OCTOBER a RTWORK s
Pieces are published and changed each month. the objects are presented with a full description and corresponding dealers contact information unlike auction sites or other platforms, we empower collectors to interact directly with the member dealers for enquiries and purchases by clicking on the e-mail adress.
In order to guarantee the quality of pieces available in the catalogues, objects are systematically validated by all our select members, who are the in-house experts. Collectors are therefore encouraged to decide and buy with complete confidence. In addition to this the Asian Art Society proposes a seven-day full money back return policy should the buyer not feel totally satisfied with a purchase. Items are presented by categories please check the table of contents.
Feel free to ask the price if the artwork is listed with a price on request.
Ten T ōki
Japan
Meiji period (1868–1912)
Height: 170,8 cm
Provenance:
Private Japanese collection
Price on request
Tentoki and Ryūtoki are 'Demon Lantern Bearers' from Japanese Buddhist mythology, linked to the Tōdaiji temple in Nara. they are traditionally depicted as oni, or demons, who have been subdued and converted to protectors of Buddhist teachings and are often shown carrying lanterns to light the way, symbolizing the dispelling of ignorance and the illumination of truth brought by Buddhism. this life-size bronze model of Tentōki covered in a natural green patina is leaning slightly to his left side, wearing a scarf around his shoulders tied in a knot at the chest above a loincloth falling over in folds. His features are boldly defined with the teeth showing and two horns appearing through finely defined bushy hair falling over his shoulders. Depicted here without the lantern.
Obje CT Pre S en T ed by:
Rasti Fine Art Ltd.
M.:+852 2415 1888
E.: gallery@rastifineart.com
W: www.rastifineart.com
T HE G RE aT Pald E n
lH am O
China Beijing, attributed to yonghe temple
Qianlong, 18th century
Gilded copper alloy with cold gold and color pigment
Height: 1,18 m (3 feet 10 ½ in.)
Provenance:
Rossi & Rossi Ltd.
British private collection
Publication:
Christopher Bruckner, ‘Chinese Imperial Patronage treasures from temples and Palaces', London, 2005, pp 116-118
Price on request
Obje CT Pre S en T ed by:
Hollywood Galleries
t.: +852 2559 8688 +852 2541 6338
E.: hollywoodgalleries@gmail.com
W: www.hollywood-galleries.com
This extremely large bronze figure of Palden Lhamo, crafted under the Qianlong imperial order was attributed to the yonghe temple in Beijing. It was a significant center for Tibetan Buddhism during the Qing dynasty.
Palden Lhamo is a remarkable deity and protector for the extraordinary power she possess. She is riding a mule through an ocean of her enemy's blood. Her raised sword cuts ignorance away from wisdom and demonstrates that all the apparently wicked and ugly actions she performs are achieved through the direct action which wisdom allows.
She sits on a horse blanket made from her own son's flayed skin. Her son's head may be seen hanging below the mule's belly. She foresaw that he would grow to be a cruel and vicious king and would eventually bring harm to Buddhism and was compelled to kill him.
Visible on the top rear flank of her mule is an eye. Legend says that her husband, the father of her slain son was so angry he shot an arrow at her and the hole it made became an eye showing that she, her steed, her actions – all of them - were performed with the eye of wisdom as their guide. On the front flank of the mule a bag may be seen which contains dice to show the unpredictability of life. She wears a garland of the heads of her enemies and her steed wades through an horrific ocean of blood and entrails taken from the enemies of Buddhism.
The grandeur size of this figure makes it very impressive. Moreover its massive size combined with its attribution to the yonghe temple makes it extraordinarily important. the casting is clearly of a superb quality and highly regarded as Imperial.
Reference: Hedin, Sven., “Jehol : City of Emperors.” E.P. Dutton & Company, Inc., New york, 1933, P.33, plate 25.
Luo Wen-Hua, “Dragon Robes & Monk's Robes: TibetChinese Buddhist Cultural Research of Qing Court”, 2 Vols.the Forbidden City Publishing Co., Beijing. 2005, Vol2, p.563, pl.5.1-9.
a BROW n G laz E d CH in E s E s TO n EW a RE s TOR a GE ja R
Guangdong, China
Qing Dynasty
18th-19th century
Height: 31,5 cm
Price on request
Obje CT Pre S en T ed by: Zebregs&Röell +31 6 207 43671 dickie@zebregsroell.com www.zebregsroell.com
With five lion masks handles on the shoulder of the jar. The body of the jar decorated with two dragons flying over waters and clouds, confronting a flaming pearl, drawn in the brown glaze.
