Magna Graecia, South Italy, Campanian, CA Painter school, probably Painter of New York GR 1000, ca. 340 to 330 BCE. A monumental hydria of a pristine form w/ finely executed red-figure compositions featuring a woman standing in a naiskos, donning a chiton with a beaded bandolier, holding a wreath and a mirror. To the left, a standing warrior wearing a classic crested helmet, a breast plate over his tunic, and greaves, holds a spear and shield. To the right is a seated woman, draped in a mantle to her waist, holding a patera, with a kafathos below. Size: 10.5" W x 18.125" H (26.7 cm x 46 cm)Adding to the iconographical program are several characteristic decorative motifs including a large palmette with tendrils below the handle, a band of wave motifs beneath the figurative scene, and vertical frets adorning the neck. Characteristic of Campanian wares, the terracotta is of a comparatively pale shade, and added/fugitive white and yellow pigments are used liberally to highlight jewelry, feet, handheld objects such as mirrors, weapons, wreaths, and pateras, as well as general highlights.Unlike in Athens, almost none of the potters and vase painters in Magna Graecia signed their work, thus the majority of names are modern designations. The Cumae designation emerged around the middle of the 4th century. Its founder is regarded as the CA Painter and there are three main stages, Cumae A, Cumae B, and Cumae C. The general understanding is that from 330 onwards, a strong Apulian influence grew more visible. This vase appears to fall into the late Cumae A group, its iconographical programs and style resulting in an attribution to the Painter of New York GR 1000 whose work like that of the Boston Ready Painter continues the traditions established by the CA painter, and is profoundly impacted by the APZ (Apulianizing) Painter as was the CA painter during the latter part of his career.A bell krater attributed to the Painter of New York GR 100 resides in the Metropolitan Museum of New York collection (accession number 96.18.25 on view in Gallery 161). Another bell krater attributed to this painter is published in A.D. Trendall's "Red Figure Vases of South Italy and Sicily" figures 319-320. A Campanian red-figured bell-krater attributed to the Painter of New York GR 1000 realized $11,875 at Christies, New York - 10 June 2010 - Lot 99 (http://www.christies.com/lotfinder/Lot/a-campanian-red-figured-bell-krater-attributed-to-the-5321801-details.aspx). Keep in mind, that example was a bell krater. The one featured here, being a fine hydria form with a more elaborate painting program is far superior. What's more, our example was listed by Christies with an estimate of $8,000-$12,000 and realized $7,638 way back in 2001! See http://www.christies.com/lotfinder/lot/a-campanian-red-figured-hydria-attributed-to-the-2063471-details.aspx?from=salesummery&intObjectID=2063471&sid=363de9cc-c844-43ae-84ac-e34f12976c2a Provenance: Ex-private collection of James Farmer, Maryland, Ex-Christies, 8 June 2001, Lot 178 (copy of catalogue entry included); Ex-Asian Collection, purchased between 1968 and 1972 Condition: Intact with normal surface wear and pigment loss as shown. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120492
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Fahr-Becker (Gabriele, editor). The Art of East Asia, volumes 1 & 2, 1998, numerous colour illustrations, original red cloth in dust jackets, and slipcase, large 4to, together with Singh (Madanjeet), Ajanta, Painting of the Sacred and the Secular, India, 1965, numerous colour and black and white illustrations, original brown faux morocco in dust jacket, and slipcase, covers slightly rubbed to head and foot, large 4to, and other modern Asian, Middle Eastern and Oriental art reference, mostly hardback publications, many original cloth in dust jackets, G/VG, 8vo/folio Some with ex libris bookplates. (3 shelves)
