2nd-4th century AD. A finely executed statue of Buddha in schist, standing upright in formal pose on a dais in a loosely draped sanghati robe extending to below the knees with the bare feet resting on the rectangular plinth, beaded swags to the neck and hair carefully carved with a chignon above the ushnisha, serene facial features and heavy-lidded almond eyes, nimbus to the rear of the head, left hand holding a gathered fold of the cloth garment; tiered plinth with frieze of standing four figures flanking a vessel, columns to the corners; mounted on a custom-made stand. 32.7 kg, 89cm (35"). Property of a London gentleman; previously with central London gallery; imported from the USA in the early 1970s; formerly with Mahboubian Gallery, New York since the late 1960s; accompanied by copies of an early 1970s black and white photograph. The Gandharan tradition of portraying Buddha as a youthful male developed during the 1st century AD and lasted until at least the 7th century. It drew on the local artistic conventions of the Swat valley, but was heavily influenced by classical Graeco-Roman ideas. During the reign of the Indian emperor Ashoka (3rd century BC), Gandhara was the source of intensive Buddhist missionary activity. Alongside some influential depictions of Buddhist legends and scenes from the life of Buddha, the Gandharan school of art incorporated a range motifs and techniques from Roman art, including vine scrolls, cherubs bearing garlands, tritons, and centaurs. The art flourished during the Kushan dynasty's rule (1st-4th century AD"). The dynasty relied on trade with the Mediterranean world for its wealth, and its coins and other artistic output depict a unique mix of Asian and European themes. Very fine condition.
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42 books on mostly Chinese porcelain, incl. shipwreck catalogues, Rijksmuseum, etc. Full list:Ê Made in Imperial China, Sotheby’s Amsterdam 29, 30, 31 january 2007The Legacy of the Tek Sing, China’s Titanic – its Tragedy and its Treasure, N. Pickford & M. HatcherThe Geldermalsen – History and Porcelain, C. J. A. Jörg, KemperThe Wanli Shipwreck and its ceramic Cargo, S. Sjostrand & S. Lok Lok bt. Syed IdrusThe Nanking Cargo Chinese Export Porcelain and Gold, Christie’s Amsterdam 28 april-2 may 1986The Hatcher Porcelain Cargoes, The complete Record, C. Sheaf & R. KilburnSunken Treasure, Lena Cargo, PeriplusThe Diana Adventure, D. BallLost at Sea, The strange route of the Lena Shoal junk, Periplus, LondonShipwrecked, Tang Treasures and monsoon WindsChinese Porcelain, The Transitional Period 1620-1683, The Michael Butler CollectionTrade Taste & Transformation, Jingdezhen Porcelain for Japan 1620-1645Provenance – Collectors, dealers & Scholars: Chinese ceramics in Britain & America, R. Davids & D. JellinekKangxi, Hetjens Edition Deutsches Keramikmuseum, D. Suebsman, D. AntoninFamille Verte, Chinese porcelain in green Enamels, Bai Groninger Museum, Christiaan J.A. JörgEarth Transformed, Chinese ceramics in the Museum of Fine Arts, Boston, Wu Tung Masterpieces of Chinese Export Porcelain from the Mottahedeh Collection in the Virginia Museum, D. Howard & J. AyersChinese Ceramics, S. Pierson, V&ATiptoe through the Tilipières, Cohen&CohenBedtime stories, Cohen&Cohen, 2004From Poems to Piglets, Cohen&Cohen, 2000Fine Chinese and Japanese Art, Duchange & Riché, Asian Art, 2012L’Empereur et le Gentilhomme, Duchange & Riché, Asian Art, 2011China-trade Porcelain with 175 illustrations, J. G. Philips, The Phaidon PressRare Marks on Chinese Ceramics, A joint exhibition from the Percival David Foundation of Chinese Art and the Victoria and Albert Museum, V&AThe Handbook of Marks on Chinese ceramics, G. DavisonOriental Ceramics Discovered in the Philippines, L. & C. LocsinThe Hollow Line in dating Chinese Porcelains, C. ChouCollecting Chinese Export Porcelain, E. Gordon, J. MurrayThe Diana Cargo, Christie’s Amsterdam, 6-7 march 1995Porcelain and the Dutch China Trade, C.J.A. Jörg, NijhoffThe Fort San Sebastian Wreck, a 16th Century Portuguese Porcelain Wreck off the island of Mozambique, 19 may 2004, Christie’s AmsterdamThe Williams Collection of Far Eastern Ceramics, Tonnancour SectionSwatow, Museum – Het Princessehof, B. HarrissonBlanc de Chine: Divine Images in Porcelain, China Institute, J. AyersChinese Armorial Porcelain for the Dutch Market, Dr. Jochem Kroes, Centraal Bureau voor Genealogie, Den Haag, Waanders Publishers, ZwolleA Connoisseur’s Guide to Chinese Ceramics, BeurdeleyLater Chinese Porcelain, Soame JenynsDe Praktijk van het Porselein Verzamelen, Nanne OttemaLater Chinese Porcelain, Soame JenynsChinese Ceramics in the Collection of the Rijksmuseum Amstedam, Christiaan J. A. JörgThe ‘West Lake’ Garniture, Jorge Welsh ------ Please request condition reports by e-mail on info@rm-auctions.com. The reports, additional images and high-resolution images will be published on our website: www.rm-auctions.com. The absence of a condition report does not imply that the lot is in perfect condition.
