TABLE OF CONTENTS
6 Introduction 8 - 14
Milestones 64 - 65
Alisan Fine Arts 70 - 71
Anastasia von Seibold 24 - 25 Anrad Gallery 32 - 33 David Thatcher Samurai Art 42 - 43 Eskenazi Ltd. 50 - 51 Hanga Ten 66 - 67
Jacqueline Simcox 56 - 57
J.A.N Fine Art 44 - 45
John Eskenazi 72 - 73 Jonathan Hope 62 - 63
Joost van den Bergh 34 - 35
Jorge Welsh Works of Art 68 - 69
Kamal Bakhshi Modern Asian Art 36 - 37
Lam & Co Antiquities 38 - 39 Lam & Co U.K 58 - 59
Lam’s Gallery 40 - 41 Mandarin Mansion
- 53 Marchant
- 19
Priestley & Ferraro
- 55
Raquelle Azran Vietnamese Fine Art 22 - 23
Rob Dean Art 46 - 47
Rosemary Bandini Ltd. 76 - 77
S.A. Fine Art 48 - 49 Schoeni Projects 20 - 21
W. Shanshan 珊然軒 30 - 31 Shapero Rare Books 26 - 27
Simon Pilling 28 - 29 Susan Page Snuff Bottles 75 - 75 Teresa Colman 60 - 61 Tsukimi Gallery
Auction Houses 80 - 81 Bonhams 78 - 79
Chiswick Auctions 88-89 Christie’s 84 - 85 Dore & Rees 86 - 87 Lyon & Turnbull 82 - 83 Roseberys
- 91
Sworder’s Fine Art Auctioneers
The description and attribution of pieces advertised are the sole responsibility of participants.
| ISSUE #7 | OCTOBER 2022
I have the honour of being the only person to have held the Chair of Asian Art in London twice, a rare privilege, and I am delighted to have been asked to write for this issue of Spotlight, which coincides with the 25th anniversary.
It is a compliment to the Board that the event has grown and evolved since its inception. It is not just resilient, with its strong core of established dealers and auctioneers, many of whom have participated since the beginning, but constantly evolving and adapting to the market. One of the biggest changes over the years was the inclusion of participants from outside the UK, and it is heartening to see so many this year – a testament to the enduring strength of the market in London.
The following pages are full of wonderful works of art, available to us all to buy. I love the variety on ofer, much more than in the early days, and I would encourage everyone to explore the diferent disciplines now accessible to us all.
With its wide range of dealers and auctioneers, combined with the fnest museums, London remains pre-eminent. I have found it heartwarming over the years that so many collectors, connoisseurs and dealers told me how much they enjoy visiting London during Asian Art in London.
Roger Keverne, Former Chair of Asian Art in LondonSPOTLIGHT SUBSCRIPTION
Sign up to the Asian Art in London mailing list to receive future issues of Spotlight directly to your inbox.
Celebrating Participants' stories
M I L E S T O N E S
A s A s i a n A r t i n L o n d o n c e l e b r a t e s i t s 2 5 t h e d i t i o n , 2 0 2 2 a l s o m a r k s m i l e s t o n e y e a r s f o r s e v e r a l o f o u r P a r t i c i p a t i n g d e a l e r s , g a l l e r i e s , a n d a u c t i o n s h o u s e s . R e a d a b o u t t h e i r a c h i e v e m e n t s h e r e , a n d j o i n u s i n e x t e n d i n g a w a r m c o n g r a t u l a t i o n s t o t h e m t h i s y e a r .
l i s a n F i n e A r t s ’ 4 0 t h a n n i v e r s a r y c e l e b r a t i o n b e g a n l a s t y e a r a n d h a s o r g a n i s e d a s e r i e s o f e x h i b i t i o n s h i g h l i g h t i n g t h e i n t e r n a t i o n a l l y a c c l a i m e d a r t i s t s t h e g a l l e r y h a s b e e n w o r k i n g w i t h s i n c e i t s e a r l y y e a r s . T h e f i r s t e x h i b i t i o n w a s W a l a s s e T i n g / S a m F r a n c i s : C e l e b r a t i n g a F r i e n d s h i p , f o l l o w e d b y C h u T e h C h u n ’ s S y m p h o n y , L u i S h o u K w a n H o n g K o n g L a n d s c a p e s , a n d R e d i s c o v e r i n g C h a o C h u n g H s i a n g . T h e l a s t i n t h e s e r i e s w a s Z a o W o u K i w h i c h j u s t f i n i s h e d i n S e p t e m b e r . U n d e r t h e l e a d e r s h i p o f A l i c e K i n g a n d D a p h n e K i n g Y a o , t h e g a l l e r y w a s a l s o t h e f i r s t t o o r g a n i s e a c o m m e r c i a l e x h i b i t i o n o f Z a o W o u - K i ’ s w o r k s i n H o n g K o n g i n 1 9 9 3 a n d s i n c e t h e n h a s h e l d f i v e m o r e s o l o e x h i b i t i o n s f o r t h e a c c l a i m e d a r t i s t . A l i s a n h a s a l s o o r g a n i s e d s o l o e x h i b i t i o n s f o r w e l l k n o w n a r t i s t s C h u T e h C h u n , L u i S h o u K w a n , W a l a s s e T i n g , a n d m a n a g e s t h e e s t a t e o f C h a o C h u n g H s i a n g .
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A l e t t e r f r o m R o s e b e r y s C h a i r m a n , I a n C a d z o w :
R o s e b e r y s i s c e l e b r a t i n g i t s 3 5 t h a n n i v e r s a r y i n
2 0 2 2 . R o s e b e r y s h e l d i t s f i r s t a u c t i o n i n O c t o b e r
1 9 8 7 , t w o d a y s a f t e r t h e m a r k e t c r a s h k n o w n a s
B l a c k M o n d a y . I t w a s a s o b e r i n g s t a r t t h a t g a v e u s q u i t e a f r i g h t a n d p r e s e n t e d a n e x t r a c h a l l e n g e b u t a s i t t u r n e d o u t t h e a r t a n d a n t i q u e s m a r k e t c o n t i n u e d t o p r o s p e r a n d i t w a s m y f i r s t e x p e r i e n c e o f i t s c o u n t e r c y c l i c a l n a t u r e . I n t h i s p e r i o d t h e t r a d i t i o n a l i n t e r i o r w a s i n i t s p o m p a n d d e m a n d f o r a l m o s t e v e r y t h i n g c o l l e c t i b l e , o l d , a n t i q u e o r s i m p l y c u r i o u s w a s a t i t s p e a k , i n a d d i t i o n t o t h e v e r y a c t i v e B r i t i s h t r a d e t h e r e w a s a t h r i v i n g s h i p p i n g t r a d e a n d f o r e i g n b u y e r s a p l e n t y . ‘ A n t i q u i n g ’ a t t h e w e e k e n d w a s a n a t i o n a l p a s t i m e a n d n o s m a l l t o w n w a s c o m p l e t e w i t h o u t a h a n d f u l o f a n t i q u e s h o p s a n d g a l l e r i e s . T h i s w o u l d l a r g e l y c o n t i n u e f o r a n o t h e r f i f t e e n o r t w e n t y y e a r s a n d i t i s i n t h e l a s t t e n y e a r s w e h a v e w i t n e s s e d a h u g e c h a n g e i n t a s t e a n d c o n s e q u e n t l y d e m a n d .
c o n t i n u e d >
T h o s e f i r s t t w e n t y y e a r s a l l o w e d u s t o b u i l d a s u c c e s s f u l g e n e r a l p r a c t i c e a u c t i o n b u s i n e s s i n c o r p o r a t i n g s p e c i a l i s t e l e m e n t s t o l a r g e m i x e d c o n t e n t s p e c i a l i s t e l e m e n t s t o l a r g e m i x e d c o n t e n t a u c t i o n s . A b u s i n e s s m o d e l t h a t i s s t i l l w i d e l y p r a c t i c e d t h r o u g h o u t t h e c o u n t r y b u t o n e t h a t w e h a v e c h o s e n t o m o v e a w a y f r o m . O u r c u r r e n t c a l e n d a r o f a u c t i o n s m a n a g e d b y i n d i v i d u a l s w i t h s p e c i a l i s t e x p e r t i s e a r e r e p r e s e n t a t i v e o f o u r b u s i n e s s a n d n o w d e f i n e u s . T h i s r e l a t i v e l y r e c e n t c h a n g e a l s o r e f l e c t s o u r o b j e c t i v e s a n d a m b i t i o n s l o c a t e d a s w e a r e i n L o n d o n a t t h e h e a r t o f o n e o f t h e b i g g e s t a r t m a r k e t s i n t h e w o r l d .
T h e s e e x p e r t s w i t h t h e i r d e p t h o f k n o w l e d g e a f f i r m o u r a b i l i t y t o b e a b l e t o o f f e r t h e b e s t a d v i c e a v a i l a b l e a n d s p e c i a l i s t a u c t i o n s t a r g e t e d a t w h a t i s n o w a g l o b a l n e t w o r k o f b u y e r s u s i n g a l l of t h e t e c h n o l o g y a v a i l a b l e a n d i t i s t h r o u g h t h e u s e o f t h i s t e c h n o l o g y w e h a v e w i t n e s s e d a h u g e i n c r e a s e i n i n t e r e s t a n d a c t i v i t y a n d g r e a t e r s u c c e s s i n o u r a u c t i o n s . I n t h i s y e a r o f o u r 3 5 t h a n n i v e r s a r y I c o n s i d e r w e a r e v e r y w e l l
Lee is celebrating 20 years of being a leading specialist, holding Fine Asian Art auctions in North America, Asia and the UK.
