Silk Road Asian Art Inaugural Exhibition Catalogue March 2020 Melbourne Australia.

Fine Chinese, Japanese and South East Asian Works of Art A SELLING EXHIBITION | MARCH 2020

Exhibition Dates Friday 20 March – Friday 27 March 2020 daily 11am–5pm

Exhibition Venue 409 Malvern Road, South Yarra, Melbourne, VIC, 3141 Australia

Selected Highlights Preview in Sydney 29 & 30 February 11am–5pm Level 1, 36-40 Queen Street Woollahra, NSW, 2020 Australia

409 Malvern Road South Yarra VIC 3141 | silkroadasianart.com

Welcome to Silk Road Asian Arts As the name implies, Silk Road Asian Art will exhibit the visual arts that have been produced by many and varied ancient cultures over centuries.

Originating in China and linking virtually every Asian culture, the historic Silk Road became the greatest trading connector the world had ever known. It transversed not only geography but also ideology.

The various trading routes that formed the Silk Road, wound their way from Asia, through the middle-east and ultimately to markets in Europe. In so doing, the Silk Road linked cultures of many and very different creeds. It did so with one central concept at its heart, that of trade, and often in the most exotic and beautiful commodities, that were previously unknown to the wealthy and ruling classes of Europe. Works of art produced in what the West referred to as the Far-East, passed along these channels and on their arrival in the West, their beauty and opulence met a ready and wealthy clientele in Europe, who were eager to show off these “New-World� riches. What they didn’t know in the West at that time was that in many cases even greater creations had their own thriving domestic markets back in their country of origin. China for example stands-out as a country that has always prized its own arts, right from the earliest of times, with patronage from the ancient Emperors.

We are delighted to have received strong interest in this our Inaugural exhibition and so we are thrilled to be able to offer a really significant collection of some very fine pieces, that we will now look to place within collections here in this country and Internationally.

With our expert panel we have carefully appraised all pieces in this collection to ensure everything can be sold with full guarantees of authenticity. In this regard, we are particularly keen to source from old private collections, as we have done this time, and especially works with known provenance.

I am particularly indebted to Ray and Vicki Tregaskis, who, together with fellow expert Allan Rae, have helped and encouraged the formation of this new business. They have a long and stellar history in this country for tirelessly promoting Asian arts to a domestic (and International) market, which was not always an easy path, especially in their early days.

I would very much like to thank the many private collectors around Australia who have placed their trust in me to handle their valuable works of art in this our Inaugural exhibition.

We very much look forward to welcoming you at the exhibition viewings and hopefully being of service to you at this event or in the future.

Paul Sumner, Founder, Silk Road Asian Art

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A Chinese well-painted Jizhou jar (Guan) Jiangxi province, Southern Song dynasty (1127-1279 AD) of gently rounded form with stout straight neck and rolled rim, with a vibrant two-tone brown glaze, with hints of white and pale green 11.4cm high, approximately 14cm diameter PROVENANCE

K.Y Fine Art Hollywood Road, Hong Kong 2002.

Private collection, Sydney, Australia.

REFERENCE

Early Chinese ceramics from an American Private collection. J.J Lally and Co, Oriental Art, March 28-April 16 2005, cat. No 26.

EXHIBITED

Objects of Desire, The Classic Age of Chinese Ceramics Song to Yuan Dynasties, 10th to 14th Centuries, Asian Arts Institute of Australia, Sydney, 2013, cat. no. 74.

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A Chinese Jianyao tea-bowl with a silvered foliage design, Southern Song Dynasty (1127-1279) the chocolate glaze with orange peel effect and ghostings of its original silvered surface decoration of leaves 11cm diameter PROVENANCE

An Important Private Collection, Sydney, Australia R & V Tregaskis Oriental Art, Sydney, Australia

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A very rare Chinese olive green teabowl with a splashed design, Shanxi province, Song dynasty (960-1279) of gently rounded form covered in a deep olive-green glaze, with darker gestural splashes 5.7cm high, 13cm diameter PROVENANCE

R & V Tregaskis Oriental Art, Sydney, Australia An Important Private Collection, Sydney, Australia

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A rare and fine Chinese brown-glazed ribbed jar (Guan) Jin Dynasty (266-420) of squat ovoid form with two strap handles and six bands of four vertical ribs fitted box 13cm high PROVENANCE

Capital Gallery, Hong Kong, 2011 Private Collection, Sydney, Australia EXHIBITED AND ILLUSTRATED

Objects of Desire the classic age of Chinese ceramics, Song to Yuan 10th-14th centuries.

