Attributed to Juan Patricio Morlete (San Miguel de Allende, Guanajuato, 1713 - Mexico City, 1772).‘Casta painting. Black and Spanish produces mulatto’Oil on copper.52 x 48 cm. Morlete was one of the Novo-Hispanic painters who most often painted landscapes and, in fact, there are other examples by him of caste pictures painted in the open air. This characteristic, together with the great pictorial quality of the three figures depicted, and the model of the pedlar located near the family, (which is repeated in other of his artworks) and that Morlete is the only painter who mentions the word ‘produce’ in his titles instead of other terms to define mestizos (as we find in other paintings of his, for example in the painting entitled ‘Valle de Iztacalco, de yndia y español produce mestiza’ (Indians from the Valley of Iztacalco, and Spanish produce mestiza), which is in the Kaluz Museum) allows us to attribute this marvellous caste painting to the artist. This painting is a real rarity as it depicts the caste family scene in an outdoor landscape. Usually, these caste paintings were depicted in domestic settings, interiors of houses... and almost always with very repetitive models. In this case, we are presented with the Mexican Alameda Park, recognisable by its fountain, next to the Paseo Bucarelli. In the foreground are the protagonists, and around them, pedlars, couples strolling, a man on horseback, noblemen riding in a carriage, etc. In the lower margin we find the usual cartouche on which the painter originally entitled the work with the inscription ‘Negro y española produce mulata’ (‘Black and Spanish produces mulatto’), which one of its owners, who probably treasured it, covered with white paint and renamed it ‘Paseo de Bucarelli’, presumably in an attempt to conceal the obvious message of the work. The theme of caste painting was developed in 18th-century New Spain and was intended to show and classify the diversity that arose from the mixing of ethnicities. This was a complex task, as the Prado Museum reports in the catalogue published for the exhibition ‘Tornaviaje. Ibero-American Art in Spain’, as “natives of the West Indies, Spaniards and Europeans, African slaves and a small amount of Asian emigrants ... made up a stratified society, but with threads of communication between them”, a diverse society that gave rise to caste painting.Even so, the value of this pictorial genre does not lie exclusively in ‘the classificatory tendency of the 18th century’ or even to ‘European concepts of the exotic’, but studies such as Ilona Katzew's reveal the value of this genre for ‘the construction of its own differentiated image’ of New Spanish society. In fact, Katzew continues, caste painting ‘is a unique pictorial genre that has no equivalent in European art’, indeed, ‘it is fundamentally limited to the viceroyalty of New Spain’, although mixing of ethnicities took place in all the Spanish colonies. In this sense, the Director and Curator of Latin American Art at the Los Angeles County Museum of Art, concludes in her study that ‘caste painting is not a monolithic genre, but one that encloses multiple simultaneous meanings’ and that, furthermore, ‘it offers a clear example of how New Spain could be a generative centre and not just an area that remained on the periphery of artistic events’, as it has traditionally been considered.Reference bibliography:- Katzew, Ilona. (2004). "Casta Painting: Images of Race in Eighteenth-Century Mexico". Yale University Press.- Katzew, Ilona. (2004). "La pintura de castas: Representaciones raciales en el México del siglo XVIII". Turner Publicaciones S.L.- López Guzmán, Rafael (Ed.). (2021). "Tornaviaje. Arte iberoamericano en España." Museo Nacional del Prado. (pp. 165-181).