Career highlights include:
Masterminding the sale of the Thornhill
Xuande Stem Cup in Hong Kong for £3.2 million in 2016 as Head of Asian Art at Lyon and Turnbull
Successfully selling a Qianlong Imperial celadon teapot for £1 million in 2019 whilst Managing Director and Head of Asian Art at Duke’s Auctioneers
Leading the sale of the Anthony du Boulay Collection totalling £800,000 in 2019 whilst Managing Director and Head of Asian Art at Duke’s Auction.
4Susan Page set up her own company
dealing in Chinese Snuff Bottles in January 2018. She has been buying and selling snuff bottles since 1986 having previously worked for Robert Hall.
E s k e n a z i L i m i t e d i s c e l e b r a t i n g 5 0 y e a r s o f e x h i b i t i o n s , e a c h a c c o m p a n i e d b y a n i l l u s t r a t e d c a t a l o g u e o r p u b l i c a t i o n . T h e c o m p a n y w a s f o u n d e d b y G i u s e p p e E s k e n a z i i n 1 9 6 0 . T h e i n a u g u r a l e x h i b i t i o n w a s h e l d t w e l v e y e a r s l a t e r o n 1 M a r c h 1 9 7 2 w i t h E a r l y C h i n e s e c e r a m i c s a n d w o r k s o f a r t a t t h e g a l l e r y a t 1 6 6 P i c c a d i l l y . T h i s w a s f o l l o w e d b y a t o t a l o f 9 2 e x h i b i t i o n s r a n g i n g f r o m e a r l y C h i n e s e c e r a m i c s , m e t a l w o r k a n d s c u l p t u r e t o J a p a n e s e n e t s u k e a n d l a c q u e r w a r e , f r o m Q i n g c e r a m i c s t o h u a n g h u a l i f u r n i t u r e . M o r e r e c e n t e x h i b i t i o n s h a v e f e a t u r e d c o n t e m p o r a r y i n k p a i n t i n g a n d J a p a n e s e b a m b o o w o r k s . B e t w e e n 1 9 9 7 a n d 2 0 1 1 e x h i b i t i o n s w e r e a l s o h e l d i n N e w Y o r k . S i n c e 1 9 9 3 , e x h i b i t i o n s h a v e b e e n h e l d i n t h e p u r p o s e b u i l t g a l l e r y s p a c e a t 1 0 C l i f f o r d S t r e e t .
R o b a l s o c e l e b r a t e s 2 5 y e a r s w o r k i n g i n t h e I n d i a n a r t w o r l d .
I n 1 9 9 8 h e s t a r t e d w o r k a s a n i n t e r n a t C h r i s t i e s h e l p i n g t o c a t a l o g u e t h e i r V i s i o n s o f I n d i a s a l e s , a y e a r l a t e r h e b e c a m e a s p e c i a l i s t i n M o d e r n a n d C o n t e m p o r a r y I n d i a n a r t r u n n i n g
t h e i r o f f i c e i n M u m b a i f o r t w o y e a r s , l a t e r j o i n i n g S o t h e b y s a s t h e i r H e a d o f I n d i a n a n d S o u t h e a s t A s i a n A r t i n N e w Y o r k . R o b w e n t o n t o s e t u p h i s o w n c o m p a n y R o b D e a n A r t b u t r e m a i n s i n v o l v e d w i t h I n d i a n a u c t i o n s a d v i s i n g P u n d o l e s i n M u m b a i .
T h e 2 5 t h e d i t i o n o f A s i a n a r t i n L o n d o n i s a l s o a m i l e s t o n e f o r H a n g a T e n I t m a r k s t h e 2 5 t h y e a r s i n c e t h e e s t a b l i s h m e n t o f o u r a r t d e a l e r s h i p i n L o n d o n . W e c e l e b r a t e t h i s e v e n t w i t h o u r A A L e x h i b i t i o n “ F L O W E R S f o r 2 5 x 2 5 ” f o c u s i n g o n t h e i m a g e s o f f l o w e r s b y o u r a r t i s t s . W e a r e g r a t e f u l t o a l l o u r a r t i s t s , m o s t o f w h o m w e h a v e k n o w n p e r s o n a l l y f o r o v e r t h r e e d e c a d e s , a n d w h o h a v e a l l o w e d u s t o r e p r e s e n t t h e m a n d t o i n t r o d u c e t h e i r b e a u t i f u l a r t o f c o n t e m p o r a r y J a p a n e s e p r i n t m a k i n g t o a w o r l d w i d e a u d i e n c e . W e a r e a l s o g r a t e f u l t o o u r c l i e n t s , b o t h i n d i v i d u a l a n d i n s t i t u t i o n a l , w h o h a v e c o n t i n u e d t o s u p p o r t u s i n e x p a n d i n g t h e i r a v i d i n t e r e s t s i n c o n t e m p o r a r y J a p a n e s e p r i n t a r t i s t s .
S . A . F i n e A r t s i s c e l e b r a t i n g 1 7 y e a r s s i n c e i t s l a u n c h i n 2 0 0 5 , d e a l i n g a n d e x h i b i t i n g
A s i a n A r t i n L o n d o n . W e h a v e e x h i b i t e d a t p r e s t i g i o u s L o n d o n v e n u e s s u c h a s t h e
V i c t o r i a & A l b e r t M u s e u m , T h e R o y a l C o l l e g e o f A r t , a n d p r i v a t e g a l l e r i e s i n M a y f a i r . O u r p a s t e x h i b i t i o n s i n c l u d e d p r o m i n e n t n a m e s l i k e R a b i n d r a n a t h T a g o r e , N a n d a l a l B o s e ,
T h o t a V a i k u n t u m , A n j o l i E l a M e n o n , J o g e n
C h o w d h u r y , Y u s u f A r r a k a l a n d P a r e s h M a i t y a m o n g o t h e r s . O u r l a u n c h w a s w i t h a s o l o s h o w o f w e l l k n o w n c o n t e m p o r a r y a r t i s t , T h o t a V a i k u n t a m .
& FERRARO
3 Bury Street, St James’s, London SW1Y 6AB
Priestley & Ferraro specialises in early Chinese art, with a focus on the ceramics of the Song dynasty and the periods immediately before and after. This was an exceptional time in the history of Chinese – and world – ceramics. Innovation was matched only by the perfection of technique, resulting in the proliferation of kilns all over China, each dedicated to a range of beautiful and characteristic wares. It is in this rich and rewarding feld that we aim to fnd the fnest pieces for the collector.
Although our primary emphasis is on ceramics, we enjoy dealing in many categories of earlier Chinese works of art, including lacquer, both carved and undecorated, jades and cloisonné enamels, and from the pre-Song period, Han and Tang dynasty pottery animals and fgures and Buddhist stone carving.
The business was established in 1994 by David Priestley and Benedicta Ferraro. David studied Song dynasty ceramics under Mary Tregear at Oxford, before joining Sotheby’s in London where he worked as an expert in the Chinese Department. In 2002 Priestley & Ferraro was joined by Alice Williamson, also formerly of Sotheby’s and a graduate of SOAS.
Priestley & Ferraro is a member of the British Antique Dealers Association (BADA).
In China it is the tiger, not the lion, that is the king of beasts, and from earliest times symbolized martial prowess. The present tiger, carved with powerful economy from rock crystal, perfectly expresses the coiled energy of the beast. Associated with fnds of crystal and agate pieces pierced for use as beads and pendants, the tiger, like related larger animal fgures found, has no aperture. Its function remains mysterious. No other examples of seated pottery lokapalas appear to have been published, but a slightly later gilt-bronze fgure identifed as ‘Dongfang chiguo tianwang’, 東方持國天王 “Guardian Protector of the East”, is in the Metropolitan Museum, New York, accession no. 2001.77. A fragment of a splendid Tang dynasty painting found in Dunhuang, showing part of a fgure tentatively identifed as Dhritarashtra, the Guardian of the East, wearing similar armour and with left arm in a similar position to that of the present fgure, but holding an arrow, is in the British Museum, accession number 1919,0101,0.69.
A
Late
A pottery fgure of a seated lokapala
Tang
3 Duke of York Street, St James’s,
W. SHANSHAN 珊然軒 is established by Dr. Shanshan Wang and has a unique focus on early Asian art, particularly Chinese ceramics and sculptures from the Neolithic period to the Han and Tang dynasties. The gallery aims to rediscover the value and history of early objects, from which later art forms were derived and their aesthetic level exemplifed. Our selected collection includes rare earthenware pottery, gilt and inlaid metal works, blue-glazed ceramics, marble sculptures, with an extension to later Korean and Japanese objects.
The gallery performs as a platform to connect all art enthusiasts and catalyse new conversations and ideas between collectors from diferent disciplines. It encourages cultural exchange between the East and the West through delivering to the public lecture series, handling sessions and “Monthly Art Salon”.
The unique shape of pottery from Siwa culture is its faring saddled-shaped mouth, with two handles connecting the rim and the shoulder. This Siwa jar is made in reddish colour with grey patterns due to the uneven fring conditions. The surface is well burnished. It is a classic example on how elegant early ceramics can be in their simple but high aesthetic.
This large black double-handle amphora is the most typical vessel excavated from Sichuan province. What distinguishes this piece is the preservation of the white slip decoration on the surface; it is rare for such details to survive. The jar’s body is partially burnished, leaving the rest of the areas a matt greyblack with subtle scrubbing traces left by the shaping tools.
