, Martson House, 1998.The Arts of Islam. Edited by George Michell, London, The Arts Council of Great Britain, 1976. Hayward Gallery, 8 April - 4 Juy 1976.Zdzisław Żygulski. Dzieje Polskiego Rzemiosła Artystycznego. Warszawa, Wydawnictwo Interpress , 1987. AUCTIONS CATALOGUE :CHRISTIE'S :London, Battilosi Tapetti d'Antiquariato, 11 February 1998London, The Bernheimer Family Collection of Carpets, 14 February 1996London, Oriental Rugs and Carpets, 30 April 1998London, Indian, Himalayan and South-East Asian Miniatures and Works of Art, 10 October 1989London, Islamic Art, Indian Miniatures, Rugs and Carpets, 8 and 10 October 1991South Kensington, Indian and Islamic Art and Textiles, Friday 14 October 2005South Kensington, Indian and Islamic Works of Art, Friday 20 April 2007 SOTHEBY'S :New York, Indian, Himalayan, South-East Asian Art and Indian Miniatures, 20 and 21 September, 1985London, Islamic Works of Art, Carpets and Textiles, 12 April 1989New York, Indian, Himalayan, South-East Asian Art, 21 and 22 March 1990London, Islamic and Indian Art, Oriental Manuscripts and Miniatures, 29 and 30 April 1992London, Islamic and Indian Art, 29 April 1993London, European and Oriental Rugs and Carpets, including Turkmen Rugs from the Collection of Dr. Werner Loges, 19 October 1994London, Islamic and Indian Art, 20 October 1994New York, Indian and Southeast Asian Art, 29 march 1996London, Islamic, Himalayan and South-East Asian Art, 24 April 1997London, the Bortz Collection, 29 May 1998New York, Indian and Southeast Asian Art, including Modern and Contemporary Indian Paintings, 16 and 17 September 1998London, Arts of the Islamic World, including 20th Century Middle Eastern Painting, 3 May 2001London, Arts of the Islamic World, 25 April 2002London, Arts of the Islamic World, 30 April 2003 BONHAMS :Knightsbridge, Islamic Works of Art, 12 April 2000Knightsbridge, Textiles from the Collection of Alistair Mc Alpine, 12 February 2008Bond Street, Islamic and Indian Art, including Carpets, 8 April 2014Bond Street, Islamic & Indian Art, including Modern and Contemporary South Asian and Middle Eastern Art, 9 June 2014London, Modern and Contemporary Middle Eastern Art, 7 October 2014 OTHERS :John McInnis Auctioneers, the Marc J. Matz Collection, 19 August 2005Chiswick Auctions, Asian Art, 6 September 2016 GALLERY CATALOGUES:V. O. C Antiguidades, Paris Catalogue, Pedro Dias, undatedMillner Manolatos, Catalogue no. 2, Arthur Millner, October 2003
Francis Newton Souza, Indian (1924-2002)Untitled, HeadSigned and dated "Souza 85" (upper left) Oil on canvas,61.5 x 46cm (24.3 x 18.2in)Painted in 1985Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).Gifted by Souza to K.B Goel in the late1980s. To see other works from the same collection, see Bonhams, Modern & Contemporary South Asian Art Online, 20th-28th February 2023, lots 1-5.Footnotes:‘I was 17 years of age and had gotten into the habit of waiting rather impatiently, month after month for my Uncle Souza to make another unforgettable appearance in my life. He was my guru but more importantly had been my best friend for some years now. I had not asked the great man whether he considered me his friend, his gestures and actions were enough to tell me that he did. I was one of the first people Souza would call upon arriving in Delhi. On this particular visit, it was no different. I reached his hotel on a hot summer afternoon in the heart of the city on the third day of his arrival. We greeted and hugged each other. Although it had been merely two days, the entire room, the room wasn’t all that big, had canvases propped up all along the gleaming white walls. On the floor were pots, glasses, plates and trays all of which had, not long before, been used to transport food and beverages. Now they were serving a very different role, important instruments in the makeshift studio of Francis Newton Souza. He was perfectly at home with all this improvised paraphernalia. I was probably about to witness another master class in painting, just imagine, seated a couple of feet away on a bulky uncomfortable sofa. Souza ordered sandwiches and tea for me. The waiter entered the room, glanced at the unrecognisable pots, mugs and scores of plates but knew that a fast exit would earn him a handsome tip. That day Souza looked bright and full of energy and told me how charged he felt. Pure energy filled the room and in it were these already completed pieces of astonishing quality and finish. This ochre head dated 1985 was one of a number of works painted