Held by the Asian Arts Institute of Australia 2013

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A rare Chinese Jian hares-fur bowl, Southern Song dynasty (1127-1279) with a finely marked rich brown thick glaze stopping short of the foot-rim 7.2cm high, 11.8cm diameter PROVENANCE

R & V Tregaskis Oriental Art, Sydney, Australia An Important Private Collection, Sydney, Australia

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A very rare Chinese brown-glazed bowl with flowerhead prunts, Song Dynasty (960-1279) with four raised flowerheads around the rim covered in the thick chocolate-brown glaze stopping short of the foot-rim 9cm high, 15cm diameter PROVENANCE

R & V Tregaskis Oriental Art, Sydney, Australia, 2004 An Important Private Collection, Sydney, Australia

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A rare pair of Chinese Cizhou Boy pillows, Ming Dynasty (1368-1644) thickly covered in a creamy, ivorytoned glaze, painted in dark brown with humoristic faces, ruyi pendants, armlets and plaits tied together above the ears.

39cm long PROVENANCE

The collection of Alexander Popov in Novi Sad, Kingdom of Serbia, acquired between 1900-1920.

A copy of an old black and white photo, dating to early 1930s, with the collector’s cabinet, and the present two boys within, is accompanying.

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A Chinese Cizhou cream-glazed floral painted ceramic pillow, Song Dynasty (960-1279) of rounded rectangular design, painted with sprigs of brown leafage on the top side, within incised double lines 25cm wide, 12.5cm high PROVENANCE

R & V Tregaskis Oriental Art, Sydney, Australia Private collection, Sydney, Australia

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A Chinese Jianyao partridge feather glazed tea-bowl, Song dynasty (1127-1279) the thick chocolate glaze with flecked brown markings, growing denser around the rim 13cm diameter PROVENANCE

An Important Private Collection, Sydney, Australia R & V Tregaskis Oriental Art, Sydney, Australia

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A finely modelled Chinese polychrome painted pottery figure of a horse, Eastern Wei (534-550) standing four square with its neck raised 30cm high, 31cm long, 14cm deep PROVENANCE

Nicholas S Pitcher, Oriental Ceramics and Works of Art, London

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A Chinese finely modelled pottery equestrian group of a polo player and pony, Tang Dynasty (618-907) the player with green and orange clothing, the pony with black saddle and strapping 25cm high, 41cm long

PROVENANCE

An Important Private Collection, Sydney, Australia R & V Tregaskis Oriental Art, Sydney, Australia

Sold originally with a thermoluminescence report from Oxford University confirming its age, which was lost in the recent NSW bushfires.

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A Chinese painted pottery figure of a court lady, Tang Dynasty (618-907 AD) 37.25cm high PROVENANCE

R & V Tregaskis Oriental Art, Sydney, Australia, No. 1696 Private collection, Southern Highlands, New South Wales Australia

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A very rare and large Chinese Dingyao bottle vase, Song Dynasty (960-1279) of tall slender form with extended narrow neck and gently flared mouth painted character to the base 23.5cm high PROVENANCE

R & V Tregaskis Oriental Art, Sydney, Australia, 2002 An Important Private Collection, Sydney, Australia EXHIBITED

Art Gallery of New South Wales 2003 Compare a white-glazed long necked bottle vase, Jin dynasty, in the Metropolitan Museum of Art, New York, illustrated by S.Valenstein, The Herzman Collection of Chinese Ceramics, New York, 1992, p.36, no.25. See also another example in the British Museum is illustrated in Oriental Ceramics, The World's Great Collections, vol.5, Tokyo, 1981, no.55.

A similar white-glazed long-necked bottle vase, Jin dynasty, was sold at Christie's New York, 19 March 2008, lot 530.