Large black double-handle
state
Large
Han dynasty
FEATURED LITERATURE
PROVENANCE
American collection
FEATURED LITERATURE
For a similar vessel of this type, see Dawn of the Yellow Earth,
Dean has worked as a specialist of Modern and Classical Indian
for both
Sothebys and now works
art consultant. In 2011 Rob became a co-founder of the auction house Pundole’s, which
Fine Art
as a
year
its base in
Mashwasi Dev, 1988
Jangarh Singh Shyam
Opaque Pigment on Paper 19 x 13 3/4 in. (48.5 x 34.8 cm.)
PROVENANCE
Formerly in the collection of Mitch Crites
EXHIBITED
Jangarh Singh Shyam: The Enchanted Forest, New Delhi: Bikaner House, 14 - 24 October 2017
FEATURED LITERATURE
Aurogeeta Das, Jangarh Singh Shyam: The Enchanted Forest, Paintings and Drawings from the Crites Collection, New Delhi: Roli Books, 2017, p. 154 (illustrated)
Untitled, c.2000
Jivya Soma Mashe
Acrylic and cow dung on paper 23 1/4 x 35 3/4 in. (59 x 91 cm.)
EXHIBITED:
• Birth of the Painted World, Pennsylvania: Kaufman Gallery at Shippensburg University, 2006
• Birth of the Painted World, Pennsylvania: Robeson Gallery at Pennsylvania State University, 2015
ANRAD GALLERY
London (by appointment only)
Founded by a private collector, Anrad Gallery ofers a curation of the fnest traditional works of Indian art. With a collection ranging from the epics painted on fabric scrolls to palm-leaf etchings and mineral pigments on silk, the Gallery’s heritage catalogue is sourced directly from master artists giving an insight into the rich and ancient culture of India.
We endeavour to present artists and their artworks in exhibitions, private viewings and other forums to bridge the gap between our artisans and the international community.
This stunning Oriya Pattachitra has intricate scenes from the story of Ganesha, the lord of the Ganas. Seated in the centre, he cuts a dramatic fgure, at once strong and serene.
The second painting is a small and beautiful image of Kamdhenu, the legendary wish-fulflling cow made in the Madhubani style of art, which traces its origins 2500 years ago. A blog post on anradgallery.com describes the signifcance of Kamdhenu.
PO BOX 834, Rickmansworth WD30RA
Established in 2005, Simon Pilling ofers Japanese works of art. All are sourced directly from Japan and so are fresh to the Western market. A particular focus is on the 20th century – a period of artworks still largely undiscovered in the West – and contemporary works. While carrying pieces in a variety of media – ceramic, metal, wood and graphic – his specialisation is in lacquer, the quintessential, perfect Japanese artform.
A richly coloured golden pheasant, kinkei, symbol of imperial authority, struts across a high-gloss black ground, embellished with fne silver makie, and a scattering of larger gold and silver fakes. The bird’s exotic plumage is raised in a series of coloured takamakie planes, while the shimmering tail feathers are a superb stylised design rendered in togidashie. This is work of the highest quality, as would be expected from an artist who worked almost exclusively for the Imperial Household.
Multi-ward winning Kyoto ceramicist Miyashita Zenji perfected a unique style, seen in this piece frst exhibited at Kyoto’s Takashimaya Department store, of building up overlapping, wafer-thin, multicoloured, irregular-edged clay bands, (saidei). The efect creates a powerful sense of receding planes, here culminating in a black band, and capturing the mood of a moonlit landscape. The technique is here applied to a gently swaying, slab-built, post-modernist form.
Document Box, May 2603, Imperial calendar (1943)
MURAYAMA Hisashi
Gold, silver and coloured lacquers
38.3 x 17.8 x 10.5 cm.
PROVENANCE Private Japanese Collection
TO THE MOON tsuki ni mukau, Heisei 16, 2004
MIYASHITA Zenji (1939–2012)
Stoneware, applied coloured clays, saidei technique
13.5 x 13.5 x 40.5 (h) cm.
PROVENANCE
Private Japanese Collection
While working for 31 years with leading Chinese Snuf Bottle Specialist, Robert Hall, I appraised a large number of snuf bottle collections, wrote and organised many catalogues of collections, and helped dispose of the collections through private sales, and at exhibitions and antiques fairs around the world. In January of 2018, I branched out on my own and, with the support of Robert and a few collectors, have launched my own business: Buying and Selling Chinese Snuf Bottles.
grew up six miles
House, the home of the Marquess of
of snuf bottles.
the History of Art from St. Andrews University in Scotland.
Master of Arts
am currently a Board Member of the International Chinese Snuf Bottle Society.
PUBLISHED
Robert Kleiner, The Golden Autumn Collection of Chinese Snuf Bottles no 117
Chalcedony; with a slightly concave mouth and supported on a shallow foot rim with broad edges, a natural inclusion on front lightly edited to reveal a tree with a gnarled trunk, well hollowed.
Ofcial School, 1780-1850
Height: 6.2 cm
FEATURED LITERATURE
This bottle is the exact pair of another, with the same hall mark, illustrated in Chinese Snuf Bottles from the Collection of John Ault, no. 170.
PROVENANCE
Eric Young
Société Jersiaise
Sotheby’s London, 23 March 1988, lot 133 The Golden Autumn Collection
Porcelain; decorated in underglaze-blue and white on one side with two crabs and a spray of millet and on the reverse with a pair of magpies perched on the branches of a willow tree, the shoulders moulded with elaborate taotie masks suspending rings, the base inscribed Yun shi zhi. Yun shi zhi, ‘Made by the Rock Weeder’, Jingdezhen kilns, 1820-1850
Height: 5.3 cm
PROVENANCE
Chin Hua Galleries, Sydney, 1976 The Golden Autumn Collection
PUBLISHED
Robert Kleiner, The Golden Autumn Collection of Chinese Snuf Bottles no 154
RARE BOOKS
105-106 New Bond Street, London, W1S 1DN
Shapero Rare Books is an internationally renowned dealer in antiquarian & rare books and works on paper. Our specialists have over 250 years of experience in between them, with particular expertise in fne illustrated books and manuscripts from the 15th to the 20th century, including Islamica.
A fne illuminated manuscript with remarkable decorated marbled borders, of many varying designs and patterns. The use of marbled paper borders in a bound manuscript, is very unusual, and the only other known similar textual manuscript was copied by the same scribe.
A very attractive and large portrait of a Governor of Bombay, possibly of Parsi heritage, apparently executed by a local Indian artist. The architectural features, along with the subject’s silk embroidered robes and fne jewellery signify that the sitter was of high rank. The scene is unusually set at night- time with the light of the moon and stars.
Tarikh’i Iskandar (The History of Alexander), copied by Ibn Muhammad Khan Safdar ‘Ali. [ALEXANDER THE GREAT]. CAMPBELL, James.
Kabul, Monday 8 Rabi II 1291 AH (1874 AD)
Single volume, illuminated manuscript on paper with fne marbled paper borders, in Farsi, 119 leaves. 33.6 x 23 cm
PROVENANCE
Begum Iskandar Mirza 1899-1969, wife of Iskandar Ali Mirza, frst President of Pakistan from 1956-58.
FEATURED LITERATURE
The only other known textual manuscript to include marbled borders to this degree was copied by the same scribe as the present manuscript and was a translation of Voltaire’s ‘Histoire de l’Empire de Russie...’ (Private collection, Christie’s, Art of the Islamic and Indian Worlds, 26th October 2017, lot 123).
Large portrait painting of a Bombay Governor, possibly from the Puna region
[ANGLO-INDIAN SCHOOL]. PUNIR SHABAB, Bombay, [circa 1860]. Gouache on thick board. 60 x 44 cm
Raimu
Samurai Armour - Mogami-dô Gusoku
Neo Masanobu Edo period. 18th century. 江戸時代 koki 後期
Iron, lacquer, silk, wood, gold 1:1
Accompanied by a certifcate of registration as Tokubetsu Hozon 特別保 存 (Special cultural material) No.12042139 issued by the Kokusai Nihon Katchū Bugu Shinkō Kyōkai 国際日本甲冑武具
(International Society for the Promotion of Japanese Armor)
PUBLISHED
David Thatcher Gusoku Edition DB002 2022
Samurai Armour - Tachi-dô Gusoku
The Inoue clan (井上氏, Inoue-shi) Mid-Edo period. 17th century. 江戸時代 chuki 中
Iron, lacquer, silk, wood, gold
Accompanied by a certifcate of registration as Tokubetsu Hozon
(Special cultural material)
issued by the Kokusai Nihon Katchū
Shinkō Kyōkai
(International Society for the Promotion of Japanese Armor)
PUBLISHED
David Thatcher Gusoku Edition DB002 2022
JORGE WELSH WORKS OF ART
Jorge Welsh Works of Art was founded by Jorge Welsh and Luísa Vinhais. The gallery’s expertise is in Chinese porcelain – with an emphasis on Export porcelain – and cross-cultural works of art from Africa, India, China, and Japan ranging from the 15th to the 19th century.
Since 1999, the gallery’s editorial department, Jorge Welsh Research & Publishing, has published over 60 scholarly catalogues and books, including editions in English, Portuguese, Spanish and Chinese, some of which have also become reference works in their particular feld.
Both the present lion dog and the carp shaped ewer are examples of fgures included in our 2022 Asian Art in London exhibition ‘Okimono: Japanese Porcelain Figures from the Edo period’. The exhibition, which includes around 90 examples, explores porcelain production in Japan and the talent and creativity of the Japanese potters of the 17th and 18th centuries in creating these beautiful and interesting human and animal fgures.