during this visit. I can’t be absolutely sure but I do have a strong feeling that it was painted in my presence. Also spread all over the floor were newspapers and on these were some half and some fully squeezed tubes of paint. With a coffee mug in his left hand and the brush in his right, he painted a couple of mesmerising heads as I looked on in rapt attention. One could feel how his mind was racing ahead as he dipped the paint brush again and again into the coffee mug, many times over, sometimes pausing to load the brush with another colour from the waiting dinner plate. And there emerged, right before my eyes, another fabulous painting’.Brij Raj Goel, younger son of K.B. Goel, who was a particular favourite of Souza. Condition Report:Surface weathering, minor losses to paint, scuffing to corners of canvas, rusting to staples on canvas to reverse
AMENDMENT: Please note the publications “Rome, past and present, Studio London, Spring 1966” and Bach, H., Indian Love Paintings, New Delhi, 1985 are no longer part of this lot.Please do also note all publications previously listed under “Books on Tibetan and Nepalese Art” in this lot entry will now be sold in our upcoming Chinese, Japanese & South East Asian Art on 6th November 2024.A quantity of books on Indian, Tibetan, Islamic and Ottoman art, as well as catalogues Books on Indian ArtKhandalavala, K., et al. Miniature Painting, Lalit Kala, New Delhi, 1960Shellim, M., Patchwork to the Great Pagoda: India and British Painters, Kolkata, 1973Mehta, N. C., Gujarati Painting in the 15th Century, London, 1931 x 2Khandalavala, K., The development of style in Indian Painting, Madras, 1974Rizvi, S. A. A., Fatehpur Sikri, New Delhi, 1972Tagore, S., Rammohun Roy: His Role in Indian Renaissance, Kolkata, 1975Grindea M., Passages from India, Adam International Review, New York, 1971Colnaghi, Persian and Mughal Art, London, 1976Sharma, M. and Kaimal, P., Indian Painting, Mumbai, 2013Britschgi, J., Die 40 Groessten Meister der Inischen Malerei (1100-1900), Museum Reitberg, Zurich, 2011Pal, P., and Seid, B., Holy Cow and Other Animals: Selection of Indian Paintings from the Art Institute of Chicago, Chicago, 2002Overton, K., Iran and the Deccan, Bloomington, 2020Beach, M. C., Reflection of India; Paintings from the 16-19th Century, Toronto, 1979 x 2Aryan, B.N., Hanuman: The Divine Simian, New DelhiAhuja, N. P., The Body in Indian Art and Thought, New Delhi, 2013Bach, H., Indian Love Paintings, New Delhi, 1985Europe and the Indies, BBC publications, 1970Exhibition of Dhundhar Painting, 1977 x2Isacco, E., Les pigments des miniatures indiennes, Paris, 2008Images of Krishna, Santa Barbara, 1987 Schwartz, P. R. Printing on Cotton at Ahmedabad, Indian in 1678, Ahmedabad, 1969The British in India, Brighton Museum, 1973Simmonds, S and Digby S., Royal Asiatic Society; Its History and its treasures, 1979Chandra, M., Indian Miniatures in the Allahabad Museum, 1961Bulletin of the Royal Ontario Museum of Archaeology, April 1949Book Reviews, Ars Orientalis IV, 1961Wilkinson, JVS., An Indian Manuscript of the Golestan of the Shah Jahan Period, Ars Orientalis II, 1957Chester Beatty Monographs nos. 1-3 &7, 1951-1958 Books on Ottoman and Islamic ArtHitzel, F., Turkophilia: Ottoman Art in Private collections, Paris, 2011Zietkiewicz-Kotz, J., Treasures of the Orient in the collections of the Wawel Royal Castle, Krakow, 2020Barakat, H. N., Introduction to Islamic Arts: Calligraphy: The collection of the Islamic Arts Museum Malaysia, 2016De Guise, L., Al-Tibb: Healing Traditions in Islamic Medical Manuscripts: The collection of the Islamic Arts Museum Malaysia, 2018Freeman Fahid, D., Chess from the Islamic World: The Benaki Museum Collection, Athens, 2023Curatola, G., Al-Fann: Art from the Islamic Civilization: From the al-Sabah Collection, Milan, 2012Anand, M. R. Persian Painting, 1930Luzac and Co., Encyclopedia of Islam, supplements 1 & 2, 1934-36Set of Facsimile articles by Ivan Stchoukine, (plus duplicates) 1950-1972 Dealer CataloguesJorge Welsh, Art of the Expansion and Beyond, London, 2009Joost van den Bergh, Magic Marking: Tantra, Jain and Ritual Art in India, London, 2016 Joost van den Bergh, Tantric Drawings by Acharya Vyakul and Badrinath Pandit, 2014Francesca Galloway, Sringar: An Exhibition Celebrating Divine and Erotic Love, London, 2007Shapero Gallery, Divine Pursuits: Indian Painting Traditions from 15-19th century, 2003 x 2J Soustiel, Miniatures Orientales de L’inde, 1973J Soustiel, Miniatures Orientales de L’inde 3, 1983J