65 Asian art books, mainly on Chinese and Korean art, incl. a number of rare works Full list:Ê Ancient Chinese Trade Ceramics from The British Museum, London, National Museum of History Republic of ChinaChinese Bronzes, P. Hamlyn, CameoLes bronzes chinois, T. DexelBronzes archaïques chinois Archaic Chinese Bronzes, Musée Cernuschi, V. ElisseeffChinese Art from the Collection of H.M. King Gustaf VI Adolf of SwedenSeltene Kunstobjekte aus ältesten une alten Kulturen China und Thailand, Galerie Zacke WienCorpo e Anima – Body and Soul, Renzo Freschi oriental ArtThe Mount Trust Collection of Chinese ArtChinese Ceramics at Lotherton Hall, Leeds, H. SutcliffeCollecting Chinese Art: Interpretation and Display, Colloquies on Art & Archaeology in Asia No. 20, Percival David Foundation of Chinese Art, S. PiersonPathways to the Afterlife: Early Chinese Art from the Sze Hong Collection, Denver Art Museum University of Hawaii Press The Chinese Collection selected works from the Norton Museum of ArtHandbook of the Oriental Collection, Birmingham Museum of ArtChinese Connoisseurship: the Ko Ku Yao Lun: The Essential Criteria of Antiquities, Sir Percival David The Seligman Collection of Oriental Art, Vol. 2, Chinese and Korean Pottery and Porcelain, J. AyersThe Seligman Collection of Oriental Art, Hansford, Vol. 1: Chinese, Central Asian and Luristan Bronzes and Chinese Jades and Sculptures, The Arts Council of Great BritainOriginal Intentions, Essays on Production, Reproduction, and Interpretation in the Arts of China, Pearce & SteuberChinese Pottery of the Han Dynasty, B. Laufer, TuttleChinese Paintings, Textiles, Snuff Bottles, Ceramics and Works of Art, 14-15 may 1979Ten Thousand things: Module and Mass Production in Chinese Art, A.W. Mellon Lectures in the Fine Arts, 1998, Bollingen Series XXXV, 46 PrincetonExploring China’s Past: New discoveries and Studies in Archaeology and Art, Whitfield & Wang, SaffronGilded Splendor: Treasures of China’s Liao Empire (907-1125)The Han Dynasty, M. Pirazzoli-t’Serstevens, RizzoliChina: a History in Art, B. Smith & Wan-go Weng, Gemini SmithChina at the Court of the Emperors: Unknown Masterpieces, Han tradition to Tang Elegance (25-907)The Chinese Collector through the Centuries, TuttleThe Murals of Li Hsien’s Tomb of T’Ang Dynasty, Shensi Provincial Museum, Wenwu Press, Peking 1974 (ENG + FR)La Collection Guérinet, Art chinois Indo-chinois, JaponaisChinese paintings, Textiles, Snuff Bottles, Ceramics and Works of Art, Sotheby Parke Bernet Inc, Salenumber 4223, New York A Chinese calligraphy albumMasterpieces of Chinese Painting in the National Palace Museum, National Palace Museum, TaipeiChinese painting, William CohnOpgegraven schatten uit de volksrepubliek China, RijksmuseumThe Minor Arts of China IV, Spink and Son Ltd, April 1989Chinese ceramics, Bronzes and Jades in the collection of Sir Alan and Lady Barlow, Michael SullivanEight Dynasties of Chinese Painting, The Collection of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of ArtMuseum Für Ostasiatische Kunst Berlin, Ausgewählte Werke Ostasiatischer Kunst, Berlin- DahlemThe Mustard Seed Garden Manual Of Painting, Chieh Tzu Yüan Hua Chuan, translated from the Chinese and edited by Mai-mai Sze The Sculpture of Thailand, Theodore Bowie, M.C. Subhadradis Diskul, A.B. GriswoldChinese and Japanese Sculpture, 7 November 2002 – 15 November 2002, Gerard Hawthorn Ltd, Oriental ArtHandbook to the Collections of Early Chinese Antiquities, William WatsonThe Art of Sourtheast Asia, Temples and Sculpture, Louis Frédéric, Translated from the French by Arnold RosinPrestige du Passé Chine, Texte de Joachim Hildebrand, Diffussion J. Lazarus (FR)Treasures From the Shang and a Selection of Ritual Objects, Gisèle Croës, New York March 2001The Arts of China to AD 900, William WatsonMeisterwerke Chinesischer Malerei, Werner SpeiserArt du Tibet, La Collection des Musées Royeux d’Art et d’Histoire Bruxelles, Miriam LambrechtTibetan-Lamaist Art, Henri Kamer Galerie Inc, text by Carin BurrowsArt Lamaïque, Art Des Dieux, Jacques van GoidsenhovenJades Chinois, pierres d’immortalité, Musée Cernuschi, du 26 septembre 1997 au 4 janvier 1998Radiant Stones, Archaic Chinese Jades, Myrna Myers (water damage)Chinese and Annamese Ceramics, A. JosephDragons & Lotus Blossoms, Stevenson, Wood, Birmingham Museum of ArtCeramic Traditions of South-East Asia, Guy, OxfordThe Ceramics of South-East Asia – Their Dating and Identification, Roxanna M. BrownVietnamese Ceramics: A Separate Tradition, Stevenson & Guy, Art Media ResourcesKorean masterpieces of the Chosôn dynasty, Powerhouse Publishing, Queensland Art GalleryThe Ceramic Art of Korea, Faber & FaberKorean Art from the Gompertz and Other Collections in the Fitzwilliam Museum, CambridgeThe Arts of Korea, Thames & Hudson, C. Kim W.-Y. KimKorean Pottery & Porcelain of the Yi Period, Faber&Faber, G. St. G. M. GompertzCorean Pottery, W. B. Honey, Faber&FaberHandbook of Korean Art Earthenware and Celadon, Youngsook Pak & Roderick WhitfieldHandbook of Korean Art White Porcelain and Punch’ông ware, Jae-yeol KimTwo Thousands years of Oriental Ceramics, Thames & Hudson ------ Please request condition reports by e-mail on info@rm-auctions.com. The reports, additional images and high-resolution images will be published on our website: www.rm-auctions.com. The absence of a condition report does not imply that the lot is in perfect condition.