Lion Dog
Japan - Edo period (1615-1868), 16701690
Kakiemon porcelain decorated in overglaze polychrome enamels
H. 6.5 cm L. 8.5 cm W. 5.5 cm
Ewer in the Shape of a Carp
Japan - Edo period (1615-1868), late 17th century
Porcelain decorated in underglaze cobalt blue
H. 19.5 cm L. 17.5 cm W. 12.5 cm
2/F 151 Hollywood Road
A large amber-glazed bowl with beribboned fower pattern
Liao Dynasty (AD907-1125)
30 cm
PROVENANCE
Hong Kong private collection, 1990s
A green-glazed lobed dish with fsh and lotus moulded design Liao Dynasty (AD907-1125)
17.5cm
& CO
4 Masons Yard, St James’s, London SW1Y 6BU
Lam & Co UK specialises in Chinese works of art, with a particular emphasis on early ceramics, paintings, terracotta fgurines, Buddhist sculpture, and Ming/Qing scholars’ objects.
The compressed globular body raised on three lion-paw feet, the upper body with a glaze with repeating geometric pattern in blue and amber, beneath the amber-glazed short neck and everted rim. A similar piece is found in Chinese Ceramics from the Meiyintang Collection, Volume One, by Regina Krahl, no. 238.
MANDARIN MANSION
By appointment
Mandarin Mansion was founded in 2005 by Peter Dekker, making his lifelong passion for swords his day job. He specializes in rare items from warrior cultures, with a special afnity for India, and East and Southeast Asia.
1. ) A pair of Thai pole arms, from the royal workshops of King Mongkut, a.k.a. Rama IV, who reigned from 1851-1868. The blades are styled after the Japanese glaive called “naginata”. Mounts are gilt copper with cotton rosemallow fower designs called “phuttan”.
2.) Nanban futakoromono. A set consisting of a matching knife (kogatana) and hairpin (kogai), meant to be worn in the scabbard of the Japanese sword. It is the only such set known that is executed in this Canton style of pierced work, which was inspired by imported Chinese metalwork.
royal pole arms, c. 1860
steel, wood, copper, gold
PROVENANCE
• From an American private collection
A sword with an identical guard to that seen on our pole arms was presented to Emperor Napoleon III on June 27, 1861. Palace of Fontainebleau, accession number F1534C. A somewhat similar piece was sent to President James Buchanan, also in 1861. U.S. National Archives, accession number 5923141.
10 Clifford Street, London, W1S 2LJ
Eskenazi Limited is one of the world’s most respected dealers in Chinese art. Over the past 60 years, the company has built a reputation as the leading player in the feld, having sold some of the fnest works of art seen on the market during this period. The material the gallery handles includes bronze, ceramic, sculpture, lacquer, works of art and contemporary ink painting. The company holds regular themed exhibitions and has placed objects in private collections and in over seventy international institutions.
This classic composition of a fgure of a scholar seated under a curving pine tree was probably originally a rectangular or square album leaf. The noted collector C. C. Wang believed that the painting could be by the Yuan artist Sheng Mao (active circa 1295 - 1368).
The decorative technique, tixi, used to create this brush and cover involved painting alternating layers of diferent coloured lacquer to form a thick body. This was then carved away in deep grooves to form curvilinear scrolls, revealing contour-like lines. The technique was time-consuming and expensive, used only for luxury products for the scholar and upper classes.
PROVENANCE
Yamanaka and Company, New York. Stephen Junkunc III, Chicago. Eskenazi Limited, London. Mr and Mrs S. Feinberg, Boston and by descent.
Figure Resting Under Pine Trees
Anonymous, Yuan - early Ming period, 14th century
Ink and colours on silk Diameter: 26.8 cm
PROVENANCE
Sydney L. Moss Ltd, London. Private collection, acquired from the above in 2009.
FEATURED LITERATURE
Christie’s, New York, Fine Chinese Paintings and Calligraphy, 27 March 1996, number 13. Eskenazi Limited, Seven Classical Chinese Paintings, London, 2009, number 4. Eskenazi Limited, Room for study: ffty scholars’ objects, London 2019, number 41.
Carved Tixi Lacquer Brush and Cover
Ming dynasty, 1368 - 1644 Lacquer Length: 25.3cm
FEATURED LITERATURE
Christie’s, New York, Fine Chinese Ceramics and Works of Art, 13 - 14 September 2018, number 1224.
Eskenazi Limited, Room for study: ffty scholars’ objects, London 2019, number 43.
John Eskenazi is an internationally respected dealer in Indian, Gandharan, Himalayan and Southeast Asian art; he is also a specialist in collectors’ carpets and textiles. In 1997 he was instrumental in co-founding Asian Art in London. John Eskenazi and his wife, Fausta, are available, by appointment only, for consultation and private viewings of select pieces.
Panjarnata Mahakala (Lord of the Pavilion) is vividly portrayed in this energetic composition, surrounded by his retinue of teachers, deities and followers. The fgures within the composition reassure the knowledgeable, educate students and promote the beliefs and practices of the monastery for which it was made. Mahakala inspires intellectual curiosity, perception and understanding. His large head represents the ultimate truth; his arms the union of wisdom and compassion and his two, absolute space and awareness.
Black thankga (detail) depicting Panjarnata Mahakala (Lord of the Pavilion), surrounded by deities and lamas Tibet
17th century Natural and mineral pigments on a cotton ground Height 102cm; width 110cm
PO Box 2281, Woodford Bridge, IG7 5YP
Rosemary Bandini started her career in Japanese art at Sotheby’s, where her boss was Neil Davey. She later assisted her husband in preparing exhibition catalogues at Eskenazi Ltd., before becoming an independent dealer in 1998. She has produced books and catalogues and curated a special loan exhibition of netsuke from European collections “In a Nutshell” held at the Embassy of Japan in London in 2013.
She is a board member of the International Netsuke Society and editor of the European chapter’s publication “Euronetsuke”.
Netsuke have been enduringly popular with collectors since the second half of the 19th century, when Japan opened up to the wider world. Embedded in seemingly simple designs there can be allusions to Japanese culture and legend that take the collector to a deeper understanding and appreciation of Japana microcosm that fts in the palm of a hand.
The Inari fox mask is a miniaturisation of a Noh mask. The stylised chrysanthemum with its ink stick and brush alludes to the legend of Kikujido, who wrote the lotus sutra on chrysanthemum leaves, the dew from the petals producing an elixir of life.
SCHOENI PROJECTS
By appointmentSchoeni Projects is a contemporary art platform promoting talent and celebrating cross-cultural exchange in unique environments. The organisation is built on the belief that art and the platforms on which it is shared, should be fuid and fexible allowing artists and art practitioners to connect, collaborate and engage in dialogue with ease.
Hanamushin comes from a saying by Ryokan, a Zen monk of the late Edo period, which goes “the blossoms (hana) unthinkingly (mushin, lit. ‘without mind’) invite the butterfy, and the butterfy unthinkingly visits the blossoms.” With the expression hanamushin, Ryokan explained the law of nature by which things are attracted to beauty. The Hanamushin series is the mutual highlighting of the allure of bamboo craft and mathematical formula.
Koike’s creative process is always about deconstruction and reconstruction. In Shufe, he reimagines the production of a printed portrait and draws on deconstruction of the image and colour extraction. It results in a dynamic presentation of the same image, giving a sense of surrealist playfulness while maintaining the original characteristics of the image.
SchoeniHanamushin I, 2022
Tanabe Chikuunsai IV & Sawako
Bamboo madake and rattan, Ed. 1/10
x 76 x 47 cm
Shufe, 2022
Kensuke Koike Black and white inkjet prints on fne paper 90 x 80 cm
PO BOX 67812, London, SW7 9BL, (by appointment only)
Hanga Ten (in Japanese “Shop of Prints”) is a leading specialist of contemporary Japanese prints. Established over twenty years ago in London, Hanga Ten has been instrumental in introducing the works of master print artists from Japan to a worldwide audience of private and institutional collectors. Hanga Ten represents twenty-fve artists and exhibits at major art fairs in the UK up to six times a year. Frequent visits to Japan ensure strong and long-term relationships with our artists which our international clientele can confdently rely upon.
Hanga Ten is pleased to introduce two seasonal works by the Japanese mezzotint printmaking master, Katsunori Hamanishi (b. 1949). He is known internationally as a leader in mezzotint which is recognised as one of the most difcult print-making techniques. He is “The Artist’s Artist”. Although mezzotint print-making was invented in Germany in the 17th century, it is the Japanese artists who have enhanced this genre as an art form adding colour for the frst time. With Hamanishi’s technique, colour and style, East truly meets West.
In “Coming of Spring”, Hamanishi captures in beautiful detail, fowers starting to bloom and butterfies animated by their scent. “Summer Pond” is Hamanishi’s most recent work. It is a large triptych in which we can almost feel the late summer breeze swaying in the willows and shadows of the
koi in the pond.
Summer Pond (Triptych), 2022
Katsunori Hamanishi (b. 1949) Mezzotint, 64 x 135 cm
Coming of Spring, 2021
Katsunori Hamanishi (b. 1949)
Mezzotint
Dimensions: 59 x 45 cm
PROVENANCE
Direct from artist
PROVENANCE
Direct from the artist
Hamanishi is represented in the permanent collections of The British Museum, The Metropolitan Museum of Art NY, Museum of Modern Art NY, The Art Institute of Chicago among others
Marchant, founded in 1925 by Samuel Sydney Marchant (18971975), are one of the world’s most respected dealers in Chinese and Oriental art. Since 1952, Marchant have been at the same location in Kensington, London, W8. The specialties of the company are Imperial Chinese Ming and Qing porcelains, jades, cloisonné, pottery and works of art. Emphasis is placed on rarity, quality and provenance.