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A Chinese green-glazed hill-type jar, Han Dynasty (206 BC-220 CE) with stylised floral moulded cover and taotie mask handles and raised on three bear-form feet 20cm diameter, 16.5cm high

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A Chinese large and finely potted incised peony Dingyao bowl 12/13th century incised in a fine hand with a peony spray to the cavetto of the bowl 21.5cm diameter, 6.5cm high

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An Important and exceptionally rare Imperial Chinese blue and white bowl, Xuande mark and of the period (1399-1435) painted with a continuous frieze of four five-clawed dragons chasing flaming pearls and surrounded by cloud scrolls, the cavetto with a circular panel enclosing a scaly dragon within blue circles, the foot with a finely drawn six-character Xuande mark within double blue circles.

23cm diameter, 9.5cm high

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This extremely rare bowl represents the finest quality of porcelain produced at the Imperial kilns in the Xuande reign. The design of Imperial five-clawed dragons flying through the clouds and each chasing a flaming pearl is one of the most classic designs of all in Chinese porcelain, but that said this is one of the rarest patterns of the Xuande period.

Originating as early as the Hongwu period (1368-1398) as seen on a blue and white and moulded bowl in the Tianminlou collection, illustrated in The Radiant Ming 1368-1644 through the Min Chiu Society Collection, Hong Kong, 2015, p. 18, no. 1. However, it was not until the Yongle period (1426-1435) that this design became standardised.

A Yongle blue and white stem bowl of very similar decoration with fitted gold cover and silver stand was found in the tomb of Prince Zhuang of Liang in Zhongxiang city, Hubei province, illustrated in the British Museum, Ming: 50 years that changed China, London, 2014, p. 87, fig.

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70. On the Prince Zhuang of Liang example, not only the porcelain stem bowl but also the gold cover and silver stand bear a conforming five-clawed dragon design. It is important to note that an inscription on the gold cover dates it to the second year of Zhengtong (1437). The consistency of this design across precious mediums and different reign periods might suggest that in the early 15th century this design became one of the standard designs supplied by the court to various imperial workshops.

Bowls of this type continued to be made in the following periods in the Ming dynasty (1368-1644) such as a Chenghua (1465-1487) example and a Hongzhi (1488-1505) example in the Shanghai Museum, illustrated

by Lu Minghua in Porcelain Wares from the Official Kilns of the Ming, Shanghai, 2007, fig. 3-61 and fig. 3-69 respectively.

Two Xuande bowls of related design are in the National Palace Museum, Taipei, illustrated in A Panorama of Ceramics in the Collection of the National Palace Museum: Hsuan-te Ware I, Taipei, 2000, nos. 64 and 65.

Xuande ‘dragon’ bowls of this form also exist in a slightly different version, in which the dragons have three claws and the interiors are decorated with various floral scrolls and sprays in underglaze blue. This group includes four examples in the National Palace Museum, Taipei, illustrated in ibid, nos. 69-73; one in the British Museum, illustrated by Jessica Harrison-Hall, Catalogue of Late Yuan and Ming Ceramics in the British Museum, London, 2001, p. 134, no. 4:26; one in the Matsuoka Art Museum, Tokyo, illustrated in the Toji Taikei (Ceramics of East Asia), vol. 42, Tokyo, 1975, figs. 51 and 52; and the other one sold at Sotheby’s Hong Kong, 2 November 1994, lot 36.

A band of lappet design around the base of these bowls is more common, instead of the crashing waves seen on this example, making this design exceptionally rare.

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A large and finely painted Chinese dragon fish bowl, Qing Dynasty, 18th century painted with a continuous frieze of dragons chasing the flaming pearl 46m high, 40cm diameter PROVENANCE

Acquired by the present owner from Brans, Perth, Western Australia

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An Important Chinese finely-cast bronze head of a Xiwangmu, Yuan/Ming Dynasty 13th/14th century the hair cast with birds and surmounted by feathers 20cm high, 14cm wide, 30cm high with base PROVENANCE

Aaron Gallery London Norman Taylor collection prior to June 1999 R & V Tregaskis Oriental Art, Sydney, Australia An Important Private collection, Sydney Australia

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Xiwangmu, also referred to as the Queen Mother of the West, is one of the most important deities of the Daoist pantheon. She was often depicted wearing a headdress decorated with phoenix, a mythical bird which, according to the 'Classic of Mountains and Seas' (Shanhai jing 山海經), compiled during the Han dynasty, inhabited the Immortal lands of the deity, along with other fantastic creatures such as the three-footed crow, the nine-tailed fox, the dancing frog and the moon-hare who pounded magical elixirs in a mortar.