Rafiee Abdul Ghani (Malaysian, b.1962). Coloured etching of an abstract, coastal landscape; with pencil signature at bottom right and inscribed 'AP II', titled: 'Remembered Landscape'; margins apparently uncut; overall dimensions 55 x 37cm; the reverse of the picture stating: Rafiee Abdul Ghani/Age 22/Address: Fine Arts Department School of Art and Design/Mara Institute of Technology/Shah Alam/Selangor/Malaysia. Provenance: The Property of a Lady. Given to the vendor's family by the organiser of a Winchester, global art Competition held in about 1984. Rafiee Ghani studied at the Mara Institute of Technology, circa 1981-85. His more contemporary work, generally oil on canvas, appears regularly at auction. See for instance, Klos Art Auction/Malaysian Modern and Contemporary Art/15-1-2017 Lot 1 where the catalogue entry states that Ghani is 'one of Malaysia's most prominent fine artists'. Compare also Sotheby's Hong Kong 'Modern and Contemporary South East Asian Art'/3-4-2017 Lot 216 for Ghani's 'The Beginning of the Red Sea'. . Overall condition good no damage found . Overall condition good no damage found
A Chinese archaic bronze ritual wine vessel and cover, You, early Western Zhou dynasty, 11th-10th century B.C., cast in relief with bands of phoenixes, bovine masks and leiwen, the swing handle with prominent tapir-head terminals, three character pictographic 'elephant' clan mark to underside of cover and interior of vessel, grey and dark brown patina with some areas of verdigris, 22cm high, repairsLiterature: This vessel is similar in form to the Zhao you, attributed to the reign of King Zhao (circa 977/975-957 BC), in the Shanghai Museum, Shanghai, illustrated in Shanghai Bowuguan cang qingtongqi [Ancient bronzes in the Shanghai Museum], Shanghai, 1964, pl. 38.For similar ritual vessels sold at auction see Sotheby's, New York, Important Chinese Art, 13 May 2015, Lot 101, the 'Zuo Ce Huan You' at Sotheby's, New York, 'Magnificent Ritual Bronzes', 17 September 2013, Lot 8 and Christie's, New York, Fine Chinese Ceramics and Works of Art, 21 - 22 March 2013, Lot 1129.Provenance: the estate of the late Jean-Claude Jean-Claude (1926-2016).Jean-Claude Lepileur was a man of great learning. Born in Lisieux in France, he became a buyer and seller of antiques and formed a partnership with Mrs Senta Christian in a joint antiques venture, travelling to and from England from their early base in Deauville in Normandy. Mr Lepileur was a self-taught historian, chemist and restorer, with a particular love of all things Asian, especially pieces of art from China. And more specifically ancient Chinese bronze artefacts, which he collected avidly all his life.Mr Lepileur and Mrs Christian moved their business to Finchley in London in the 1950s and they continued to operate as a partnership until 1996, when Mrs Christian passed away. Jean-Claude had a very discerning eye for art and at one point even managed to identify two original Rembrandt sketches for sale on a stall on Portobello Market and was able to purchase them for a few pounds. They were later fully authenticated by the Victoria and Albert Museum. Mr Lepileur was also a frequent visitor to the British Museum in those days as he was always keen to compare his latest Chinese bronze acquisitions with those in the collection of the museum. During his life he amassed a collection of some eighty bronzes and a number of ceramics, pictures and scrolls. He also collected over 60 reference books, many of them very detailed, which he used to assist him with his research. Mr Lepileur was still buying and selling up until his death in December last year, aged 90. The collection is presented complete, with no omissions and is a great tribute to his skill in identifying, researching and collecting some wonderful pieces of Chinese art.