Marchant are delighted to announce the exhibition and sale of “Chinese Ceramics Tang to Song”, a discipline the gallery has handled since their founding in 1925. This is Marchant’s second exhibition dedicated to the subject of early Chinese ceramics, following on from “Han to Song” in 2018. The current exhibition contains 43 fne and rare examples with excellent provenance. The accompanying catalogue follows a chronological order, and in order to further emphasize stylistic evolution, starts with an object that precedes the Tang dynasty and ends with a piece that post-dates the Song dynasty.
Chinese pottery sancai, three-colour glazed standing caparisoned open- mouthed horse wearing foral medallions suspended from the bridle and straps, with bright amber glazed body, the head splashed with a straw blaze, upright trimmed mane and tied short tail and pointed ears, wearing a sancai splashed saddle cloth and unglazed saddle draped with a further material and traces of original pigment, the base unglazed revealing the buf-coloured body.
Tang dynasty, early 8th century
Pottery, 18 5/8 inches, 47.2 cm high.
PROVENANCE
• From the Collection of Hovmarskalk Nils Rudebeck, Court Marshal to King Gustaf Adolf.
• Included in the Nationalmuseum, Stockholm exhibition of Kinesiska Utställningen (The Chinese Exhibition), 1928, no. 129 (with label).
FEATURED LITERATURE
• Two larger horses of this model, one unearthed from the tomb of An Pu and his wife in Luoyang, dated 709, now in the Luoyang Museum, the other in the Henan Museum, are illustrated by Sun Xinmin in ThreeColour Ware of the Tang Dynasty, The Henan Province Discoveries, no. 48, p. 79 & no. 86, p. 117; a related caparisoned horse in the Eisei Bunko Museum, Tokyo, is illustrated by Masahiko Sato and Gakuji Hasebe in Sekai Toji Zenshu, Ceramic Art of the World, Volume 11, Sui and T’ang Dynasties, no. 75, p. 97; another larger with impressed medallions on the unglazed base was included by Eskenazi in their exhibition of Early Chinese ceramics and works of art, 1974, no. 11 and inside front cover, pp. 2 & 30-33.
• A larger horse of this model reputedly unearthed in Luoyang, Henan Province in 1926, purchased from C. T. Loo in 1927, donated by General Goodyear in 1955, and exhibited at the Bufalo Museum of Science was sold by Christie’s New York in their auction of The Bufalo Society of Natural Sciences, Tang Dynasty Retinue of Ten Massive Sancai Glazed Pottery Figures, 3rd December 1992, lot 233 and was sold again by Poly Auction Hong Kong in Tang Sancai Ceramics from the Ten-views Lingbi Rock Retreat Collection, 14th July 2022, lot 3216.
Chinese ceramic Jun ware lavender glazed deep dish, pan, with shallow rounded sides, fat everted rim and gently raised lip, covered overall in a bright and unctuous glaze thinning in the cavetto and the lip, covering the base with a slightly recessed centre and falling short of the burnt brown knife-cut foot rim, the base with spur marks from the fring.
Northern Song dynasty, Jun kilns, Henan province, 11th – 12th century
Ceramic, 7 3/8 inches, 18.8 cm diameter
PROVENANCE
• From a distinguished English private collection.
• Sold by John Sparks Ltd., London, 20th November 1989.
FEATURED LITERATURE
• A similar dish from the collection of Sir Joseph E. Hotung, previously exhibited at the Oriental Ceramic Society in Exhibition of Chün and Brown Glazes of the Song Dynasty, 1952, no. 75, was included by Marchant in their catalogue of Recent Acquisitions, 2002, no. 2, pp. 6/7; another in the Idemitsu Museum of Art was included in their exhibition of Song Ceramics, Utensils of Sublime Beauty, 2018, no. 58, p. 74, which also included a purple-splashed example with a similar recess in the centre of the base, no. 59, p. 75; another from the Collection of Mrs. Alfred Clark is illustrated by Basil Gray in Early Chinese Pottery and Porcelain, pl. 84. • Dishes of this form with the addition of purple are well-known. One is illustrated by John Ayers in Chinese Ceramics in the Baur Collection, Geneva, Volume I, no. 16 (A33), pp. 58/9; another, from the Klas Fahraeus Collection, was included by Eskenazi in their exhibition of Junyao, 2013, no. 10, pp. 68/9; another of this form in the Gugong is illustrated by Li Huibing in Porcelain of the Song Dynasty (I), The Complete Collection of Treasures of the Palace Museum, Beijing, volume 32, no. 226, p. 250.
FINE ART
320 East 57th street New York, NY 10022 USA
Celebrating 25 years of exhibiting Vietnamese fne art in the West! A leading specialist in Vietnamese Fine Art since 1997, Raquelle Azran is an international collector, museum curator and dealer. Based in Hanoi since 1991, her personal access to Vietnamese artists has enabled over 100 exhibitions - in Asia, Europe and the United States - of the most exciting modern and contemporary Vietnamese paintings.
“I believe that artwork must be experienced viscerally. The conversation between viewer and artwork is a very personal moment, which I am delighted to ofer to afcionados of Vietnamese fne art as well as to those for whom the delight of discovery lies ahead.”
Vietnam is unique in Asia in its fusion of Eastern and Western infuences. The founding of the Indochine Fine Arts School in Hanoi in 1924 by colleagues of Matisse (Tardieu and Inguimberty) and the presence of numerous French ‘artist travelers’ ensured close and continuous interaction between French and Vietnamese artists in both countries.
Notre Dame by Vinh Phoi (1937 - 2017) was painted during the artist’s studies in Europe. Girl with Flower is a limited edition lithograph from 1926 by Marie Antoinette Boullard-Deve, a French artist traveler who spent years in and around Hanoi depicting the local people and their culture.
Notre Dame, 1962
Vinh Phoi
Watercolour on paper 50 x 70 cm
PROVENANCE
Acquired in 1994 from the artist in his home in Hue, Vietnam
Girl with Flower, 1926 Marie Antoinette Boullard-Devé
Limited edition lithograph, one of 20 in The Paris Portfolio, printed by Perrin process in Gillot Press 55.5 x 43.5 cm
PROVENANCE
The property of a French family
FEATURED LITERATURE
The lithographs appear in “Visions de l’Indochine”by Marc Chadourne, published in 1927 (200 copies) by Librairie Plon (founded 1852).
J.A.N.
134 Kensington Church Street, London,
Established in 1977 and founded by Kikue Shimizu, J.A.N. Fine Art is located on the world renowned “street of antiques”, specialising in Chinese, Japanese, Korean, Himalayan and South East Asian ceramics, porcelain, paintings and works of art.
A pair of ewers with wide rounded sides, which tapers toward the galleried rim, an elongated shallow s-shaped spout is attached to the lower section of the main body, a sturdy u-shaped handle with a small loop for the metallic lid, joins the mouth-rim to the main body, all raised on a tall foot. Decorated in underglaze cobalt blue, the central panel depicting a garden scene with two birds amongst sprouting bamboo from rock-work. The foot, side panels, handle and spout is elaborately decorated with foral scrolling. Produced for the Middle Eastern market. The ‘mizusahi’ jar is well potted with an ovoid body and an elongated neck fanked by loop handles below the everted rim. The exterior is covered with a lustrous black glaze freely splashed in russet colour glaze. The glaze stops above the foot to expose the smooth clay body. The interior is covered in a thin dark brown glaze. This mizusashi would have contained fresh cold water and normally used to top up the Chagama (Iron utensil). The bold and liberally splashed russet design against the blackish-brown
example of ‘zhegu ban’, or ‘partridgefeather mottles’. The term appears in text in the mid-tenth century to describe northern dark wares displaying this mottled design.
Chinese
Krahl, London, 1994,
LAM’S GALLERY
3C, Yally Industrial Building, 6 Yip Fat Street, Wong Chuk Hang, Hong Kong
Lam’s Gallery was founded in Hong Kong in 1988 by Mrs Chan Mei Lam. Over the years, the gallery has gained a worldwide reputation as one of the most respected and trusted Chinese dealers. The gallery is now run by the second generation who has more than 25 years of experience dealing with the fnest works of Chinese arts spanning 5000 years of history.
The jar has an ovoid form with the shoulder set on one side with a short straight spout. Of metalware form, the deep rounded side of the tripod rising to an everted rim and all supported on three cabriole legs both covered overall in a clear straw white glaze
White stoneware Ewer
Tang Dynasty, AD 618-907
Glazed Pottery
Height: 41 cm
PROVENANCE
Hong Kong Private Collector
A similar jar is illustrated in Sato Masahiko and Hasebe
Gakuji, eds, Sekai toji zenshu/ Ceramic Art of the World, vol.11: Sui To/Sui and Tang
Dynasties, Tokyo, 1976, pl 115
A large white stoneware
tripod
Tang Dynasty, AD 618-907
Glazed Pottery
D: 28cm x 12cm
PROVENANCE
Hong Kong Private Collector
A similar example is illustrated in the Chinese Ceramics in the Carl Kempe Collection. The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, Pl. 462
TSUKIMI GALLERY
Paris
Tsukimi Gallery specialises in Japanese ceramics, metalworks, and cloisonné enamel pieces from the Showa (1926-1989) and Heisei (1989- 2019) eras. During those periods of intense modernisation of Japanese society, a fascinating, inventive artistic production arose within the decorative art feld. We are pleased to showcase pieces from skillful and recognised artists, many of whom are members of the Kogei or the Nitten associations. Their artworks exemplify a mastery of craftsmanship along with modern design and exquisite details.