The facial features and headdress decorating the present bronze head are comparable with those depicted on two bronze figures of Xiwangmu, Ming dynasty, which were sold at Sotheby's London, 16 May 2007, lot 38.

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A large and very rare Chinese bronze Ding and cover, Warring States period (480 - 222 BC) the domed cover with three loop handles and cast with bands of interlocking designs, the base with three substantial legs and rising loop handles, decorated all over with the same interlocking designs as the cover.

37cm wide, 26cm high PROVENANCE

R & V Tregaskis Oriental Art, Sydney, Australia, 2000 An Important Private Collection, Sydney, Australia A similar but larger ding in the Avery Brundage Collection is illustrated by R.L.Lefebvre d'ArgencĂŠ, Ancient Chinese Bronzes, Berkeley, 1966, pl.39; a similar but larger bronze ding vessel, Eastern Zhou dynasty, was sold at Christie's New York, 22 April 1999, lot 191.

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A large Chinese Western-Han bronze mirror (206 BC-8 AD) cast with stylised foliate designs and bosses and a square panel with Chinese characters 18.2cm diameter PROVENANCE

Private Collection, Sydney, Australia A very similar slightly larger bronze mirror sold The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection, Christie’s, New York, 16 September 2010.

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A small Chinese Tang dynasty bronze mirror (618 AD-906) cast with a dragon and cloud scrolls 6.1cm diameter PROVENANCE

Private collection, Sydney, Australia 22

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A Chinese silvered bronze mirror, Tang dynasty (618 AD-906) cast with birds in flight, insects and flowers 9.2cm diameter PROVENANCE

R & V Tregaskis Oriental Art, Sydney, Australia 23

A very rare Chinese parcel-gilt inlaid alloy bird finial, Dingshi, Song dynasty (960-1279) or earlier cast as a recumbent bird clutching a short open pole,the feathers, closed beak and eyes being neatly incised and parcel-gilt.

16.5cm wide, wood base PROVENANCE

Formerly in the Lowenthal Collection, Frankfurt Germany. Paper labels to bird and base numbered 148 Hans Lowenthal was born in Frankfurt, Germany. His father Julius invented the first semi-automatic lighter in history in 1928 and named it Colibri. In 1953, Hans joined Colibri and was its Managing Director for 25 years.

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A rare Chinese crowned carved grey-stone head of Guanyin, Northern Qi (550-577) with finely carved details for the hair eyes and mouth, having elongated ear-lobes and a slender oval shaped face.

19.8cm high PROVENANCE

Mossgreen, Melbourne An Important Private Collection, Sydney, Australia

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A rare pair of Chinese jewelled bronze caparisoned elephant incense holders, Ming dynasty, 17th/18th century each on a stepped plinth with four feet, the bodies arrayed in rich trappings inset with coral and turquoise beads, the back draped with a neatly incised blanket from which rises a baluster vase above lotus sprays.

16.5cm high PROVENANCE

Formerly in an old European private collection REFERENCE

For a comparable elephant form incense stand see: Christie’s New York March 19th, 2009, Fine Chinese Ceramics & Works of Art, lot 619.

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A gilt-lacquered Chinese bronze of a seated dignitary in flowing robes, Ming dynasty 17th century on lacquered copper tree form base 31cm high, 19cm wide PROVENANCE

Spink and Sons, London, 1968 Andrew Stuart-Robertson, Sydney, Australia An Important Private Sydney collection EXHIBITED

Art Gallery of New South Wales, Magic Mushrooms, Daoist arts of China 1999

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A large and rare Chinese carved bamboo libation cup, late Ming/ Early Qing dynasty 17th century carved around the mid-section in shallow relief with a band of stylized archaistic motifs between key-fret borders, and a further band of taotie around the foot, with eight chilong clambering around the vessel and up the S-shaped handle, clambering over the rim of the cup.