Soustiel, Miniatures Orientales de L’inde 4, 1986Micheal Goedhuis, Birds in an Indian Garden, 1984Indar Pasricha, The Rajput courts, 1986 Indar Pasricha, Elephants of Fame, 1987Waddington Tooth Galleries, 1974, 1975 x 2, 1977, 1978 x 3, 1980, 1986, 1990 Auction CataloguesSothebys Parke Bernet, 26 September 1972, Bibliography, Art ReferenceSothebys London, 9 July 1987, An Apostle Mosaic from Medieval TorcelloSothebys London, 30 July 1973, Egyptian, Western Asiatic, Greek, Etruscan and Roman, Primitive, Indian, Indonesian, Tibetan and Nepalese ArtDrouot, 22 November 1960, Collection SevadjianDrouot, 20 March 1961, Collection Sevadjian pt2 x2Cornette de Saint Cyr, 23 June 1982, Collection Maldonado, TapisChristies London, 8-10 October 1991 Islamic, Indian Art, Rugs and Carpets Contemporary and OtherDoshi, S., csmvs Research Journal, Mumbai, 2019Gallery One and the Indian Avant Garde 1953-1963, Grosvenor Gallery, 2023Moorhouse, P., Howard Hodgkin: Absent Friends, London, 2017Rome Past and Present “The Studio London” Special Spring number, 1926 Books on Tibetan and Nepalese Art Rhie, M and Thurman, R. The Sacred Art of Tibet: Expanded Edition, London, 1996Zanabazar, G., The Eminent Mongolian Sculptor, Ulan Bator, 1982Vitali, R., Early Temples of Central Tibet, London, 1990Pal, P., Himalayas: An Aesthetic Adventure, Chicago, 2003Uhlig, H., On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Reitberg, Zurich, 1995Weldon, D and Singer J C., The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999Pal, P., Art of Nepal, LACMA, 1985Pal, P., Art of the Himalayas, New York, 1991Lo Bue, E., Wonders of Lo: The Artistic Heritage of Mustang, Marg, Mumbai, 2010Pal, P., Lamaist Art: The Aesthetic of Harmony, BostonKramrisch, S., Art of Nepal, ViennaKlimburg-Salter, D., Discovering Tibet: The Tucci Expeditions and Tibetan Paintings, Milan, 2016Hackin, J., La Sculpture Indienne et Tibetaine au Musee Guimet, Paris, 1931Pal, P., Vaisnava Iconology in Nepal, Kolkata, 1985Arts of Asia, March-April 2016 Asian ArtNoriko, T., The Beauty of Imperfection, Japanese Ceramics from the collection of Hans and Anita Roth, Japan, 2016
MIXED BOOKS - ASIAN ARCHITECTURE AND INTERIOR DESIGN (2/5) Comprising; Chinese Houses of Southeast Asia, Ronald G. Knapp, A. Chester Ong, Tuttle Publishing, 2010 Modern Asian Living, Devahastin na Ayudhya, Periplus Editions, 2007 Contemporary Eastern: Interiors from the Orient, Alice Whately, Periplus Editions, 2006 New Houses in Asia: Inspired Architecture and Interiors for the Modern World, Robert Powell, Images Publishing Group, 2020 In the Oriental Style: A Sourcebook of Decoration and Design, Michael Freeman, Claire E. Evans, Reid Bramblett, Thames & Hudson, 2002 Asian Style Source Book, Jenny de Gex, Periplus Editions, 2002 New Asian Style: Contemporary Tropical Living in Singapore, Jane Doughty Marsden, Stephen Skinner, Periplus Editions, 2001 Feng Shui Style: The Asian Art of Gracious Living, Stephen Skinner, Tuttle Publishing, 1997 Asian Bar and Restaurant Design, Kim Inglis, Jacob Termansen, Periplus Editions, 2007 Asia Home: Inspirational Design Ideas, Michael Freeman, Thames & Hudson, 2004 The Sustainable Asian House: Thailand, Malaysia, Singapore, Indonesia, Philippines, Paul McGillick, Tuttle Publishing, 2013 (11) 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.
MIXED BOOKS - ASIAN ARCHITECTURE AND INTERIOR DESIGN (5/5) Comprising; AB Concept: A Cultural Journey Through Light, Form, and Space, Assouline, 2018 Jaya Contemporary Design with a Pedigree, Roger Yee, Visual Profile Books, 2018 MAD Rhapsody, Philip Jodidio, Rizzoli, 2018 MAD Works, Ma Yansong, Phaidon, 2016 Living Room: Hong Kong Interior Design Association 2013, Hong Kong Interior Design Association, 2013 The Works of Matrix Design: Matrix Design 2010-2015, Art Power, 2015 World's Best Interior Designers Series: Steve Leung 55, 25, 15, Steve Leung, Metto, 2015 Neri & Hu Design and Research Office: Thresholds, Lyndon Neri, Rossana Hu, Park Books, 2017 P&T Studio: P&T Group 1868-1982, Palmer & Turner Studio, P&T Studio: P&T Group 1982-2010, Palmer & Turner Studio P&T Studio: P&T Group 2010-2018, Palmer & Turner Studio (11) 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.
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![AD 253-268.. IMP GALLIENVS AVG, radiate and cuirassed bust to right / [VIC]TORIA GERMAN, Victory, on the left, standing to ri](https://cdn.globalauctionplatform.com/121ed6c0-9d31-4646-8995-b1bf00ae303a/4c6ced63-902e-4adc-a73a-b1bf01037c75/468x382.jpg)