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Francisco Clapera (Barcelona, 1746 – Mexico, 1810)"Immaculate Conception"Oil on copper. Signed and dated "Clapera fecit 1798".There is a small dent in the upper right corner.63,5 x 41,5 cm.Francisco Clapera was a Spanish painter who, after graduating from the Royal Academy of San Fernando in Madrid in 1768, spent much of his artistic career in Mexico, where he arrived via Peru during the 1770s. He participated in the founding of the Royal Academy of San Carlos, where he also taught painting. There, under the direction of Jerónimo Antonio Gil (the first director of the Academy), Clapera introduced European artistic techniques such as Contrapposto to Mexican painting. These techniques made "his casta paintings more dynamic than those of his Mexican contemporaries," as noted by Joy Davis in her work "Eighteenth-century dress and fashion in the casta paintings of Francisco Clapera" (2015).However, in 1790, "he resigned from his position as head of painting" at the Academy, as reported by art historian Clara Bargellini, who also states that "he is known to have created the altarpiece of Our Lady of Mercy in the Sacristy of Mexico." These two quotes are taken from the publication “Dos series de pinturas de Francisco Clapera” (1994) (Two series of paintings by Francisco Clapera), in the scientific journal Anales del Instituto de Investigaciones Estéticas, where Bargellini reveals "fifteen paintings of the life of the Virgin and ten half-length figures of apostles [that] are currently in the bishop's office in the building annexed to the cathedral in the city of Durango"; two series bearing Clapera's signature that were previously unknown. According to the Doctor, "despite the Neoclassicism of the language, the artist's dramatic handling of light and shadow is striking."Francisco Clapera is also known for being the author of the only complete series of caste paintings in the United States and one of the few that remain intact in the world. It is dated circa 1775, in Mexico, and consists of sixteen oils on copper, two of which are signed (inv. 2011.428.1-.16).It has been on display at the Denver Museum of Art since 1996 and, as explained in its cataloguing information, "depicts families in domestic settings engaged in private activities, providing a rare glimpse into daily life in 18th-century Mexico. Others depict occupations and serve as a document of life in colonial times. The clothing, activities, and utensils reveal the hybridisation of 18th-century Mexican culture in its blend of European, Asian, and Mexican material culture."The collection was one of the main attractions of the exhibition "ReVision: Art in the Americas," organised by the Denver Art Museum (October 2021 - July 2022) and, in partnership with that museum, exhibited again at the Minneapolis Institute of Art very recently (June - September 2023). Reference bibliography:- Bargellini, Clara. (1994). Dos series de pinturas de Francisco Clapera. “Anales del Instituto de Investigaciones Estéticas” (Nº. 65), 159-178. https://dx.doi.org/10.22201/iie.18703062e.1994.65.1702- Davis, Joy. (2015). “Eighteenth-century Dress and Fashion in the Casta Paintings of Francisco Clapera” [Master's Thesis, Fashion Institute of Technology, State University of New York]. FIT Institutional Repository. https://institutionalrepository.fitnyc.edu/item/326- Minneapolis Institute of Art. (8th June 2023). “The Minneapolis Institute of Art’s Newest Exhibition, in Partnership with the Denver Art Museum, Provides a Poignant Look into the History of Latin America”. https://new.artsmia.org/press/the-minneapolis-institute-of-arts-newest-exhibition-in-partnership-with-the-denver-art-museum-provides-a-poignant-look-into-the-history-of-latin-america- Pierce, Donna. (2015). Descriptive file on “De Mulato, y Española, Morisco”, by Francisco Clapera. Denver Art Museum. https://www.denverartmuseum.org/en/object/2011.428.5
Ca. AD 600 - 900. A Javanese gold ring with gold pellets. The stepped hoop widens on the shoulders, to form a floral shaped bezel that secures the amethyst cabochon with four triangular points. For similar see: Magnificent Lustre, Southeast Asian Gold jewellery. and Ornaments from an Asian Private Collection, Online Auction 1-8 September. n. 15, 16. Size: D:14.07mm / US: 2 7/8 / UK: F; Weight: 14g Provenance: Property of a London art gallery, acquired on the US art market; Ex. Private Collection (1926-2019), Chicago, formed in the 1970s-2000s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 2nd Millennium BC.A Central Asian/ Bactrian buff stone cylinder seal. It depicts an Ibex and a bird of prey. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz.Size: L:29.4mm / W:13.2mm ; 9.68gProvenance: Private London collection of an Ancient Art dealer; Formerly in a central London family collection, 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Ca. 500 - 400 BC.An elegant Central Asian bronze rhyton, created using the lost-wax casting method. The rhyton features a stag protome at the narrow end and a conical body elaborately decorated with bands of horizontally set lines. The stag’s head is stylised, with upcurved horns, almond-shaped eyes and a delineated snout. A small pedestal is present at the base of the vessel. The piece has developed a stunning green patina over the ages. For similar see: MET Museum Accession Number: 1979.446.Size: 335mm x 290mm; Weight: 1.18kgProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 1800 - 1400 BC. A Central Asian shiny black stone cylinder seal, with a pierced loop for suspension. On the base of the cylinder seal, there is a stamp seal of a fish. Around the sides, there is a frieze of two animals. One of the animals has horns, whilst the other one does not. A plant is depicted beneath each animal, and the area above the animals is filled with parallel hatched bands. A similar hatching appears on the top of the seal around the loop. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert. Size: 33mm x 15mm; Weight: 14.5g Provenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; Ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s.