Old Asian jars, called ‘Martaban', are found throughout South East Asia. these stoneware jars were meant to store trade goods or hold food and drink for the long sea voyages from China to various ports, mainly in South East Asia but as far west Egypt, from about the ninth to the nineteenth century. Mostly, peoples in the Philippines and Borneo (Kalimantan), Sulawesi and the Moluccas islands in the 18th and 19th centuries retained these vessels as treasured possessions, used in daily life as well as in their traditional cultures and funeral rituals, to be buried as grave goods to accompany the dead to the afterlife.
a l a RGE P O u CH fOR a s nuff B OTT l E
Mongolia
Late 19th century
Embroidery and braiding. Silk, metallic thread
Height: 43 cm
Width: 17 cm
Provenance:
Private collection united Kingdom, bought in the 1990s
Price: 4.000 uSD
Obje CT Pre S en T ed by:
Object presented by: Alan Kennedy
M: +1 646 753-4938
E: kennedyalan@hotmail.com
The use of snuff, which is a tobacco product, was introduced to Mongolia from China, probably in the 18th century. the Chinese learned about tobacco as the result of earlier contact with Europeans. traditionally, Mongolians greeted each other by a sharing the scents coming from their own snuff bottles.
Whereas a snuff bottle is a small object, pouches like this example are much larger. the bottle is inserted into a slit in the middle of the pouch, then the pouch is folded over, and held in place by the traditional sash that secures a Mongolian robe.
the motifs at the four corners of the pouch are known as ugalz in Mongolian, typically intertwined curvilinear and angular designs. they are executed in carefully embroidered rows of chain-stitched silk threads in gradated colors. Mongolians are known for their embroidery skills, however the silk thread would have been imported from China.
A similar snuff bottle pouch, also with a striking yellow ground color, is in the collection of the Bogd Khaan Palace Museum, in ulaanbaatar, the capital of Mongolia.
Vaj R aVa R a H i
Nepal
Circa 1800
Painted wood
Height: 53,3 cm
Provenance: Philip Goldman, London Hayward Gallery, London
Exhibited: Tantra, Hayward Gallery, London, Art Council of Great Britain, 30 September–7 November 1971.
Published: P. Rawson, Tantra: Hayward Gallery, London, 1971, p. 31, no. 115 Himalayan Art Resources (himalayanart.org), item no. 7547
Price on request
Obje CT Pre S en T ed by:
Kapoor Galleries
t.: + 1 (212) 794-2300
E.: info@kapoors.com
W: www.kapoors.com
the present sculpture depicts Vajravarahi, a prominent female deity in tantric Buddhism and consort of Chakrasamvara. Although she is usually shown accompanying or embracing him as his other half, Vajravarahi alone is often considered to be a godly representation of the combined wisdom held by all buddhas. One of Vajravarahi's eminent identifying features is the sow head, or varahi, emerging from behind her proper right ear. tibetan Buddhists have symbolically used the sow to represent ignorance within their practices and the attached head implies the defeat of the beast, reinforcing Vajravarahi's overarching wisdom and general triumph over ignorance.
Another one of Vajravarahi's identifying features is her distinct pose, which appears as though she is frozen in movement, with her proper right leg bent towards her proper left thigh–a position that is referred to as ardhaparyanka. Beneath her lies a corpse, a Buddhist representation of the ultimate evil that has been conquered by Vajravarahi's immense power. In addition to her decorated body and billowing drapery, Vajravarahi proudly wears an intricate headpiece with the heads of five humans. She also wears a large garland of severed heads that hangs around her dancing figure. In her raised proper right hand she holds a knife that is thought to be used to cut out irrelevant worldly concepts and leave only an acute awareness or jnana. Her proper left hand holds a small cup, usually a skull, that is said to be filled with blood or the scrambled ideas of humans. The present sculpture's intense and violent imagery further emphasizes Vajravarahi's vigor and power as she symbolically defeats ignorance, the fear of death, and other earthly or mundane views.
For another depiction of Vajravarahi, see Himalayan Art Resources, item no. 34057. this Vajrayogini (Vajravarahi's form without the sow head) also displays the deity's standard iconography and pose as well as similar billowing drapery.
G RO u P O f Kadam Pa s T u Pas
tibet
13-14th century
Copper alloy
Heights: 14 cm (smallest) - 25 cm (largest) (5 ½ - 9 ⅞ in.)
Provenance:
Benny Rustenburg Dutch collection (19402017)
Dutch private collection acquired from above in 1980s
Price on request
the Kadampa stupa is a distinctive type of stupa associated with the Kadampa school of tibetan Buddhism, which was founded by the great Indian master Atisha in the 11th century. this school emphasizes the teachings of compassion and the importance of integrating Buddhist principles into daily life.
Kadampa stupas are characterized by their unique architectural features, which often include a circular base, a dome, and a pronounced spire. they typically follow the traditional stupa design, symbolizing the Buddha's enlightened mind and the path to enlightenment. the structure usually includes various elements, such as a harmika (a square railing at the top) and a chhatra (umbrella) that signifies protection and spiritual authority.