14.1 cm high

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PROVENANCE

Acquired from Nicholas Pitcher Oriental Art London 2007 REFERENCE

See Bamboo, Wood, Ivory and Rhinoceros horn carvings. The complete collection of treasures of the Palace Museum, HK 2002 pl.133 for a very similar example. Also see The Robert Blumenfield collection Sotheby’s HK 7/4/2015 lot 3043 for a similar example

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A fine quality Chinese carved wood double lozenge shaped Zhu Huang brush pot, late Kangxi/ early Qianlong, 18th century with applied panels in bamboo finely carved in low relief with panels of birds and flowers representing the four seasons 11cm high PROVENANCE

R & V Tregaskis Oriental Art Sydney

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A rare and large carved Qingbai ewer, Yuan dynasty (1279-1368) carved with two bands of foliate meander and further rows of lappets with a long vertical spout joined to the funnel shaped neck by a double scroll detail, covered in a bluish glassy glaze stopping short of the foot exposing an orange toned body 24.5cm high PROVENANCE

R & V Tregaskis Oriental Art, Sydney, Australia An Important Private Collection, Sydney, Australia

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A fine Chinese gilt splashed bronze Hu form vase, 18th century of archaistic hu form, applied on the shoulders with two finely cast taotie -mask handles, and embellished overall with irregular gilt splashes 9cm high

For a closely related and taller (18cm) gold-splashed vase with taotie mask handles see; Christie's Hong Kong, 27 November 2019, On the Studio Desk, The Collection of Eileen and I.M. Pei Lot 2866, which sold for US$$437,500.

(AUD$84,400. US$56,339.)

PROVENANCE

F. W. Bodor Collection, New South Wales, Australia Lillian Horler, New South Wales, Australia, before 2003

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A Chinese Archaistic bronze vase, Hu, Ming Dynasty (1368-1644) hexagonal form decorated with two c-shaped handles surmounted by a single-horned beast head bearing adjoined loops for suspension, the rim, foot and body bear relief-bands of key fret, cresting waves and archaistic reliefs, Xuande six-character mark to base.

26cm high PROVENANCE

Formerly in a Canadian private collection.

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A rare bronze Gu-shaped slender vase, Song dynasty (960-1279) with fitted Japanese wood box, 18.1cm high, 9.6cm diameter at the flared mouth PROVENANCE

Kubosuo Memorial Museum of Art Izumi Special Exhibition, 2000

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A rare Chinese carved bamboo root scholars’ weight in the form of a pair of playful cubs, 17th century of circular flattened form with revolving ball 8cm diameter, approx. 4cm high

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A rare Chinese bronze octagonal barbed bowl, Yuan Dynasty (1279-1368) with alternate bird and flower panels, on short flared foot 21cm diameter, 14cm high PROVENANCE

Kubosuo Memorial Museum of Art Izumi Special Exhibition, 2000 REFERENCE

New History of World Art Orient Edition 7 Complete works of World Art Yuan Shogakukan, p.293

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A rare matching pair of jade fittings, Shang dynasty (1600BCE-1050BCE) of heavily stylised form, 7.5cm wide, 8cm high PROVENANCE

Capitol Gallery Hong Kong

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A Chinese white jade animal with wings, probably Ming dynasty, 17th century 4 x 5.75cm PROVENANCE

Private collection London and Sydney, Australia See: Chinese Jade Animals HK Museum of Art, 1996, plate 144.

Also: Christie’s Paris, 14/6/2006, lot 150 37

A finely carved Chinese celadon and russet Jade goose on lotus leaf pebble, Ming dynasty, probably late 17th century

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carved with its head resting on its back with a floral sprig held within its beak, seated on and wrapped within a large lily pad 10 x 6cm PROVENANCE

Private collection London and Sydney, Australia

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A finely carved Chinese Jade plaque of archaistic animals, Jiaqing period (1796-1820) 5 x 3.5cm PROVENANCE

Private collection London & Sydney, Australia 39

A rare Chinese white jade hair ornament, Ming dynasty, 17th century deeply carved finial with flower head and branch design 15.25cm long PROVENANCE