Ca. 200 - 400 BC. A stone stele depicting the Buddha's first sermon. The stele consists of three scenes. The top scene depicts Buddha’s descent from Trāyatriṃśa. The middle scene depicts the adoration of the Buddha’s turban. The bottom scene is the adoration of the Buddha. For similar see Asian Art Museum, object number B60S138+. Size: 390mm x 250mm; Weight: 4.6kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter. This piece is accompanied by a historical report from Alessandro Neri, an international Cultural Heritage expert based in Florence, Italy.
Ca. 500 - 600 AD or later. A stucco panel depicting Buddha, with a serene face looking sideways. The panel would have been a part of a cave painting. For similar see: Museum of Asian Art Berlin, III9028, Kizil, Cave 188. Size: 300mm x 250mm; Weight: 2.9kg Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 600 - 1200. A Javanese gold ring, composed of a round hoop with a D section, that enlarges on the shoulders to form a bulbus bezel. The bezel is engraved with the Javanese symbol of Sri. For similar see: Magnificent Lustre, Southeast Asian Gold jewellery. and Ornaments from an Asian Private Collection, Online Auction 1-8 September. n. 34. Size: D:15.49mm / US: 4 3/4 / UK: J; Weight: 15g Provenance: Property of a London art gallery, acquired on the US art market; Ex. Private Collection (1926-2019), Chicago, formed in the 1970s-2000s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
A Chinese bronze ritual food vessel, 'ding', probably Western ZhouH 17,5 - Dia.: 16,5 cmProvenance:- The collection of Mr. and Mrs. S., Ghent, Belgium.- Acquired from Het Magazijn, Ghent, in January 2011, according to the owner's inventory notes.- Acquired by Het Magazijn from the collection of Philip Smolarski, according to the owner's inventory notes.Ref.: The Smithsonian, National Museum of Asian Art, New York, Accession Number S1987.912 from the Arthur Sackler Collection, for a closely related example. (link)
A varied collection of 37 art books on European and Asian arts1. Jean Cocteau poesie graphique2. Toulouse Lautrec au cirque - Jean Sagne3. Hippolyte Daeye - Genese d'une peinture - Bernadette De Visscher D'Haeye4. Arts Visioneries Getlin - Howard 5. Hockney - The joy of nature Van Gogh Hans den Hartog6. Desmond Morris Analytical Catalogue Raisonne - S.LEVY 7. Berrocal - Jean-Louis Ferrier8. Fernando Botero peintures 1959-2015 - Chiappini9. Artistes pompiers: French Academic Art in the 19th Century - Harding10. Toulouse-Lautrec galeries nationale 199211. Kubisme - P. Cabanne12. Otto Howen - Biografie en catalogus - Een generaal tekent Nederland13. Van Dyck - Brown/Vlieghe14. L'Adoration de l'agneau mystique de J.Van Eyck - Valentin Denis, Ricordi Milano, 196315. Emile Claus en het landleven Johan De Smet Museum schone kunsten Gent16. Octave Landuyt - Emile Langui17. Permeke - Willy Van Den Bussche18. Maurice Vlaminck - Verzeichnis des graphisches Werkes - Katalin Von Walterskirchen19. Maurice Vlaminck - Genevoix (Fr)20. Rik Wouters - Willy Van Den Bussche21. De Dendermondse schildersschool - Jean-Pierre De Bruyn22. Pierre Alechinsky - Pierre Abadie and Willy Van Den Bussche23. Ensor - Robert Delevoy24. Michel Folon - Vandenbroecke and Van Nieuwenhove25. Dictionnaire de la peinture26. Sam Dillemans - Michel Laclotte, J. Thompson China and Japan:1. Fumihiko Otsuki - Daigonkai2. Samurai - Kozyreff 19843. Yuh Yu Etemble Erotisme dans la Chine l'ancienne, 19694 .L'empire interdit Tuymans - Hui5. Fine Japonese art, Bonhams, 20156. L'Estampe japonaise - FAHR - Taschen7. Netsuke, Bushell Collection, L.A. County museum of art8. Noritake A to Z - David Spain9. Noritake A to Z - David Spain10. Obras Primas de Ceramica Japonese - Museu Nacional de Soares de Reis (Port-Eng)11. The Silk Road Art and History - J.Tucker, A.Tozer