Those two metalworks pieces from the second half of the 20th century highlight the diversity of design, media and techniques that were used during the Showa era. If those modern vases were produced after the 1960’s, the artists who made them mastered traditional techniques. Born in 1933, Hannya Kankei, regular member of the Japan Kogei Association is the fourth generation of Hannya family’s foundry, manufacturing high-quality copperware since 1870. Gyokusendō workshop was founded in 1816 in Tsubame, Niigata prefecture. It is particularly famous for its mastering of the tsuiki technique which consist in taking a copper sheet and hammering it into the shape of a container. Today this hammering technique is designated as an Intangible Cultural Property and Tamagawa Nonio (b.1942), the 6th generation of Gyokusendō, was appointed Leaving National Treasure.
Bronze bottle vase inlaid with gold and silver Hannya Kankei
Showa era, circa 1975-1985
Patinated bronze inlaid with bronze and silver
Height 20.6 cm,
Diameter 13.1 cm
PROVENANCE Private collection
Hammered copper vase Gyokusendō worshop
Showa era, circa 1960-1970
Hammered and patinated copper
Height 20.4 cm
Diameter 14.2 cm
PROVENANCE
Private collection
JOOST VAN DEN BERGH
By appointment in St James
Based in London since 1988, Joost van den Bergh has dealt in Indian and South East Asian art for over 25 years, focussing particularly on sculpture and works of art. He also deals in other areas of Asian art, including Tibet and Japan.
We are based in St. James’s, London and are open by appointment only.
Joost van den Bergh is pleased to announce his participation in Asian Art in London 2022, with a solo presentation of recent work by the British artist Nicola Durvasula, to be shown in St James.
Nicola Durvasula was born in 1960 on Jersey, in the Channel Islands. She studied in France during the 1980s, graduating with a DNSEP from the École des Beaux-Arts du Havre in 1984, and a DULCO from the Institut National des Langues et Civilisations Orientales in Paris in 1993. In 1992 she relocated to Hyderabad, India, where she remained for a decade before returning to live in the UK in 2002. She graduated with an MA in Fine Art from the Kent Institute of Art & Design in Canterbury in 2004. She now lives and works in Walmer, overlooking the English Channel.
Durvasula’s practice has encompassed drawing, painting, ceramic sculpture, flm and sound, and her long association with the contemporary art scene in India is refected in much of her work – combining Western artistic traditions with elements of South Asian culture. The notebooks that she has kept since 2015 are a record of both her art practice and her investigation of Eastern philosophy, revealing the threads that emerge, connecting the two.
Ōzawa Komin was born in Toyama Prefecture, in an area known for it’s metalwork. He studied traditional casting techniques and became a master of the yakigata (fred mold) method. He invented a cast-wrapping technique called igurumi, in which the metal decoration to be inset is applied to the inner surface of a mold before molten metal is poured inside, it is sometimes referred to as the Yakigata (‘fred-mold’ method). He won his frst of numerous prizes in 1978 at the Japan Traditional Arts Crafts Exhibition (Nihon dentō kōgeiten). Ōzawa was designated a Living National Treasure in 2005 for his mastery of casting (chūkin). His work can be found at the Takaoka City Museum Toyama Prefecture, Metropolitan Museum of Art (NY) etc.
Untitled (P.C. III), 2021
Showa era, circa 1985
Height: 20.5 cm, 8 1/8 in
Width: 30.5 cm, 12 in Watercolour, gouache, pencil
Brush or pen holder
Ozawa Komin (born 1941)
Showa Period, 20th century Bronze yakigata (fred mold) method
Height: 12.5 cm, 5 inches
Width: 11.5 cm, 4 ½ inches
Depth: 7.5 cm, 3 inches
Signed on the base: Komin
With the original tomobako inscribted: ‘Cast-wrapping method bronze, a tubeshaped pen holder’, with the artists seal and signature.
ALISAN FINE ARTS
21/F Lyndhurst Tower, 1 Lyndhurst Terrace, Central, Hong Kong
Alisan Fine Arts is one of the frst professionally run galleries in Hong Kong, and has been a pioneer in the feld of contemporary Chinese art and ink art since 1981. The gallery focuses on promoting Chinese diaspora artists, established Hong Kong and mainland artists, as well as a new generation of Chinese artists, with a particularly strong focus on female artists. Currently, the gallery manages two premises in Hong Kong, with its headquarter in the city’s Central Business District.
These are two internationally acclaimed artists Chao ChungHsiang and Wang Tiande’s iconic works. In Glow of Life, Chao’s expressive image with fsh swimming rendered in rich ink wash and layered by blocks of dazzling fuorescent colours, a true blending of East and West. In the ink landscape, Wang uses incense to make burn marks on rice paper in lieu of using brushes to paint. At frst glance it seems to be traditional landscape, but upon further examination one realizes his ground-breaking creations are a contemporary take on tradition.
SIMCOX LTD.
Jacqueline Simcox specialises in Chinese and Himalayan silk textiles, including wall hangings, costumes and furnishings made for the Chinese Imperial palaces, the aristocracy and the wealthy.
Additionally, with buddhist textiles and other monastic items and decorative silk textiles for the home market and export textiles made specially for the West.
Kesi, or ‘slit silk’ was considered the perfect medium for pictorial textiles; with a fat, even surface and non-refective fnish. The two weavings exemplify classical Chinese taste: the dragon, symbol for the emperor, is shown chasing a faming pearl, thought to represent wisdom, while the pair of red-capped cranes symbolise longevity; their white feathers indicating that they were thought to be at least 500 years old. They are accompanied by the peaches of long life and peonies which represent prosperity. The fanciful pierced rocks are set against a red background: the Ming dynasty colour.
A dragon amongst clouds Chinese, Ming dynasty, 1368-1644
Silk kesi (tapestry)
38 x 45 cm
PROVENANCE
From the Collection of Diana
Stainow, Paris
A pair of cranes; emblems of longevity Chinese, 17th century
Silk kesi (tapestry)
85 x 62 cm
PROVENANCE
From the Collection of Diana Stainow, Paris
KAMAL BAKHSHI MODERN ASIAN ART
By appointment, Kensington, London W8 7BYKamal Bakhshi Modern Asian Art is a London based dealer of Modern Asian Art. Specialising in the work of Japanese artists our catalogue ranges from masterpieces by: Toko Shinoda, Daniel Kelly, and Kazuko Shiihashi, to contemporary print-works by Ray Morimura, Kazutoshi Sugiura and Ryohei Tanaka. Kamal Bakhshi Modern Asian Art also ofer a range of museum quality woodblock prints by master printmakers: Yoshitoshi Mori, Sadao Watanabe and Iwami Reika.
Born in Duluth, Minnesota, the late Clifton Karhu was one of the most acclaimed American woodblock artists to work in Japan. Though the son of two painters and artistically inclined from an early age, Karhu joined the military. Stationed at the American Navy base in Sasebo from 1946 to 1948, he fell in love with Japan. Upon his return to the United States, he attended the Minneapolis Art School (1950-52) before returning to Japan in 1952, this time as a missionary of the Lutheran church. From Hiroshima to Kyoto, he and his wife sold bibles until he became disillusioned with the mission. Settling in Gifu prefecture, he returned to art, working in oils and watercolour. Karhu’s reputation grew swiftly, winning frst prize at the Middle Pacifc Art Group Exhibition, and held his frst solo exhibition at Shin Gifu Gallery.
In 1963, he moved to Kyoto. Immersed in the city’s vibrant artistic community, he began his successful career in woodblock printmaking. His self-carved and self-printed works portray traditional style houses and architectural details. Deeply expressive, yet precise and geometric, Karhu’s style has earned him enormous popularity worldwide. When asked about his medium, he states: “In Kyoto the vertical and horizontal lines of the tile roofs and the latticed windows strike a special harmony, like something alive. In my prints of Kyoto, I always strive to express this human warmth. Since wood accounts for much of Kyoto’s beauty, it may also be the best way that beauty can be expressed — through woodblock prints.” On March 24th, 2007, Karhu passed away from lung cancer.
ANASTASIA VON SEIBOLD JAPANESE ART
Place,
Anastasia von Seibold Japanese Art ofers Japanese woodblock prints and works of art from antiquity to contemporary to collectors worldwide. With a focus on 18th – 20th century woodblock prints, other categories handled include fne lacquer and folding screens as well as modern and contemporary paintings and works of art. Based at Cromwell Place in London’s museum district of South Kensington, we present regular carefully-curated exhibitions throughout the year.
works are included
exhibition,
a Distinguished Private Collection;
Books
Works of Art’, on view at Cromwell Place, London, 26th October - 6th November.
Other
Wisdom (chi), from the series
‘Fashionable Five Virtues’ (Furyu jin-girei-chi- shin), circa 1795 Utagawa Toyokuni I (1769 - 1825)
Woodblock print 38.74 x 25.40 cm
FEATURED LITERATURE
Another impression of the same print is in the collection of The British Museum, accession no. 1909,0618,0.86, go to: https://www. britishmuseum.org/collection/object/A_19090618-0-86AA079.jpg
‘Black Sea Bream, Small Sea Bream, Asparagus Shoots and Sansho Pepper’, from the untitled series of Large Fish, circa 1832-33 Utagawa Hiroshige (1797-1858) Woodblock print 25.4 x 36.5 cm
FEATURED LITERATURE
of The MET (New York), accession no. JP3596, go to:
Another impression of the same
JONATHAN HOPE
By appointment onlyJonathan Hope has been collecting and handling textiles and other works of art, specialising in South East Asia, since the 1970s. He has exhibited at several international art events, most recently Asian Art in London, and has participated in noncommercial shows. He is a regular contributor to Hali magazine and lectures on Indonesian textile traditions.