ASKHAT SAFARGALIN (TATAR 1922-1975)School Girl, 1958oil on canvas79.8 x 60.2 cm (31 3/8 x 23 3/4 in.)signed, dated and titled on versoPROVENANCEJurii Maniichuk and Rose Brady CollectionEXHIBITEDNew York, Ukrainian Institute of America, Ukrainian Socialist Realism: The Jurii Maniichuk and Rose Brady Collection, September 14-October 7, 2012 (illustrated on cover and p. 33 of the exhibition catalogue); Faces of Ukraine, 1950-1980: Highlights of the Jurii Maniichuk and Rose Brady Collection, June 5-July 3, 2014LITERATURE Jurii Maniichuk, Realism and Socialist Realism in Ukrainian Painting of the Soviet Era (Kiev: LK Maker, 1998), p.194 (illustrated) LOT NOTESAskhat Gazizulinovich Safargalin was a Tatar genre and landscape painter and a Distinguished Artist of the Ukrainian SSR (1968). In 1938-41 and 1945-47 Safargalin was a student at the Kazan Art School (his artistic career interrupted by the outbreak of the Second World War); and in 1947-1953 at the Kharkov Arts Institute under well-known artists Aleksey A. Kockel, Pyotr I. Kotov and Leonid I. Chernov. His works are held at the National Art Museum of Ukraine and at close to a dozen regional art and historical museums.Safargalin's Schoolgirl, youthful and studious, represents a popular type, as common a subject in Soviet Socialist Realist art as the Venus of Urbino in Renaissance Italian painting. The girl's white apron and plush bows in her hair indicate a special occasion, such as the beginning of the school year. She stiffly holds a chalkboard eraser, as if awaiting instruction from the teacher. Scholarly accoutrements - the globus, an illustration of two elephants, and an East Asian painting - abound, in keeping with conventional Socialist Realist representations of schools as vehicles of progress and intellectual modernization.The following lots come from the collection of the Ukrainian-born American lawyer Jurii Maniichuk (1955-2009), who amassed nearly 150 large-scale pieces of Ukrainian Socialist Realism of the 1950s-1980s. Maniichuk acquired these paintings (primarily from working artists or their heirs) while working in Kiev as a legal consultant for the World Bank in the 1990s, and brought them to the U.S. in 1999. With UkraineÕs newfound independence from the USSR in 1991, Socialist Realism fell out of favor with most collectors and curators. Recognizing their historical value and aesthetic appeal, Maniichuk made it his preeminent goal was to preserve the paintings for future study and appreciation. As part of that effort, his widow, Rose Brady, now the collectionÕs owner, lent nearly half of the collection long-term to the Ukrainian Institute of America in New York (2012-2018). Select works have also been featured at the Brooklyn Museum (Russian Modern, 2011-2016), at East West Fine Art (formerly known as Gallery on Fifth) in Naples, Florida (We the People. Everyday Life in Post-Soviet Union and modern-day Southwest Florida, November 29-December 20, 2014; Rescued from the Flames, Soviet Era Social Realist Paintings from the Collection of Jurii Maniichuk and Rose Brady, December 2013-January 2014), and at Florida Gulf Coast University in Fort Myers, Florida (Ukraine: The Maniichuk-Brady Collection of Socialist Realist Art, August 27-December 4, 2015).This lot is being sold without reserve.
Two boxes of catalogues variously relating to Carpets, rugs and textiles and Fine Art and Furniture; Box 1 includes Christie's New York 2013 (5); London 21st April 2013; South Kensington Interiors, May & July 2013 (2); Waddingtons, Canada, Asian Art 10 June 2013; Fischer, Lucerne, June 2013 (2); Hampel, Munich April 2013 (2); 8 other European catalogues, 2013 (various); various English provincial Auctioneers, 2013 (9) and asssorted 'luxury' magazines including Harrods. Box 2 includes Sotheby's Treasures from Castle Howard, June-July 2015; New York June 2013 & April 2015; London Manuscripts July 2012; Christie's New York The Abbott Guggenheim Collection January 2015; Antiquities, London April & June 2015; London April 2015 and South Kensington April 2015; Bonhams 2015 (4); various European catalogues (2015) including Fischer; Duran; Taijan and others; Timeline Auctions London 2015 (3) & 3 provincial catalogues. (approx. 70-80 catalogues In total) £50-80
HARDWOOD FOLDING HORSESHOE-BACK ARMCHAIR, JIAO YIEARLY 20TH CENTURY the high rounded crestrail ending in hand rests supported by the curved extensions of the front legs, applied with metal fittings decorated with cash roundel and geometric pattern, the backsplat carved with a ruyihead cartouche110cm high, 76cm wide, 72cm deepContents of a Scottish Country HouseThe following 55 lots were collected by a Scottish businessman whilst working in Hong Kong in the 1950s and 60s. A number of these pieces may have been gifts from prominent families or heads of business. The first part of the collection was sold at Lyon & Turnbull's Fine Asian Works of Art sale in London in November 2017, featuring a large reverse glass painting of a young woman dressed as a shepherdess as one of the highlights.
2nd-3rd century AD. A carved schist figural frieze fragment with lotus-petal entablature above six columns with arches in the intervals, each arch surrounding a bust with raised right hand; rosette panel to the end; mounting socket to the reverse; mounted on a custom-made stand. 7.5 kg, 60cm including stand (23 1/2"). From an important collection of Asian art; acquired in the 1960s-1970s. Fine condition.
12th-16th century AD. A green-glazed ceramic figurine of a nude seated female suckling a baby in her arms; hollow to the underside. See Rooney, D.F. A Field Guide to Glazed Thai Ceramics in Asian Perspectives, Vol.28, No.2. 179 grams, 10.5cm (4"). UK art market, acquired prior to 2000. [No Reserve] Fine condition.
4th-3rd century BC. A trapezoid-shaped slightly curved ceramic funerary(?) mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 260 grams, 17.8cm (7"). Property of a South East Asia collector; formerly acquired on the Asian art market before 2000. Fine condition.
4th-3rd century BC. A slightly domed ceramic funerary(?) mask with two eye-holes and incised intersecting curved lines; attachment hole to the outer edges. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 236 grams, 16.5cm (6 1/2"). Property of a South East Asia collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.
4th-3rd century BC. An asymmetrical ceramic funerary(?) mask with two eye-holes and incised intersecting curved lines; attachment hole to the upper edge. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 197 grams, 19cm (7 1/2"). Property of a South East Asia collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.
4th-3rd century BC. A large asymmetrical ceramic slightly domed funerary(?) mask with incised linear face detail, two large eye holes, 'bat-wing' profile. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian PerspectivesVol. 28, no. 1. 601 grams, 35.5cm (14"). Property of a South East Asia collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.
4th-3rd century BC. A ceramic funerary(?) mask with two eye-holes and incised intersecting curved lines. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 199 grams, 15cm (6"). Property of a South East Asia collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.
4th-3rd century BC. A slightly domed ceramic funerary(?) mask with two eye-holes and incised intersecting curved lines; attachment hole to the lower edge. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 246 grams, 19.5cm (7 3/4"). Property of a South East Asia collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.