Asian Art: Chinese porcelain. A pair of imposing Chinese famille rose vases with a decor of warriors, literate and birds. China 19th century. | Height: 89 cm. | Condition: 1 vase in good condition.1 vase with a crack in the front and back + a small old restoration at the top of the vase. (see detail photos)
Asian Art, Chinese porcelain. A pair of deep dishes with ladies in blue and white porcelain. Kangxi/Yongzheng period. Marked. | Height: 5.5 cm.Diameter: 25 cm. | Condition: Provenance: Castle of Rumbeke, Belgium, owned by Mr Erik Loncke. Most likely sold at the Christie's auction from 20 -23 May 1997.1 dish in very good condition, except for a small chip.1 dish with 2 edge flakes and a hairline (4.5 cm.) (see details)
Asian Art: Chinese porcelain, 5 pieces of blue and white porcelain. 18th century. | Dishes: Diam. 14.5 cm.Bowl: 8 x 16.5 cm.Vases: 27.5 and 27 cm. | Condition: Provenance: Castle of Rumbeke, Belgium, owned by Mr Erik Loncke.Bowl: small edge flakes, otherwise in good condition.Dishes: 1 dish with baking error, otherwise in very good condition.Vases: 1 lid with shard. 1 lid with small shard on top. 1 vase in good condition. 1 vase with hairline (3 cm) at the top.
5 Lladro bells, a Lladro collectors society plaque, 4 Lladro figures including 6123 with damage to finger, boy with a top hat and cane with finger damage, girl with plant pot with damage to the plant and an Asian women with a plant pot with the plant loose. Contains a Nao figure and a Valencia figure as well as Lladro collectors catalogues vol 1-3, and The Art of Porcelain and The Magic World of Porcelain
Artist: Mark Tobey (American, 1890 - 1976). Title: "Composition #5". Medium: Mixed Media on Paper. Date: Composed c1967. Dimensions: Overall size: 12 3/4 x 9 3/4 in. (324 x 248 mm).Pricing: Starting Price: $3,000 Reserve Price: N.A. Auction Sale Price Estimate: $5,000/6,000Lot Note(s): Signed lower right. Painted on medium weight cream wove paper. Fine condition; as painted. Comment(s): Tobey was a mystical Wisconsin-born artist whose works had a visual affinity with Abstract Expressionism but shared more in common with Asian art and calligraphy (he studied at a Zen monastery in Kyoto, Japan, in the 1930s). Image copyright © The Estate of Mark Tobey / Artists Rights Society (ARS), New York. [29861-2-3000-NA]
Artist: Mark Tobey (American, 1890 - 1976). Title: "Composition #4". Medium: Original color pencil drawing on paper. Date: Composed 1971. Dimensions: Overall size: 8 1/2 x 13 3/8 in. (216 x 340 mm).Pricing: Starting Price: $800 Reserve Price: N.A. Auction Sale Price Estimate: $1,200/1,500Lot Note(s): Signed and dated, lower right. White wove paper. Very good to fine condition; lower edge unevenly trimmed, else fine. Comment(s): Tobey was a mystical Wisconsin-born artist whose works had a visual affinity with Abstract Expressionism but shared more in common with Asian art and calligraphy (he studied at a Zen monastery in Kyoto, Japan, in the 1930s). Image copyright © The Estate of Mark Tobey / Artists Rights Society (ARS), New York. [29805-2-800-NA]
![Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Feuilles de bambou". Medium: Original vin](https://cdn.globalauctionplatform.com/4ac20cf5-423c-4768-b66a-b1b901843064/d2504fbf-9a3d-4cc0-ad7f-b1e90030f842/468x382.jpg)