YAKOVLEV, ALEXANDER (1887-1938) Palmyra, signed and dated 1933. Oil on canvas, 101 by 251.5 cm. Provenance: The Russian Sale, Sotheby’s London, 19 May 2005, lot 119. Acquired at the above sale by the present owner. Private collection, UK. Authenticity of the work has been confirmed by the expert Yu. Rybakova. Exhibited: Alexandre Iacovleff. Peintre attaché à l’Expédition Citroёn Centre-Asie, Galerie J. Charpentier, Paris, 16 May–4 June 1933. Literature: Exhibition catalogue, Alexandre Iacovleff. Peintre attaché à l’Expédition Citroёn Centre-Asie, Paris, 1933, p. 5, Nos. 4, 8 or 9, listed. The solo exhibition of the celebrated Russian artist and traveller Alexander Yakovlev, which opened on 16 May 1933 at the prestigious Jean Charpentier gallery, was one of the outstanding events of artistic life in Paris. The exhibition represented the artistic output of the Trans-Asian expedition (1931–1932) organised by the French automobile company Citroёn. Alexander Yakovlev brought back hundreds of drawings, sketches and studies which, once back in Paris, he used for a whole series of paintings. According to the exhibition catalogue, the artist presented 377 paintings and drawings. Amazed by their “abundance” and “high quality”, Alexander Benois wrote that “It is difficult to believe that every exhibit was the work of a single hand and executed in a very short space of time, a great many of them on the spot, in the most uncomfortable conditions, requiring a rude health and an utterly exceptional adaptability.” Adaptability was indeed crucially important in Asia, for the local populations were by no means always hospitable towards Europeans. The issue of posing for pictures was also difficult, since the Koran forbids portraiture. The travellers’ lives were further complicated by natural climatic disasters: dust storms, for example, impeded the view of Syria’s most important site, the celebrated Palmyra. It is no coincidence that three of the six pictures painted from the studies done in situ were entitled Palmyra in a SandStorm, The Necropolis of Palmyra after a Sand-Storm and Caravan Caught in a Sand-Storm. The other three canvasses had a shorter title – Palmyra. The present lot is one of these works. In this horizontally elongated picture the artist depicts a panoramic view of the ruins of ancient Palmyra, once the most beautiful town in the Roman provinces, which astonished people of the time with its magnificent temples, tombs and colonnades. Yakovlev had heard about the historical monuments of classical Palmyra while still a student at the Imperial Academy of Arts. When he saw it with his own eyes, he immediately recorded his impression of “unending rows of columns punctuated in places by arches or ruined temples” Yakovlev chose this particular composition to encompass the greatest possible expanse, to show the massive scale of the ruined stone-built town, its major ancient structures and the way they related to each other. Along the line of the horizon on the left, he depicts the famous Temple of Baal, its colonnade and the remains of other buildings; and on the right, in the distance, a barely-visible yet easily recognisable Great Colonnade of Palmyra. The artist filled the centre of the composition with the endless ruins covered in sand, the remains of shattered columns and decorated capitals; and in the bottom right-hand corner of the picture, in the foreground, he even placed the head of the statue of a god, pictured lying among the detritus. Yet, in this seemingly desolate world, there are signs of life. If you look closely, you can see an entrance to either an underground dwelling or a well. Right of centre, in the distance, sheep are moving along and, on the left, a man hearding a donkey. In the foreground, to the left, the painting is animated by the figures of two women in long, dark garments with enormous pitchers on their heads. The introduction of Arab women into the composition of this romantic antique landscape leads us to reflect on the juxtaposition of cultures within the confines of a single space. Alongside its value as a documentary record, the picture undoubtedly also has a philosophical aspect, evoking ideas about the fragility of existence, the shifts and downfalls of civilisations, the destruction of harmony and life, persevering in all these trials and tribulations. Dr Elena Yakovleva, Art Historian