Kadampa Buddhism played a crucial role in revitalizing Buddhism in Tibet after its initial introduction. Atisha's teachings emphasized the importance of study, meditation, and ethical conduct, which laid the foundation for future tibetan schools.
Obje CT Pre S en T ed by:
Hollywood Galleries
t.: +852 2559 8688
+852 2541 6338
E.: hollywoodgalleries@gmail.com
W: www.hollywood-galleries.com
jam BH ala
Nepal 13-14th century
Gilded copper alloy with ruby stone inlay
Height: 7,8 cm (3 in.)
Provenance: the Nyingjei Lam collection Price on request
Obje CT Pre S en T ed by: Hollywood Galleries
t.: +852 2559 8688 +852 2541 6338
E.: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com
the small and solid gilded copper alloy cast seated figure of Jambhala, the god of wealth and prosperity, is depicted as a benevolent figure who grants material abundance and spiritual richness to his devotees.
In this depiction, Jambhala is shown seated with a serene and sweet expression, exuding warmth and generosity. His right hand holds a jewel stone, symbolizing the wealth and prosperity he bestows upon his followers. this gesture serves as a reminder of the abundance that can manifest in one's life through spiritual practice and devotion.
In his left hand, Jambhala holds a mongoose, a creature known for its association with wealth and the ability to produce precious gems. this aspect of the sculpture highlights his role as a provider of both material and spiritual wealth, reinforcing the idea that true abundance comes from a harmonious balance of the two.
Jambhala is adorned with royal crowns and exquisite jewels, featuring a striking ruby stone inlay that adds a touch of opulence.
BRO nz E CO n CH
s HE ll and TR i PO d
s Tand (B an KH a)
Khmer, Cambodia
Angkor period
12-13th century CE
Height: 29 cm
Price: 8500 GBP
the khmer conches or sankha, either in bronze or ceramic were used in religious ceremonies during the Angkor Period and have long been associated with both hindu and buddhist rituals. However, the use of bronze conch shells is unique to Khmer empire.
used for pouring water or as sacred instrument, the example shown here appears to fall into the latter rarer category due to the spiral ending allowing the blowing of the shell.this was essential for the sound of Om.
the example is decorated on the pierced fan shaped lip over the main aperture with a central figure of a fierce face of the monster of greed (Kirtimukka) and in China and tibet (tÃO tIEH), in turn surrounded by four nagar. the tripod is decorated with nagar.
the rare ritual cult object has a beautiful shape exhibiting fine volumes and finely articulated features. The tripod supports the conch shell both in a physical, and artistic way. the lively character of the total ensemble is exemplified by the powerful expression of the mythical animals and their convincing movement.
Ref. Heaven and Empire Khmer bronzes from 9-15th Century Marle L Z eferys, Nicholas zefferys and Jeffrey stone white lotus co ltd 2001
Albanese M, Angkor: Splendors of the Khmer civilisation, white star 2006
Coe M. Angkor and the Khmer civilisation, thames and Hudson 2004
Cort. LA & P.Jett Gods of angkor, bronzes from the national museum of Cambodia smithsonian institute 2010
Sherman lee, Ancient cambodian sculpture (1969) page 70 no 37
Pal P
Obje CT Pre S en T ed by: Sue Ollemans
M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com
W: www.ollemans.com
a f in E Gand H a R an H E ad O f a Budd H a
Afghanistan
3rd Century AD
Stucco with ‘earth pigment'
Some old ‘restoration' to the nose
26cm high, 14.5cm wide, 14cm deep
10¼ ins high, 5¾ ins wide, 5½ ins deep
Provenance:
Michael Dollard, New york, uSA
John Stephens, circa 1986, London, uK
thence by descent, circa 2016
Brussels Private collection
Price on request
Obje CT Pre S en T ed by:
Finch & Co
www.finch-and-co.co.uk
E.: enquiries@finch-and-co.co.uk t.: +44 (0)7768 236921
dECOR aT i VE Pan E l
fOR a Tuni C
Late Roman / Coptic, Egypt
5th / 7th century
Wool, linen; tapestry weave
150 cm x 38 cm
Price on request
Obje CT Pre S en T ed by: thomas Murray
M.: + 1 415.378.0716
E.: thomas@tmurrayarts.com
W.: www.tmurrayarts.com
the colors of this woven panel match a published child's robe in the collection of the Metropolitan Museum (27.239). the culture is Byzantine, as opposed to Islamic. Please note the exceptional artwork features all sorts of magical creatures. this is an extremely rare piece in remarkable condition and museum show worthy in its present state.
dECOR aT i VE
Pan E l fOR a Tuni C
Late Roman / Coptic, Egypt
5th / 7th century
Wool, linen; tapestry weave
33 cm x 40,5 cm
Price on request
Obje CT Pre S en T ed by: thomas Murray
M.: + 1 415.378.0716 E.: thomas@tmurrayarts.com W.: www.tmurrayarts.com
Charming motifs of Bird, Lions and Flowers in an early roundel format.