Artist: Chin-San Long [lang jingshan/lang ching-shan] (Chinese, 1892-1995). Title: "Feuilles de bambou". Medium: Original vintage photogravure. Date: Composed c1935. Printed 1935. Dimensions: Image size: 11 3/4 x 9 1/8 in. (298 x 232 mm).Pricing: Starting Price: $300 Reserve Price: N.A. Auction Sale Price Estimate: $400/500Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Comment(s): Lang Jingshan, also Romanized as Long Chin-san and Lang Ching-shan, was a pioneering photographer and one of the first Chinese photojournalists. He has been called "indisputably the most prominent figure in the history of Chinese art photography", and the "Father of Asian Photography". He joined the Royal Photographic Society in 1937, gaining his Associateship in 1940 and his Fellowship in 1942. In 1980, the Photographic Society of America named him one of the world's top ten master photographers. He was the first Chinese photographer to take artistic nude shots, and was also known for the unique "composite photography" technique he created. Image copyright © The Estate of Chin-san Long. [23916-2-300-NA]
A CHINESE LONGQUAN CELADON GLAZED PORCELAIN VASE, YUAN DYNASTY, PUBLISHED AND EXHIBITED. Of baluster form covered in a sea green glaze. Zhejiang province. Yuan dynasty (1279–1368). 14cm tall.Provenance: Exhibited at The Art Gallery, University of Maryland, USA in early 1995, and illustrated on page 56 of the exhibition catalogue 'The Helen D. Ling Collection of Chinese Ceramics' (ISBN 0-0937123-31-5). Helen Dalling Ling (1901 - 1982) was a co-founder of the Southeast Asian Ceramics Society in 1971.Purchased from Brian Page Antiques in 2019.Property of a Sussex gentleman Condition: Good overall condition with no signs of damage or repair. With shallow chip to edge of foot, probably caused in manufacture process.
ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 22 mm x 27 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.
ITEM: RingMATERIAL: BronzeCULTURE: Iron Age, Central Asia, Amlash or BactrianPERIOD: 1st millenium B.CDIMENSIONS: 22 mm x 27 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from London Gallery (1970s - 2000s)Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 4 to 6 weeks and has a cost of 5% of the amount of the sale, this amount will be added to the final invoice.The Bactrian culture thrived in the region of Bactria, which encompassed parts of present-day Afghanistan, Uzbekistan, and Tajikistan, during the Bronze Age, roughly from the 3rd to the 2nd millennium BCE. Bactria served as a crucial crossroads along the ancient Silk Road, connecting the civilizations of the Mediterranean, Central Asia, China, and the Indian subcontinent. The culture is known for its advanced urban centers, sophisticated metallurgy, and rich artistic traditions. Bactrian art often depicted scenes of daily life, mythical creatures, and religious motifs. The Bactrians are also believed to have played a significant role in the spread of early Indo-Iranian languages and culture.On the other hand, Amlash culture was prevalent in the Amlash region of northern Iran during the Iron Age, dating roughly from the 1st millennium BCE. The Amlash culture is characterized by its distinctive pottery styles, including painted ceramics adorned with intricate geometric and zoomorphic designs. Archaeological evidence suggests that Amlash society was organized into small-scale agricultural communities, with evidence of terraced agriculture and irrigation systems. Additionally, Amlash culture is notable for its burial practices, which often included inhumation in cemeteries and burial mounds, sometimes accompanied by grave goods such as pottery vessels and metal objects.While the Bactrian and Amlash cultures developed in different time periods and geographical regions, they both represent important stages in the cultural evolution of the broader Central Asian and Iranian regions.