Jones (Chester H.). Ancient Architecture, Prehistoric, Egyptian, Western Asian, Greek & Roman, numerous black and white illustrations by the author, black and white portrait frontispiece with tissue-guard, some light spotting, original blue cloth, boards and spine slightly marked and rubbed to head and foot, 8vo, together with Toman (Rolf, editor), Baroque, Architecture, Sculpture, Painting, 1st edition, 1998, numerous colour illustrations, original red cloth in dust jacket, spines slightly rubbed, large 4to, and The Pelican History of Art, 39 volumes, circa 1950s-60s, numerous colour and black and white illustrations, all ex-library with associated stamps, all original red cloth, large 8vo, plus other modern art and architecture reference, mostly hardback publications, some in dust jackets, many ex-library with associated markings, G/VG, 8vo/folio (6 shelves & 2 cartons)
ZHU XU (Qing Dynasty) A mountain landscape with two figures crossing a bridge approaching a pavilion, on the far side of the river scholars discourse in a retreat set behind two large trees nestled under a rocky outcrop, further mountain ranges stretch into the distance; signed Shisun di Zhu Xu and sealed Xian-gu and Xiao-shan; titled and inscribed 'Willow Tree and High Buildings, in the (lychee) summer of the year of ding-hai (1827 or 1887), two days after the beginning of Autumn, painted in the manner of Li Sixun, whilst staying at the Palace of Mo Ruyi', ink and colour on paper, framed in the round, 23.5cm diameter. Zhu Xu was a noted Qing Dynasty painter, poet, seal and ink stone carver, who studied with Zhang Qian. Li Sixun (651-716) was a famous Tang Dynasty general, politician and painter who developed a style of painting which became popular among some Qing Dynasty artists reacting against more modern styles. Provenance: An Important Private Collection of Chinese and other East Asian Art.
BY OR AFTER QIAN WEICHENG (1720-1772) An extensive mountain landscape, the foreground with a group of buildings nestled amongst trees beside a river and bridge, beyond this two scholars are seated in an open pavilion under rocks, above a deep ravine divides the composition with further mountains beyond, signed, sealed, dated and inscribed, ink and colour on paper, 145cm x 48.5cm; mounted as a hanging scroll The right inscription, signed Chashan, mentions a painting in the residence of the Grand Councillor Yu Minzhong (1714-1799) in the style of the Four Masters of the Yuan Dynasty which inspired the artist. The left inscription, signed Weicheng and dated Winter 1766, discusses a plan to give the picture to his brother the following year. Qian Weicheng was a leading Orthodox School painter of the 18th century. He had a distinguished official career, rising to the rank of Vice President of the Board of Works. At the same time the Qianlong Emperor considered him to be one of the outstanding painters of the age. In over twenty years service at court he produced more than 275 paintings for the Emperor. The reference in the inscription on the right of this painting to Yu Minzhong (1714-1799) is interesting. He was a contemporary of Qian Weicheng in the court of Qianlong and several extant works by the artist are inscribed by him. Provenance: An Important Private Collection of Chinese and other East Asian Art.
KISHI CHIKUDO (1826-1897) 'Fuyu' (Winter), the scene depicting a wolf in winter moonlight between two trees, signed Chikudo and also with collectors seal, ink and colour on silk, 116cm x 42cm; mounted as a hanging scroll with a patterned silk border, in a softwood box Kishi Chikudo was a leading Meiji painter who was appointed as an Imperial Craftsman. A comparable painting of a howling wolf in the moonlight is in the collection at the Shiga Prefecture Museum of Modern Art (J-114). Provenance: An Important Private Collection of Chinese and other East Asian Art.