Cl OTH f R a G m E n T (m O un TE d)
Late Roman/Coptic, Egypt
4th / 6th century
Wool, linen; tapestry weave
25 cm x 28 cm
Price on request
Obje CT Pre S en T ed by: thomas Murray
M.: + 1 415.378.0716
E.: thomas@tmurrayarts.com W.: www.tmurrayarts.com
A fabulous and rare example of a ‘proto-roundel,' known to have decorated the shoulders of Late Roman tunics. Note the complexity of the double border and eight-pointed star, a very auspicious mandala-like design that served as an apotropaic device.
i llus TR aT i O n TO a Ragamala s ER i E s: TO di Ra G ini
Provincial Mughal, India 18th century
Opaque watercolor heightened with gold on paper
Image: 13 cm x 7,6 cm
Folio: 15,9 cm x 10,5 cm
Provenance:
Private Florida collection, since 1992
Exhibited: Air India’s Maharaja: Advertising Gone Rogue, Poster House Museum, September 9, 2022February 12, 2024. Price on request
Standing beneath the pink blossoms of a small sapling, a lone nayika wanders an open glade.
The vast empty landscape emphasizes the woman's loneliness, the only audience for her longing tune being a blackbuck deer—horns delicately embellished with gold and a jeweled necklace around its outstretched neck—who serves as a stand-in for her absent lover. A cool white sun peeks through the morning haze, bringing a tinge of gold into the slowly brightening sky—the flat layers of metallic and cool colors evoking the feeling of a spring morning. the iconography is immediately recognizable as that of todi Ragini, which recalls the wistful mood of love in separation.
See another folio of todi Ragini at the Royal Collection trust (acc. RCIN 1005127), which while stylistically quite different, shares a similar composition to the present painting, characterized by a scarce background and the trifecta of nayika, deer, and tree.
Obje CT Pre S en T ed by:
Kapoor Galleries
t.: + 1 (212) 794-2300
E.: info@kapoors.com W: www.kapoors.com
a n GE ls d an CE and f ly
Pahari Hills, India
Circa 1800
Opaque watercolor heightened with gold on paper
Image: 22,9 cm x 16,8 cm
Folio: 29,2 cm x 22,5 cm
Price on request
the winged angel was introduced into Mughal art by Jesuit missionaries who first brought engravings from Antwerp to Mughal courts in 1580. these classical European forms were Mughalized and often transplanted into new contexts, adopting iconography more harmonious with existing Mughal art. these celestial beings eventually made their way into Indian art in the 18th century, when the decline of the Mughal Empire forced many Mughal artists to migrate to Pahari courts in search of new patronage, bringing with them techniques, skills, and devices of Mughal ateliers.
The angels in the present painting dance and fly within a rounded portal typical of paintings from the Pahari Hills. It is clear from their vibrant attire and fez hats that this painting is based on more Mughalized angel conventions, rather than directly from European models. While lacking its key figure, it is likely that this painting is based on a scene popular in Mughal courts during the 18th century in which angels bring the dervish Ibrahim Adham food as he sleeps. See two other depictions of angels at the San Diego Museum of Art, painted in Karnataka and Himachal Pradesh (acc. 1990.534 and 1990.1082, respectively). Both images exhibit a similar color palette to the present painting–the angels appearing with striking green wings and robed in orange, green, and pink, the latter also including the distinctive fez hats.
Obje CT Pre S en T ed by:
Kapoor Galleries
t.: + 1 (212) 794-2300
E.: info@kapoors.com
W: www.kapoors.com
i llus TR aT i O n
TO THE dEV i
m a H aT mya: d u RGa
BaTT lin G THE
dE m O n aR my
Kangra, India
Circa 1800
Ink with gouache on paper
19,1 cm x 25,4 cm
Provenance:
Hellen and Joe Darion, New york
Olsen Foundation Price on request
Obje CT Pre S en T ed by:
Kapoor Galleries
t.: + 1 (212) 794-2300
E.: info@kapoors.com W: www.kapoors.com
a s E aTE d BRO nz E
fi G u RE O f
Pa RVa RT i
India
Chola period
9 – 13th century
Bronze Height: 11 cm
Price: 3.800 GBP
Obje CT Pre S en T ed by: Sue Ollemans
M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
a diam O nd and Ru B y n ECK la CE
Benares, India
19th century Length: 26 cm
Price on request
Obje CT Pre S en T ed by: Sue Ollemans
M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