4th-3rd century BC. A mixed group ceramic funerary(?) masks of 'butterfly' and other forms with incised linear detailing. 384 grams total, 9-11cm (3 3/4 - 4 1/4"). Property of a South East Asia collector; formerly acquired on the Asian art market before 2000. [5, No Reserve] Fine condition.
4th-3rd century BC. A slightly domed ceramic funerary(?) mask with incised linear butterfly detailing; attachment hole to the lower edge. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 163 grams, 14.5cm (5 3/4"). Property of a South East Asia collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.
4th-3rd century BC. A slightly domed ceramic funerary(?) mask with two eye-holes and incised facial detailing; attachment holes to the outer edges. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 154 grams, 12.5cm (5"). Property of a South East Asia collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.
4th-3rd century BC. A slightly domed ceramic funerary(?) mask with two eye-holes and incised intersecting curved lines; attachment holes to the outer edges. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 162 grams, 14cm (5 1/2"). Property of a South East Asia collector; formerly acquired on the Asian art market before 2000. [No Reserve] Fine condition.
λ A CHINESE RHINOCEROS HORN 'NINE DRAGON' LIBATION CUP 17TH CENTURY Carved in the form of a large veined lotus leaf with swirling waves encircling its base, with nine chilong dragons emerging from water and climbing up the outer walls and over the flared rim, the horn with a rich, dark patina, 15.5cm long, 9cm high, 280g. Provenance: from the collection of William Cleverley Alexander (1840-1916) and thence by descent. William Cleverley Alexander (1840-1916) was one of the most noted connoisseurs of his day, an accomplished draughtsman and a member of the Burlington Fine Arts Club, he was renowned for his taste in Western paintings and Asian works of art. The collection was started in 1867 and included items form the Tang, Song, Ming and Qing dynasties. Cf. T Fok, Connoisseurship of Rhinoceros Horn Carving in China, p.50, no.3 for a similar libation cup; see also Los Angeles County Museum of Art, accession no.44.8.2, for a rhinoceros cup of a very similar design. 十七世紀犀角雕螭龍杯 來源：William Cleverley Alexander（1840-1916）收藏
Shizhuzhai Jianpu "studio des 10 bambous en papier à lettres". Beijing : Rong bao zhai, 1952. Recueil de gravures sur bois, encres et couleurs sur papier. Dix catalogues réunis en quatre volumes, dans un enboîtage. 31 cm. x 21.5 cm, chacun. Référence:Ten Bamboo Studio Letter Paper was originally edited by Hu Zhengyan in the early 17th century, but a later edition was printed in the 1930s by the historian Zheng Zhenduo and the writer Lu Xun. These pages showing designs of sea creatures in fine colour printing are from a recut edition printed by the Rongbao Studio in Beijing in 1952. Like the original, the pages have been further decorated by using an uninked woodblock to press a raised design into the paper, also known as blind printing. When used as letter paper, the writer inscribes characters over the decoration. (réf. Fiche BM 1984,0203,0.55.1-4 ) Arts d'Asie Asian Art Arts d'Asie - Asian Art - Asiatica;Chine - China - China
14th-16th century AD. A Sukhothai black glazed ceramic figure of an elephant, trunk curving up and holding object to head, cup applied to back; legs left bare of glaze. See Connell collection, Asian Art Museum, item no 99. 218 grams, 90mm (3 1/2"). From the collection of a Bath gentleman; acquired before 1990. Fine condition. Rare.
A JAPANESE IVORY NETSUKE OF A CHICK EMERGING FROM AN EGG, SIGNED DORAKU, OSAKA SCHOOL, EDO PERIOD, 19THE C the eyes inlaid, 4.4cm Similar examples by the same artist are in the British Museum and the Asian Art Museum, San Fancisco. See also Davey (N), Netsuke, 1974, plt 50. ++Fine black hairline crack running through body, the ivory slightly yellowed with age
1st-4th century AD.A carved schist head with tight curled hair, wreath to the brow, curled moustache and beard; mounted on a custom-made stand. For a similar head, in terracotta, see The Metropolitan Museum of Art, accession number 1979.507.2 3.8 kg, 28.5cm including stand (11 1/2"). Very fine conditionFrom an important London, W1 collection; acquired 1960-1980s.With the arrival of Greek colonists into Central Asia and Northern India and the establishment of the Indo-Greek kingdom came Greek culture and religion which merged with that of the local population. Greek deities, such as Dionysus, were often merged with Buddhist deities, or worshipped in their own right. The image of Dionysus as a mature male with beard and wreath is often referred to as the Indian Dionysus as it depicts the god after his triumphant return from the East with his retinue of Maenads. The adventures of Dionysus in India are recounted in the Greek epic poem, the Dionysiaca. The image of Dionysus returning from India in a chariot pulled by tigers was a favourite for Classical artists and often appeared on sarcophagi as an allegory for the rebirth of the soul. Drinking wine, dancing, and music making were popular subjects for the embellishment of early Buddhist religious centres. The Buddha condemned intoxicants, and music and dance were considered unfit for the monastic community, although they were tolerated in lay contexts. The reason for the depiction of scenes of revelry, along with the Greek god Dionysus, may be the earlier, pre-Buddhist practices celebrating abundance and agricultural prosperity, which involved wine drinking. Dionysus may have been transformed and and understood in the Gandharan context as the South Asian god Indra, whom lay followers would have known as the deity who rules over the paradise known as the Trayastrimsa heaven. As the lay Buddhist community was more concerned with having a positive rebirth (enlightenment being out of reach for all but the most learned of monks) the idea of being reborn in a heaven associated with Indra would no doubt have been attractive. It is thought that the influence of Dionysus on Indian culture may have inspired the development of the Hindu deities Shiva and Krishna, both of whom share similar characteristics to the Greek god. .