A statue of a young woman from the Jarai people of Vietnam’s central highlands. The sculptor of this commemorative fgure has given an unusually powerful expression to the face. Originally she would have stood atop a long wooden pole.
This rare Moluccan seated fgure represents an ancestor and from stylistic detail, specifcally the ear ornaments, appears to be from the Tanimbar islands. European brass upholstery nails have been used for the eyes and the back of the seat has been studded with tiny glass beads. While the carving is relatively simple the fgure has a strong presence. It was collected in Indonesia before World War 2.
Jarai fgure, Circa 1900
Wood, probably teak
Height: 81cm
PROVENANCE
Alan Mann, Richmond, London Christine Valluet, Paris
Moluccan fgure
19th century
Wood, brass, glass
Height: 26cm
PROVENANCE
A private collection in the Netherlands by descent from the collector who found it in Indonesia
TERESA COLEMAN FINE ARTS LTD.
405 Yu Yuet Lai Bldg, 55 Wyndham St, Central, Hong Kong
Over the past three plus decades, Teresa Coleman has established herself as a leading collector and dealer of antique Chinese costume and textiles and has built an international reputation as an expert authority in this feld. During this time, the Teresa Coleman Fine Arts gallery, now situated on an upper foor in the heart of Hong Kong’s Central district, has become something of a landmark to locals and international visitors alike.
A ji pao of blue satin silk for an imperial nobleman. The ji pao, literally meaning ‘auspicious attire’, was worn for all semi formal court occasions.The garment decorated with nine lively dragons chasing faming pearls amid clouds, bats and auspicious fowers, the ninth dragon hidden under the inner fold. Rising above the hem, a dramatic lishui border of tall mountain peaks and rolling waves, supports large peony heads and further emblems of good fortune. In varying forms, this border appears above the hem of all formal and semi formal court robes. Waves and rocks together signifying: ‘May the kingdom be unifed, mountain and river under one unifed rule; land under heaven, (China) belonging to one Government’. Shanhe yitong, jiangshan yitong, tianxia guiyi.
An embroidered silk scroll showing the story of the beautiful Yang Guifei, beloved of the Emperor and one of the four beauties of ancient China. She is shown with an attendant, amidst fragrant fowers, pavilions and rocks. A poem inscribed above, describes a scene of beautiful red and white fowers, faunting their fragrance; the moisture of the morning dew enriching their natural scent, their exquisite beauty waiting to be enriched by the morning sunshine.
Ji pao, semi formal court robe for an imperial nobleman or high ranking court ofcial c. 1860
Silk embroidery and gold couching
Length : 137 cm PROVENANCE London trade, 2014
Embroidered and inscribed silk scroll illustrating the story of Yang Gufei
C. 1770
Silk embroidery
Width 66 cm x Height 224cm , including mount
PROVENANCE London trade, 2006
S. A. FINE ARTS
54 Purley Avenue, London NW2 1SB
S.A. Fine Arts was established in 2005 in the UK to promote modern and contemporary art from India and other Asian countries to a European audience. S A Fine Arts has held several exhibitions in London promoting artworks from Masters to Contemporary artists from India at prestigious venues such as The V&A MUSEUM – showcasing ‘Tatva’ - Masters of contemporary Indian art and at The ROYAL COLLEGE OF ARTS– showcasing ‘Emerging India’ exhibiting works of 45 young contemporary artists and ‘The Art of Santiniketan’ showcasing works of 55 artists including the founders of Santiniketan such as Rabindranath Tagore and his family to the contemporary masters like K.G. Subramanyan, Somenath Hore, Lalu Prasad Shaw, Jogen Chowdhury and the alumni of Santiniketan.
Our endeavour is to present artists and their artworks in exhibitions at prestigious venues, online art exhibitions and private viewings to initiate a dialogue between the artist and the collector – creating a unique and interactive experience. We promote a collaborative relationship with our artists, valuing their creative perspective. Our core values involve giving back to the community, as we work closely with charities and institutions to help create a positive impact on people’s lives through art.
SHIVA
Shiva is a part of the Trimurti, the Hindu trinity of Brahma, Vishnu and Shiva. He is also known as ‘The Destroyer’, while simultaneously being recognised for his benevolence and fearsome force.
In this work, Seema has captured the blending of the feminine energy within Shiva’s more masculine force. While Shiva is known as Nataraja (king of dancers), here we see him with the Veena, expressing a more vulnerable, feminine side to him. With Ganga sitting in a calm pose on the moon and Saraswati on the swan, this work encapsulates all aspects of Shiva, his physicality, his beauty, and his vulnerability.
THE SONGS AND NARRATIVES OF HIRANYAGARBHA - Bhairav and Yogini
Where there is balance, there is a union of the breath of Ida and Pingala, resulting in the activation of Sushmana - a space rising above this physical body where soul or no soul occupies. In this actualisation of both, the yin and Yang emerge, taking you into a space of total union within yourself, to a space of no gender, no physical form. A traditional art form of Nepal, the Paubha paintings blend with Seema Kohli’s work seamlessly with the pencil drawings, watercolours and prints, comprising the multiple elements of mythology and traditions and eventually accentuating each of the artworks in the Hiranyagarbha series
A RARE MOULDED COPPER
LUSTRE-PAINTED FUNERARY
POTTERY TILE
Timurid Iran, Late 15th - early 16th century
x 34.3 cm
PROVENANCE
Private Collection of Dr Arthur M. Sackler
USA
Christie’s London, 18 October 1994, lot
Christie’s London, 6 October 2011, lot 123
FEATURED LITERATURE
Published in the journal article by Yui Kanda, "Kashan Revisited: a Luster- Painted Ceramic Tombstone Inscribed with a Chronogram Poem by Muhtasham Kashani", in Muqarnas, Vol. 34 (2017), cat. TSL-6, p. 283.
NARCISSUS, 20th century CUI RUZHUO (b.1944)
and colour on paper
x 45.5 cm
PROVENANCE
From an English private collection formed in the 1990s.
101 New Bond Street, London, W1S 1SR
Bonhams are international auctioneers of fne Chinese and Japanese art. We specialise in rare Imperial and Export Chinese ceramics and works of art, as well as Japanese ceramics, fne and decorative works of art from the Jomon period to the 21st century.
Chinese Art
The gold fgure inlaid with semi-precious stones, dating to the Qianlong period, is exceedingly rare. The fgure represents that of the ‘Able Minister of the Treasury’, and was likely part of a set known as ‘The Seven Royal Treasures’, which would have also included the Golden Wheel, the Swift Horse, the White Elephant, the Loyal General, the Jewels of Omen, and the Divine Pearls. These symbols would have been placed on an altar during the performance of important rituals, and according to Buddhist faith, signifed the virtuous features in the reign of a universal emperor, Chakravartim, indicating the power to conquer all regions and the incomparable quality of noble beings in achieving the prosperity of all beings. Such precious works of art would have been specially commissioned by the Imperial Court and likely made in the Imperial Workshops, as is also indicated by the exquisite workmanship. The fgure is part of the Oppenheimer Collection ofered in the Fine Chinese Art sale, comprising exceptional Imperial cloisonné enamel, painted enamel and bronze works of art.
Japanese Art Rembrandt, Velazquez, and Sharaku have been lauded as the greatest portraitists of all time. Of the three, Sharaku’s name is undoubtedly the least widely known with virtually no record of his identity. Sharaku’s powerful, and stylistically unique portraits of Kabuki actors were discovered over 100 years later by Impressionist artists and critics. This print is a departure from these 140 or so surviving kabuki portraits, and belongs instead to the artist’s rarer repertoire of sumo wrestlers—of which only six feature sumo wrestlers. Two of them show Daidozan, a child prodigy whose outsize vital statistics at only eight years old made him hugely popular among fans of the sport. Daidozan enjoyed sell-out appearances as a special attraction alongside the adult wrestlers who paraded at the opening ceremonies for sumo tournaments. Daidozan was credited in the popular imagination with all kinds of feats, including the quelling of demons, as depicted here.
AUCTION
Fine Japanese Art
Karina Choy (Japanese Department)
Fine Chinese Art
Olivia Xu (Chinese Department)
A RARE GEM-INSET GOLD FIGURE OF AN ‘ABLE MINISTER’
Qianlong ; gold, tourmaline, pearls, turquoise
13cm high
PROVENANCE
• Property from the Estate of Lady Helen Oppenheimer (1926-2022)
• Sir Robert Grenville Harvey (1856-1931) 2nd Baronet, and Lady Emily Blanche Harvey (1872-1935), Langley Park, Buckinghamshire, and thence by descent
• Sir Michael Oppenheimer’s paternal family was the well-known South African mining family.
An extremely rare ukiyo-e print: The child sumo wrestler Daidozan Bungoro as Shoki the demon-queller, early half of 1795 Toshusai Sharaku (f. circa 1794-1795) Woodblock print, 37.7cm x 25.6cm
PROVENANCE
Henri Vever (1854-1942) Collection.