A SOVIET AGITLAK KEEPSAKE BOX OF ZASEDANIE VOLISPOLKOMA, A. KOTUKHIN, PALEKH, 1927of a rectangular shape with rounded corners; the hinged cover depicting a meeting of the executive committee of the township board; a multiple figure composition features four chairmen seated at a table while discussing agenda and taking notes; they are shown in front of a protruding administrative building with a red standard on top, the other structures around it indicate that the event is taking place at the center of a town, which emphasizes the importance of such meeting; two large groups of people shown gathered together on the left and on the right, their gestures express an active partake in the meeting; the bottom part of the composition features a woman and three children engaged in a play; an ornate gilded border runs around the cover of the box; a gilded vegetative garland, presented in the traditional miniature painting style of Palekh, runs around the body of the box; carmine interior; length: 19 cm (7 1/2 in.), height: 8 cm (3 1/8 in.); signed in Cyrillic A. Kotukhin inscribed s. Palekh and dated lower right.LOT NOTESThe present lot is an artist`s revision of the subject of a meeting of volispolkom. The painting greatly resembles, both in composition and a subject matter, a scene that he depicted on a cover of another keepsake box two years earlier. The 1925 version is currently a part of the collection of the Insitute for Art Industry`s Museum of Folk Art in Moscow.Kotukhin, Aleksandr Vasilyevich (1886-1961) was one of the pioneers of the art of Palekh lacquer miniature. Furthermore, he became one of the founders of Palekh Artel of Ancient Painting in 1924 and its first chairman. Kotukhin helped the invention and development of Palekh`s signature papier-mache technique. His works are particularly celebrated for the skillfulness of intricate ornamental gilding. He also was the first one amongst the other Palekh artists to illustrate lacquer ware with Pushkin`s fairy tales. PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
ALEKSEY AVVAKUMOVICH NAUMOV (RUSSIAN 1840-1895)Country Tailor, 1873oil on canvas61 x 50 cm (24 x 19 3/4 in.)signed in Cyrillic and dated lower left LOT NOTESAleksey Naumov was a celebrated Russian painter of genre scenes. Graduating from the Imperial Academy of Arts in St. Petersburg in 1872, he was promoted in the Academy in 1873 for executing a live study for a portrait of a country tailor. The finished painting was also exhibited in London, where the artist was honored for it with a silver medal. Given that the present lot has the same date of creation, as well as subject matter, it is entirely possible that the medal-winning painting is the present lot. Coming from a private U. S. collection, this work could have been purchased at the International Exhibition of Arts, Manufactures and Products of Soil and Minе of 1876 in Philadelphia, in which Naumov took part, also presenting his prominent works Kurnaya Izba, An Orphan, and Sheepherder.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
MAI TRUNG THU (VIETNAMESE-FRENCH,1906-1980)Le rideau, 1944gouache and ink on silk mounted on paper34 x 25.7 cm (13 3/8 x 10 1/8 in.)signed, stamped with seal, and dated upper leftLOT NOTESAlong with Vu Cao Dam and Le Pho, Mai Trung Thu is one of the pillars of Vietnamese modernism of the 20th Century. Born in An Durong, Thu was one of the graduates of the first entering class of the Ecole des Beaux-Arts de l`Indochine in Hanoi. Like Vu Cao Dam and Le Pho, Thu emigrated to Paris in 1937, where he would develop a successful art career. The painting in this auction, Le rideau, is a rare, early work by Mai Thu, executed shortly after his 1941 exhibition in Algiers at the Grand Exhibition with Le Pho. Thu painted Le rideau in his signature style of gouache and ink on silk, depicting a coquettish woman standing behind a curtain, one of his favorite subjects.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