4th-3rd century BC.A large trapezoid-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28 no. 1. 315 grams, 18.4cm (7 1/4"). Fine condition.Property of a gentleman; acquired on the Asian art market.
4th-3rd century BC.A large trapezoid-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28 no. 1. 385 grams, 21cm (8 1/4"). Fine condition.Property of a gentleman; acquired on the Asian art market.
4th-3rd century BC.A large rectangular-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28 no. 1. 244 grams, 16.5cm (6 1/2"). Fine condition.Property of a gentleman; acquired on the Asian art market.
4th-3rd century BC.A large trapezoid-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28 no. 1. 410 grams, 22.5cm (8 3/4").Fine condition.Property of a gentleman; acquired on the Asian art market.
4th-3rd century BC.A rectangular-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28 no. 1. 295 grams, 16.5cm (6 1/2").Fine condition.Property of a gentleman; acquired on the Asian art market.
4th-3rd century BC.A small triangular-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28 no. 1. 79 grams, 13.2cm (5 1/4").Fine condition.Property of a gentleman; acquired on the Asian art market.
A FINE CHINESE WHITE AND GREY JADE CARVING OF TWO MANDARIN DUCKS EARLY QING DYNASTY One carved from the white, the other the grey side of the stone, huddled together facing each other with their legs tucked underneath, together with a wood stand carved with swirling waves, 7.5cm. (2) Provenance: previously in the Rothschild collection and Knapton Rasti Asian Art Ltd. A private collection, London.
Rafiee Abdul Ghani,a coloured etching of an abstract, coastal landscape; with pencil signature at bottom right and inscribed 'AP II/'Remembered Landscape'; margins apparently uncut; overall dimensions 55 x 37cm; the reverse of the picture stating: Rafiee Abdul Ghani/Age 22/Address: Fine Arts Department School of Art and Design/Mara Institute of Technology/Shah Alam/Selangor/Malaysia.Provenance: The Property of a Lady. Given to the vendor's family by the organiser of a Winchester, global art Competition held in about 1984.Rafiee Ghani studied at the Mara Institute of Technology, circa 1981-85. His more contemporary work, generally oil on canvas, appears regularly at auction. See for instance, Klos Art Auction/Malaysian Modern and Contemporary Art/15-1-2017 Lot 1 where the catalogue entry states that Ghani is 'one of Malaysia's most prominent fine artists'. Compare also Sotheby's Hong Kong 'Modern and Contemporary South East Asian Art'/3-4-2017 Lot 216 for Ghani's 'The Beginning of the Red Sea'. Condition Report Please note that the damage includes some areas of wear or deterioration.
1st-4th century AD. A carved schist head of Buddha with wavy hair and top-knot, urna to the brow; mounted on a custom-made stand. 20.2 kg, 42cm including stand (16 1/2"). Property of a London collector, acquired early 1990s. From the first to the fourth century AD the Gandahra region in the northwest of ancient India flourished as a major commercial and cultural centre under the rule of the Kushans, a nomadic people of Central Asian origin who after a protracted migration settled in Gandhara. Art produced there during the Kushan period illustrates the multiculturalism that had long defined this region. Greek styles and images were first introduced with Alexander the Great's conquest of the area and remained vigorous through contact with the expanding Roman Empire. They joined indigenous Indian traditions and those associated with Parthian and other cultures in a pool of stylistic forms available to artists during the period. This head displays some facial features that are similar to portraits of Alexander the Great, and the treatment of the hair shows clear Hellenistic influences. [A video of this lot is available on the TimeLine Auctions website] Fine condition.
20th-21st century AD. A mixed group of exhibition catalogues and magazines on artistic themes including Imagines Imperatorum, Sotheby's African, Oceanic and Pre-Columbian Art catalogue (1), Christie's Watercolours, Drawings and Prints catalogue (1), Sotheby's Martin Bell catalogue (1), Sotheby's Preview (1), Sun Asian Stamps and Philatelic History catalogue (1), Bloomsbury Erotica catalogue (1), Bloomsbury Coins, Medals, Banknotes and Tribal Art (1), Bloomsbury Bibliophile (1), Numisart Antike Kunstobjekte (1), Bonhams Chines Art (1), Bonhams Medals, Banknotes and Coins (1), Spink Derek Clifford Lacquer collection catalogue (1), Spink Insider magazine (1), Sotheby's Irish Art catalogue (1), Financial History Magazine (1), Royal Academy of Arts magazine (2), Tate magazine (1), Anthony Frost catalogue (1), Art Quarterly magazine (1), Alain Bertrand catalogue (1), Apollo magazine (3), Celator magazine (2), Millner Manolatos catalogue (2), Alan Davie catalogue (1), E&R Cyzer Modern Masters catalogue (1), Danish Journal Hans Christian Anderson catalogue signed by the actor Tommy Steel, 1993 (1). 11.9 kg. Ex Steinberg collection; acquired London art market, 1960s-1970s. Mainly fine condition. [No Reserve, 32, No Reserve]
4th-3rd century BC. A rectangular-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 229 grams, 16cm (6 1/2"). Property of a gentleman; acquired on the Asian art market. . Fine condition.
4th-3rd century BC. A rectangular-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 190 grams, 14.5cm (6"). Property of a gentleman; acquired on the Asian art market. . Fine condition.
4th-3rd century BC. A large T-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 208 grams, 19cm (7 1/2"). Property of a gentleman; acquired on the Asian art market. . Fine condition.