FEATURED LITERATURE
Jack Hillier, Japanese Prints and Drawings from the Vever Collection, vol.1, London, Sotheby Parke Bernet Publications, 1976, p.620, no.617. Yamaguchi Keizaburo, Gime Toyo Bijutsukan, Pari Kokuritsu Toshokan (Musée Guimet, Bibliothèque Nationale, Paris, Henri Vever Collection, Huguette Berès Collection) Ukiyo-e shuka (Splendours of Ukiyo-e), vol.12, Tokyo, Shogakukan, 1980, p.188, no.202.
ROSEBERYS
Knights Hill, London SE27 0JD
Operating in London for more than 30 years, Roseberys Fine Art Auctioneers is a privately owned specialist fne art and antiques auction house and valuers, located in the heart of South London.
Our team of world renowned experts and consultants ofer both buyers and sellers a range of specialist art market services and a calendar of over 30 specialist auctions a year covering all areas of Asian Arts, Islamic & Indian Art, Jewellery & Watches, Old Master, 18th & 19th Century Art, Modern British & Contemporary British Art, Urban & Contemporary Prints & Multiples, 20th Century Art & Design, Impressionist, Modern, Post War & Contemporary Art and Decorative Arts, Fine & Decorative sales including Silver, Ceramics, Works of Art and Furniture. Roseberys are members of both the Society of Fine Art Auctioneers (SOFAA) and The Association of Accredited Auctioneers (AAA).
Combining excellent personal advice with thoughtful marketing
a great understanding of the art and antiques world, Roseberys operates extensively,
valuation services across the UK and worldwide.
AUCTION
Alice Bailey
South East Asian
Sikh Amlikar Rumal (embroidered square shawl) depicting Scenes from the Iskandernama or Book of Alexander the Great, after 1900 Pashmina embroidered with wool 190 x 190 cm
FEATURED LITERATURE
• ed Crill, R. ‘The Fabric of India’ Victoria & Albert Museum, 2016
• Crill, R., Indian Embroidery, 1999, nos 31, 32, 34
• ed Cohen S., Kashmir Shawls in the Tapi Collection, 2012, pp. 290-299 ed Stronge, S., The Arts of the Sikh Kingdoms, 1990, pp. 128-129
A Chinese Bleu de Hue ‘dragon and phoenix’ bowl for the Vietnamese market, 19th century Porcelain 18.5 cm dia.
PROVENANCE
Collection of the late documentary maker John Armstrong (1928-2004).
FEATURED LITERATURE
John Armstrong, Director whose Song of Clouds civil aviation flm was a landmark in the history of documentary, The Times, October 01, 2004, p.65; Important Annamese Ceramics: The Mr. and Mrs Robert P. Piccus Collection, 7 December 1984, Christie’s London, p.125; Hieu Nhan, Vietnam’s last queen’s ceramics auctioned in France, VnExpress International, July 2022.
Auction Salerooms, Vicarage Street, Frome BA11 1PU
Established in Frome in 1868, Dore & Rees has a longstanding and cherished position in Somerset and the South West. Since 2021, the saleroom is under the direction of Lee Young, known to many as a BBC Antiques Roadshow expert with a leading position in the feld of Asian Art. Somerset-based Lee has had a prestigious career over three decades working for national and international auctioneers including Sotheby’s, Phillips, Freeman’s of Philadelphia, Lyon & Turnbull and most recently, Duke’s of Dorchester where he was Managing Director. Lee is looking forward to his fourth Dore & Rees Fine Asian Art auction on 7 November.
Each of the selected lots represent exceptional examples of some of the fnest work from China and Japan from the 18th and the 19th centuries. One having been made for the Imperial court of China whilst the other was made for the elite of western society. We are thrilled to be able to ofer them in the forthcoming Fine Asian Art, presenting them to the market for the frst time.
RARE IMPERIAL FAMILLE ROSE
‘DRAGON’ MOONFLASK, BIANHU
QUIANLONG BLUE SEAL MARK AND OF THE PERIOD
Porcelain 22.5 cm high
PROVENANCE
Private Dorset Collection
EXCEPTIONAL PAIR OF DAMASCENE BRONZE AND SILVER VASES, Late 19th Century KASHIMA IPPU (1828-1900) Bronze & Silver, 22.5cm high
PROVENANCE
Private Collection of JJ Neale. Joshua Neale along with Henry West set up Neal and West Ltd in 1885 as fsh merchants in Cardif. The trawlers were given Japanese names following a friendship with a Japanese businessman, such as Fuji, Oku, Kyoto. During World War I, most of the Neale and West feet was taken over by the Admiralty, mainly for use as mine sweepers, seven were lost to enemy action.
& TURNBULL
22 Connaught Street, London
Established in Edinburgh in 1826, Lyon & Turnbull is Scotland’s oldest frm of auctioneers holding regular sales of Asian art, notably Chinese.
Image 1: The straight sides fnely painted with a drunken scholar reclining and napping on a cloth mat with an overthrown cup aside, together with an attendant fanning a wine ewer on the stove, all within a bamboo grove amidst the clouds, with a ftted wooden stand and bespoke cover.
Image 2: Ink and colour on paper, framed, titled ‘Changshou Xianzhi’ (The Magical Fungus of Longevity) on central upper left, further inscribed stating painted in the year to Ji Wei in Autumn, correspondent to 1679 , in the manner of Tang Ziwei (also know as Tang Yin, 1470-1523), painted in the Studying Straw Hall of Deep Willow, signed ‘Yun Chen Gu Jian Long, applied two red seals ‘Gu Jian Long Yin’ and ‘Yun Chen’
Blue and White Tripod ‘Drunken Scholar’ Incense Burner, Tonglu MING DYNASTY, CHONGZHEN PERIOD
Chinese ceramic
10.1 cm diameter
PROVENANCE
Private Scottish collection, acquired by Lawrence Edward Coleman O.B.E., thence by descent.
Lawrence Edward Coleman, awarded O.B.E on 1st January 1943 for his service to the Fire Brigade, was the Great Uncle of the current owner. He was a senior fre ofcer stationed in Penang, Malaysia during the 1920s/30s and returned to Britain pre-1939 and brought the collection back then.
Large Ink Painting of the God of Longevity, Shoulao and Boy
Attributed to Gu Jianlong (1606-after 1687)
Qing Dynasty, 19th Century Chinese Painting, 216cm x 107cm
PROVENANCE
From the collection of the late James Kedzie Penfeld (19082004), who joined the American Diplomatic Corps to China in the 1930s and 1940s. In 1954, Penfeld became United States’ High Commissioner for Austria with the mission to re-establish an independent, neutral and democratic Austria. In 1961, he was appointed American Ambassador Extraordinary and Plenipotentiary to Iceland; thence by direct family descent.
FEATURED LITERATURE
Compare to a smaller ink and colour on silk scroll painting, attributed to Gu Jianlong, depicting related subject matter ‘Shoulao on White Deer’, was sold at Christie’s New York, 19 March 2021, lot 852
CHRISTIE’S
8 King St, St. James’s, London SW1Y 6QT
Christie’s has sold Asian and Islamic art since its frst auction in 1766. The company continues to sell the fnest Asian and Islamic art at its sales in London, New York, Hong Kong and Paris.
This rare Imperial Mughal 17th century pashmina carpet encapsulates the fourishing artistic wealth under the rule of Emperor Shah Jahan (1628- 1658). Exemplary for its brilliant colour and design it is woven with the most luxurious and costly materials using prized pashmina goat hair woven onto a fne silk foundation. Held in the same distinguished private collection for the last thirty years it is one of only four complete or near complete pashmina carpets that may remain in private hands.
Measuring over 15 metres long, this royal Qur’an scroll attests to the creative vibrancy, the principalities which emerged as Mongol authority over Anatolia waned and from which the Ottoman Empire sprang. Along its entire length elegant calligraphic panels alternate with richly-illuminated roundels and protective prayers which were believed to endow the scroll with talismanic properties. Of fourteen surviving medieval Qur’anic scrolls, this is the oldest with a legible date and among the fnest in terms of execution.
FINE ART AUCTIONEERS
15 Cecil Court, London, WC2N 4EZ
Sworders, established in a cofee shop in 1782, is one of the UK’s leading Fine Art Auctioneers, conducting two auctions, including Chinese, Japanese and South East Asian works of art and paintings a year to coincide with Asian Art in London. All lots will be on extended view at the London gallery, the sale will take place at our Stansted Mountftchet Auction Rooms.
We are delighted to ofer a group of Chinese 18th-19th century sangde- boeuf in the upcoming Asian Art sale on 4 November 2022, from the Collection of Alfred Augustus Field (1898-1977), who worked in Calcutta as a pharmacist from around 1920 until the early 1950s. During his time in India, his love of ceramics developed and he started collecting various pieces that interested him. His collection later passed to his daughter and thence by descent in the 1980s.
The collection, including three vases, a censer and a brush washer, is all applied with a thick glaze of rich oxblood-red colour thinning to white at the rim, which is characteristic for such type of wares.
The copper-red glaze has been one of the rarest and most difcult glazes to achieve in ceramic history. It requires a very strict combination of mixing copper oxide in the glaze and then fring in high temperature around 1280 degrees, within a 5-degree-diference range, in a reducing atmosphere without oxygen.
A collection of Chinese sang-deboeuf
18th-19th century 21.5 to 31cm
All applied with a glaze of rich oxbloodred colour thinning to white at the rim
A Chinese blue and white vase 18th century 42cm high
Of rouleau form painted with dragons chasing faming pearls among clouds
Every piece for sale is vetted by experts to ensure you can buy with confidence.
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29th October East Asian Art:
Indian and Islamic Art:
October
5th November
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