Private collection London & Sydney, Australia 40

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A finely carved and inscribed Chinese circular celadon jade plaque, Qianlong period (1735-1796) carved with a boy and precious objects to one side and an eightcharacter inscription to the other 5.5cm diameter PROVENANCE

Private collection London & Sydney, Australia 41

A finely carved inscribed Chinese celadon Jade plaque, Qianlong period (1735-1796) carved to one side with a figure and attendant in a landscape and to the other with an eight-character inscription 6.3 x 4.2cm PROVENANCE

Private collection London & Sydney, Australia

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An exceptionally well carved Chinese Zitan brush-washer, Qianlong period (1735-1796) carved with lingzhi fungus, scrolls and bats, on carved Huang-Huali stand, 13cm long, 10cm wide, 2cm high PROVENANCE

Knapton and Rasti, Hong Kong 43

A very rare Chinese carved Rhinoceros horn circular box and cover, Ming dynasty, 17th century carved with a pair of birds amongst flowering branches 6cm diameter, 3.5cm high

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A very fine red cinnabar lacquer square box, Qianlong Period (1735-1796) carved with a mountain landscape with figures surrounded by tied tendrils and foliate designs, the sides with four bands of densely carved geometric designs 22cm square, 6.5cm high PROVENANCE

The Peter Elliott Collection, Sydney, Australia R & V Tregaskis Oriental Art Sydney, Australia

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A large and inscribed Chinese bronze and carved wood opium pipe, 18th/19th century carved with dragons and cloud scrolls and cast with auspicious and precious objects 59cm long PROVENANCE

Albert Barton private collection, Canberra Norman Rod collection, Sydney Private collection, Sydney

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A finely worked Chinese silver dragon-vase by Luen Wo, Shanghai, Qing Dynasty, circa 1900

A finely painted Chinese reverse-painted mirror, Qianlong period (1711-1799)

decorated with a 3D dragon coiled around the neck and with further dragons and cloud scrolls on a stippled background, seal mark and initials L.W 18.9 cm high, 298gm

painted with a nobleman and a beautiful young lady in a landscape with delicate flowers and insects 30 x 25cm

PROVENANCE

Acquired by the present owner in Brisbane Australia

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PROVENANCE

The Collection of Sir Warwick and Lady Mary Fairfax Sydney

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A Chinese carved Duan ink-stone, Ming dynasty, 17th century carved with fruiting branches and bats, with Huang-Huali case stone 15.5cm long and 11cm wide, case 17 x 12.5cm PROVENANCE

Andrew Stuart-Robertson, Sydney Australia An Important Private Collection, Sydney, Australia

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A good large Korean stoneware inlaid celadon bowl, circa 12th century decorated with phoenix and stylised cloud scrolls between bands 19.2cm diameter PROVENANCE

The Peter Elliott collection, Mossgreen, Sydney 2012 R & V Tregaskis Oriental Art Sydney Australia, stock number 3205

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A Magnificent Japanese painted Tangka scroll depicting the life of Amitayus in great detail, late 19th or early 20th century the painting separated in to two main registers, the upper register with one large scene of Amitayus surrounded by bodhisattvas and various consorts and attendants, in an extensive landscape, the lower register divided into ten panels with various aspects of the life of Amitayus, with twenty inscriptions in gilt script on black background panels.

Re-mounted with orange and black silk with interwoven gold thread. With old paper backing and floral engraved gilt-metal scroll ends painted panel itself is 128cm by 58cm and 205cm x 77cm including the silk borders and scrolls PROVENANCE

This scroll painting was kept and researched by a very well-known Japanese Scholar- Zuio Hisao Inagaki (born 1929) who is a respected scholar in the study of Dharma and he used this painting for many of his journals and publishing’s, before Harold Stewart purchased it.

Harold Stewart (1916-1995), Well known Australian poet, who acquired it in Kyoto, Japan circa 1960-1970 Thence by descent in Melbourne Australia until bought by the present owner.

LITERATURE

The Voice of Dharma (法音, 2004, Issue 9, Illustrated pg. 32-33).