4th-3rd century BC. A D-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 258 grams, 17.5cm (7"). Property of a gentleman; acquired on the Asian art market. . Fine condition.
4th-3rd century BC. A triangular-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 182 grams, 17cm (6 1/2"). Property of a gentleman; acquired on the Asian art market. . Fine condition.
4th-3rd century BC. A large rectangular-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 536 grams, 20cm (8"). Property of a gentleman; acquired on the Asian art market. . Fine condition.
4th-3rd century BC. An oval-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 260 grams, 21cm (8"). Property of a gentleman; acquired on the Asian art market. . Fine condition.
Gupta Period, 4th-6th century AD. A red sandstone figure of the Buddha with large halo decorated with scrolling plants, rosettes and birds, and with two naked apsaras to the top; the Buddha has hair pulled into a top knot, elongated ears, urna to the centre of the eyebrows, and long monastic robes clinging to the body and with the folds prominently carved; the left hand is holding the hem of the robes and the right is held up in blessing; to either side of the Buddha are kneeling figures praying; base decorated with three lions, one facing frontally, two to the corners facing out; mounted on a custom-made stand, 12.2 kg, 61cm including stand (24"). From an important London collection, acquired in the 1990s. The Gupta period is noted as a time during which the quintessential Buddha image was created, becoming an iconic form which was disseminated and copied throughout the Asian Buddhist world. Gupta style stands at a crossroads in art historical developments in the sub-continent. The Gupta style embodies the earlier figurative styles of North and North West India, such as Mathura and Gandhara, while achieving a new power and sophistication. It is noted for the full, sensuous modelling of faces and bodies, for a subtlety of expression and for the harmonious proportions of its figures. During these centuries the workshops at Sarnath, a monastic complex built on the site of the Buddha's first sermon, became especially artistically influential. A particular type of standing Buddha image was produced here whose body is covered by a diaphanous robe, which clings to the figure while flaring at the sides. This was to become the prototype for a multitude of later images including the Radiant Buddha. . Very fine condition.
4th-3rd century BC. A lozenge-shaped slightly curved ceramic mask with two eye-holes and incised stylised facial details; pierced at the outer edges for attachment. See discussion of ceramics in Mijares, A.S.B. The Archaeology of Peñablanca Cave Sites, Northern Luzon, Philippines in Journal of Austronesian Studies 1(2), December 2005; and Thiel, B. Excavations at Musang Cave, Northeast Luzon, Philippines, in Asian Perspectives Vol. 28, no. 1. 124 grams, 14cm (5 3/4"). Property of a gentleman; acquired on the Asian art market. . Fine condition.
“SUPPORT THE PEOPLE'S ANTI-IMPERIALIST MOVEMENT ACROSS THE WHOLE WORLD!"Striking color poster by artist You Long Gu: "Support the People's anti-imperialist movement across the whole world!”, published by Shanghai People’s Art Publishing House, 1967. A dramatic, vividly colored 30" x 42" poster from the "internationalist" period of the Cultural Revolution, when the Chinese and their Cuban allies were making inroads into Latin America and Africa. Depicts three figures, a black man, an Hispanic man holding a rifle, and an Asian woman, looking hopefully towards the horizon and the future, with a red sun representing Mao and his teachings in the background. Very minor edge wear, else fine condition. From a single collection obtained entirely in China pre-2000.
Western Han period 2nd – 1st century BC. This gilt bronze phoenix is cast with finely engraved linear detailing. The head shows a powerful beak with open mouth. Eyes inlaid with jet and with fine lines along the curling eyebrows, either side of the head and the delicate pointed ears. There are feather-tufts sweeping back on each side behind the eyes. Arising from the head is a curved feather plume inlaid with agate, and topped with a smaller curved plume. The prominent body would have had a central stone on its chest (now missing). There is a pointed delineated triangular tuft of feathers in front extending down from the rounded chest. The two large wings with different feather patterns, sweep backwards. between these, arises the large tail cast as four plumes of diminishing size, arranged symmetrically each terminating in a curled end with a gilt boss. The tail rises between six shorter tail feathers curled down in matching groups of three on each side. The back shows a square shaped hollow section which suggests that this bronze may have been a decorative fitting. The powerful legs have large talons and the phoenix stands on a base which has swirled engraving and is inlaid with agate and turquoise stones. Much of the original gilding remains but there is heavy green patination and corrosion in places and on the underside of the base. Han gilt bronze depictions of phoenix are very rare, especially in free standing form. This elegant bronze is a magnificent depiction of everything the phoenix represents in Chinese art. Dimensions: Height 21.5cms, width 9cms, weight 795 grams. References: 1. See illustration in Kandai no Bijutsee col.pl.60. 2. Also, see Exhibition of Art of the Han 1979 Chinese Institute in America. New York catalogue no.49. 3. Comparison see Eternal China: Splendors from the First Dynasties. Dayton, 1998, p66-67, no.5 phoenix Qin dynasty (221 – 206bC). 4. Chinese, Korean and Japanese Sculpture: The Avery Bundage Collection, Asian Art Museum of San Franscisco, Tokyo, 1974, pp.60-61, no.16 where author cites another example from a Han dynasty tomb in ding county, Herbei province, published in Wenwu, 1964, No.12,pl.1-3. 5. See gilt bronze phoenix finial in exhibition catalogue Setagaya Museum of Art exhibition catalogue, Shin no Shik tei to sono jidaiten (Exhibition of the Archaeological Relics of the Emperor Qin Shihuang), Tokyo, 1994, no.115. 6. Ancient Chinese Bronzes by J.J.Lally and Co. 2011. pl.20