An Art Deco early 20th century circa 1930s walnut veeneered & chinoiserie painted half moon cocktail / bar cabinet. The cabinet having a recessed sliding tabour front top with mirrored interior and gallery surround mirror dish. All raised on matching base with shelving interior. The bar decorated with black lacquer style & gilt Asian inspired motifs.Measures approx. 140cm x 110cm x 35cm.
A large quantity of 20th century and later, Asian and Chinese books to include many on Asian works of art, bronzes and ceramics, also collections and items of merit throughout ages, together with many auction catalogues, various auctioneers to include; Wooley & Wallis, Christie's, Phillip's, Sotheby's, Tennant's and Bonham's, varying dates - 70s, 80s, 90s, 2000s and modern. Large quantity in five boxes. (5)
Dimensions: Height 8,9 cm ; Wide 27,5 cm ; Depth 27,5 cmWeight: 1638,4 grams A sturdily potted wheel thrown stoneware bowl with everted rim and flattened lip. The deep cavetto has an upper decorative band of combed broken comma pattern enclosed above and below by two incised circular bands. The center medallion is composed of an incised spiral. All covered in a good transparent sea foam green celadon glaze having a medium crackle and some pleasing pooling, stopping short of the raised foot rim revealing a tan biscuit and a circular pontil scar on the countersunk base. A shallow ceramic bowl from Sukhothai period. The dish was hand moulded with a coarse greenish clay. The piece has a primitive flavour with its minimalistic design and appears surprisingly modern. For a similar example see:William Willetts, Ceramic Art of Southeast Asia, The Southeast Asian Ceramic Society, Singapore, 1971, p. 71 & 170, #284 Collection of the University of Singapore.Charles Nelson Spinks, Ph.D., The Ceramic Wares of Siam, The Siam Society, Bangkok, 1965, pl. 13 Frasché Collection.
A group of small and miniature Asian works of art including a Chinese Canton vase, a pale blue ground Chinese vase (af), two miniature vases, cloisonné, etc.Condition Report: One small vase badly damaged to top, tiny bowl has no visible signs of cracks or chips, larger dish has a pre firing crack to base ,cloisonné items are all showing age wear and tear related issues
A small group of Asian art, mostly 19th century, including a Chinese blue and white small circular dish, mark of Chenghua but later, painted with a blossoming prunus, diameter 14cm, a Canton enamel circular box and cover, mark of Qianlong but 20th century, painted with a seated female flautist, diameter 5.5cm, and an Indian bronze figure of Shiva Nataraj dancing on Apasmara Purusha, height 19.7cm.
Qing Dynasty. Jia Qing period. 1796 to 1820. 19th century. Diameter 20 cm at the neck x Height 45 cm. China - Tibet - Ming - Qing - Oriental Art - Asian Art - Chinese Art. Provenance: property of an important private collection, acquired on the art and antiques market before 1980 (lots 168-237).
Pot-bellied pot with a very flared crater crown and neck set with a pair of zoomorphic handles on the shoulder in marbled porcelain with a thick glaze stained with cracked white on an ocher background. Porcelain. Qing Dynasty. Late nineteenth century. Height 23 cm x diameter 13 cm. China - Tibet - Ming - Qing - Oriental Art - Asian Art - Chinese Art. Provenance: property of an important private collection, acquired on the art and antiques market before 1980 (lots 168-237).
Important jaron a narrow base, rounded at the shoulder, with two handles and finished with a hemmed neck opening in porcelain stoneware with creamy white glaze decorated with cobalt blue glaze with floral motifs. Korea. 18th century. Height 53cm. Diameter at the neck 24cm. China - Tibet - Ming - Qing - Oriental Art - Asian Art - Chinese Art. Provenance: property of an important private collection, acquired on the art and antiques market before 1980 (lots 168-259).
Bottle with globular body at the crown of the foot and high, bulbous neck at the end in thick porcelain with incised decoration under monochromatic glaze of finely cracked olive green çaladon. Porcelain. Ming Dynasty. 1368 to 1644. End of the era. Height 27 cm. China - Tibet - Ming - Qing - Oriental Art - Asian Art - Chinese Art. Provenance: property of an important private collection, acquired on the art and antiques market before 1980 (lots 168-259).
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