Left: 50 (Detail)

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A extremely fine Japanese silver and ivory Shibayama miniature table-cabinet Kodansu, Meiji period (1868-1912) with panels of flowers and birds and a hanging basket in hardstones and multi-coloured mother of pearl, reserved against a repousse silver ground of densely blossoming flowers, hinged and enclosing two banks of five gold lacquer faced drawers each with a silver handle 16cm high, 16cm wide, 8.5cm deep

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A fine quality Japanese black lacquer Tanto with superb shakudo fittings, Edo 19th century blade of small knife signed Kanesada of Seki, shagreen handle 40cm long, visible blade length 24.5cm 53

A very finely carved Japanese cinnabar lacquer pomegranate carved octagonal covered box, late Edo period, mid 19th century signed to base 6cm wide, 4cm high NOTE

In original inscribed Japanese collector’s box with an enclosed paper saying this box was prepared for the Master of Sikoll Den at the end of summer 1847. Shokuku.

PROVENANCE

Acquired by the present owner from R & V Tregaskis Oriental Art Sydney, Australia

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A fine Japanese lacquer four-tier food box, Edo period, 17th century decorated with wicker baskets of flowers on a nashiji ground, the interiors red lacquered 33cm high, 23cm square

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A finely carved and richly patinated Tibetan carved bone plaque, 15/16th century carved with a dancing female figure and surrounded by deeply carved scrolling leafage 15.2cm long PROVENANCE

Warwick Oakman Antiques, Tasmania, Australia 56

A finely carved and dark stained Tibetan carved bone plaque, 15/16th century, carved with a dancing female figure beneath another figure in an arch and surrounded by deeply carved scrolling leafage 14.8cm long 55

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A finely carved and richly patinated Tibetan carved bone plaque, 15/16th century, carved with a multi-armed dancing female figure and surrounded by deeply carved scrolling leafage 15.4cm long PROVENANCE

Warwick Oakman Antiques, Tasmania, Australia 58

A finely carved and richly patinated Tibetan carved fragmentary bone plaque, 15/16th century carved with a dancing female figure beneath other figures and surrounded by deeply carved scrolling leafage 15.2cm long

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A rare Khmer carved stone seated figure of Avalokiteshvara, Bayon Period, 13th century 40cm high, 20cm wide PROVENANCE

Anthony Smith, Melbourne, now London Private collection, Melbourne

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A tall Ghandaran stucco figure of standing Buddha, 4/5th Century AD standing square and facing straight ahead on a lotus throne 83cm high PROVENANCE

Acquired by the present owner in Melbourne from a private collection

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An impressive Ghandaran stucco head of Bodhisaatva, 4/5th Century AD with elaborate headdress and wreaths surmounted by a lion mask pendant, the finely worked face with crisp features and heavily lidded eyes, with looped earrings 46cm high

PROVENANCE

Acquired by the present owner in Melbourne from a private collection The kingdom of Gandhara, located in the region of present ­day northern Pakistan and Afghanistan, was part of the Kushan Empire.

It was located near overland trade routes and links to the ports on the Arabian Sea and consequently its art incorporated Indian, Persian and Graeco-­Roman styles. The Graeco-

Roman style that is evidenced in this sculpture was brought to Central Asia by Alexander the Great (327/26–325/24 BC) during his conquest of the region, particularly influenced the art of Gandhara. This stylistic influence is evident in facial features, curly hair and classical style costumes seen in images of Buddha and bodhisattvas that recall sculptures of Apollo, Athena and other Graeco-­Roman gods.

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A very fine Indo-Persian Mughal Painting of Muhammad Shah Badshah and his court, who reigned from 1719– 1748, Decanni style, 18th Century gouache on paper inscribed and labelled to verso: Mahmoud Shah & Courtiers, Deccan, the image itself inscribed: Fakahar-Ul-Din-Khan (Probable official title) Inder-Ul-Mulk, Nizam Ul Mulk (Official title) Burhan-Ul-Mulk (Official title) Chandu Khan Roshan-ud-Daulah (Official title) 30 x 24cm PROVENANCE

The George Pratts collection, Sydney, Australia

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A very fine Indian miniature portrait painting of a Maharaja, possibly Raja Amar Singh II (1698-1710) Udaipur, early 18th century depicting the Maharaja side profile wearing a Turban with jewelled aigrette gouache on paper 20 x 14cm PROVENANCE

The George Pratts collection, Sydney, Australia

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