Constantine XI Palaeologus AR Stavraton. Constantinople, Siege of Constantinople, AD 1453. Bust of Christ facing, wearing nimbus cruciger and holding book of Gospels, IC and B to left and right / KWNCTANTINOC ΔΕCΠΟΤΗC Ο ΠΑΛΕΟΛΟΓ in the outer circle, ΘV ΧΑΡΙΤΗ ΒΑCΙΛΕΩC ΡΟΜΕΟΝ in the inner circle, crowned bust of Constantine facing, wearing maniakon. Bendall, Revue Numismatique 1991, ‘The Coinage of Constantine XI’, pp. 135-142, pl. XV, 93 (this coin). 6.78g, 23mm, 12h. Extremely Fine for this issue. Extremely Rare and of great historical importance. Purchased from Harlan J. Berk Ltd., 16 July 1990; From the Constantine XI Hoard. The reign of Constantine XI is primarily remembered for marking the end of the so-called ‘Byzantine’ Empire, the remainder of the Eastern Roman Empire that had stood for a thousand years after the fall of Rome and the West. Constantine XI succeeded his brother John VIII Palaiologos on 6 January 1449, and had reigned for only two years when the Ottoman Sultan Murad II died, being followed by his zealous nineteen year old son Mehmed II, who was obsessed with the conquest of Constantinople. A diplomatic miscalculation on the part of Constantine was seized upon by Mehmed as a convenient casus belli, and preparations for war commenced. In the winter of 1451/2 Mehmed cut off Constantinople from the Black sea by establishing a fortification on the European side of the Bosporus which together with the existing fort on the Asian side, gave the Turks complete control of the strait. Specifically, it prevented help from Genoese colonies on the Black Sea coast from reaching Constantinople. Realising that a siege was imminent, Constantine prepared his defence of the city. Despite appealing to the Pope and Western princes for aid in the defence of the city, little help came. France and England were weakened by the Hundred Years War, Spain was in the final stages of the Reconquista, the German states were wracked by infighting and Hungary and Poland had suffered a crushing defeat at Varna which they had not recovered from. In the end only a few soldiers from the northern Italian city states arrived, together with some adventurers and independent companies. Any hope of help from Constantine’s brothers in Morea was dashed by an Ottoman invasion of the peninsula intended to pin down their troops. In the winter of 1452 Mehmed arrived with his army at Constantinople, and the siege of the city began. Greatly depopulated over the years, Constantinople was now a city of just 50,000 inhabitants, with an army of only 7,000 to defend them. Arrayed against Constantine was a force at least ten times larger than his, with state of the art artillery provided by the gunsmith Orban. After a siege of fifty-three days and determined fighting, the city fell. When all hope had faded, according to Michael Critobulus (writing later in Mehmed's service) Constantine tore off his imperial regalia so as to let nothing distinguish him from any other soldier and led his remaining men in a last charge, perishing in the fighting. Struck during the siege of Constantinople, the present coin is illustrative of how far the empire had fallen. Its fabric is crude, struck on recycled silver from church altar vessels in order to pay mercenaries, and the quality of the artistry no better than the worst barbaric imitative issues of the migration period, yet the historical importance of these extremely rare coins cannot be overstated. 29 May 1453 is often cited as end of the late Middle Ages of the post-classical era, and the start of the early-modern period. The siege coinage of Constantine XI can thus rightly considered to be the last ‘ancient’ coins.
4th century BC. A rhyolite funerary idol with conical head and body, low-relief facial features and ribbed headdress; traces of red pigment. 1.5 kg, 17cm (6 3/4"). Property of a gentleman; acquired on the Asian art market. See the Gloman Meritt private collection of ancient artifacts from the Philippines for a similar item. Fine condition.
Early 19th century AD. A tall bronze piriform jar with flared base, collar to the neck, everted rim; the surface painted with a background of dense foliage and reserved polychrome panels depicting female busts, flowers, perching birds, scenes of armed men fighting and hunting lions. 3.6 kg, 49cm (19 1/4"). Fine condition, some abrasion and usage wear. Private collection, London, UK; formerly with Persepolis Gallery, Mayfair, London, UK; in the 1980s. From their roots as a Turkmen tribe of shepherd-warriors centered in Azerbaijan, the Qajar Dynasty would become a fully assimilated Perso-Islamic monarchy that reunified Persia and, through their modernisation programs, laid the foundation for the modern nation-state now known as Iran. The Central Asian origins of the Qajar dynasty are illustrated through the art of the time which draws on themes popular among the nomadic people of the area as well as traditional Islamic patterns and designs. The Qajar period is now increasingly recognised as a time of significant change in Persian society. Perhaps the most obvious influence was the impact of Western ideas and technology, which accompanied the diplomats, military and technical advisers, merchants, travellers, and missionaries who flocked into 19th-century Persia. Qajar art is characterised by an exuberant style and flamboyant use of colour, which became more emphatic as the 19th century progressed; here Persian art may be compared with developments in 19th-century Europe, where technological mastery made virtuoso forms of decoration possible. A particularly important feature of Qajar art is the richness of its iconography. Flowers (especially roses and irises), foliage, and fruit function both as central and supporting motifs. There are views of pastoral landscapes and buildings mainly inspired by imported European illustrations. There are also many narratives. Nostalgia for Persia’s past is reflected in scenes of Sasanian rulers, traditional themes of Persian literature, and more recent battles with the Ottoman Turks and Mughals.
4th century BC. A rhyolite funerary idol with bulbous head and body, low-relief facial features and arms; traces of red pigment. 1.4 kg, 13cm (5"). Property of a gentleman; acquired on the Asian art market. See the Gloman Meritt private collection of ancient artifacts from the Philippines for a similar item. Fine condition.
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