LEON AUGUSTIN LHERMITTE (FRENCH 1844-1925)Depart des laveuses le soir, 1892oil on canvas98 x 78 cm (38 1/2 x 30 3/4 in.)signed and dated lower left L Lhermitte 1892PROVENANCEAcquired from Boussod, Valadon & Cie, Paris (no. 22249)Collection of John Parkinson, Boston, MAMuseum of Fine Arts, Boston (loan 1920-1946)Vose Galleries, Boston, MACollection of Jacob L. Rosenthal, New York, NYPrivate Collection, New YorkEXHIBITEDSalon de la Societe nationale des beaux-arts, 1892, no. 683Museum of Fine Arts, Boston, MA 1920-1946LITERATURENew York Herald, March 29, 1892Doumic R. le Moniteur universel, May 5, 1892Fourtel Eugene, le Petit Marseillais, May 5, 1892les Petites Nouvelles, May 5, 1892Andre A. la France nouvelle, May 6, 1892Cardon E., le Moniteur des arts, May 6, 1892Correspondence Haras, May 6, 1892Fremine Ch., le Rappel, May 7, 1892l'Electeur, May 7, 1892Silvestre A. l'Echo de Paris, May 7, 1892De Fontissant M., le Telegraphe, May 9, 1892Dac H., le Monde, May 16, 1892Godin H., la Revue des Beaux-Arts, May 21, 1892l'Echo republicain, May 27, 1892De Gourcoff O., l'Avenir national, May 28, 1892Dalligny A., le Journal des arts, May 31, 1892le Phare de Dunkerque, June 10, 1892Talansier Ch., le Genie civil, July 2, 1892Furnel Ch., Revue moderne, September 10, 1892Hamel M. M., op cit., C 184, cat. No. 181Monique Le Pelley Fonteny, Leon Augustin Lhermitte: 1844-1925, Catalogue Raisonne, (Paris: Editions Cercle D`Art, 1991), p. 136, no. 160, illustrated LOT NOTESLeon Lhermitte spent the formative years of his life in rural northern France before moving to Paris at the age of 19 in 1863 to attend the Ecole des Beaux-Arts, and debuting at the salon the following year. He has been praised for his monumental and unsentimental treatment of the peasant life with which he himself was so familiar from an early age. Lhermitte at once showed the hard, daily toil of the rural working class and imbued his subjects with a sense of dignity so often lacking in the works of his predecessors. Lhermitte revisited the subject of women doing laundry on the banks of the Marne on several occasions, but this composition focusing on two young women at dusk is among his most striking. When Depart des Laveuses le Soir was shown in 1892 at the Salon exhibition of the new Societe nationale des beaux-arts it caused quite a stir, and in the catalogue raisonne Monique Le Pelley Fonteny has accrued an extensive list of reviews and mentions of the painting in contemporary publications. In the 20th century, the work continued to fascinate and inspire its audience during the decades it was at the Museum of Fine Arts in Boston.Ever since first seeing his work in the early 1880s, Vincent van Gogh was taken with the Lhermitte: “He`s a master of the figure. He`s able to do what he likes with it -- conceiving the whole neither from the color nor from the local tone, but rather proceeding from the light -- as Rembrandt did -- there`s something astonishingly masterly in everything he does -- in modeling, above all things, he utterly satisfies the demands of honesty.” (Letter to his brother Theo, September 2, 1885)In the dapples of soft pink on a robin egg blue sky, the reflections of the setting sun in the water highlighted with scrapes from the wooden end of the brush, and the delicate silhouette of the carefully modeled peasant woman`s profile shimmering in the twilight, one can sense Lhermitte`s attempt to create a synergy between the teaching of the academies and the play of light using unadulterated colors popularized by the Impressionists. The admiration heaped upon Lhermitte by the van Gogh brothers may have also contributed to the artist`s association with Boussod, Valadon & Cie, the prominent international gallery which signed an exclusive contract of representation with Lhermitte in 1887. Vincent van Gogh (the uncle of the painter) was a partner at the firm, and both of the brothers were at one point or another employed by the gallery, as well.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
GEORGE ALBERT ZABRISKIE (AMERICAN 1868-1954)Amongst the Trees, 1889oil on canvas40.6 x 30.5 cm (16 x 12 in.)signed and dated lower leftLOT NOTESGeorge Albert Zabriskie, a native of New York City, was a prominent collector of art, books and manuscripts, as well as an enthusiast supporter of many social causes and movements. He was a member of the Grolier Club, the Chairman of the membership committee of the Museum of the City of New York, President of the New York Sons of the Revolution and of the New York Historical Society, and a member of the American Antiquarian Society. A devoted admirer of art, Zabriskie himself would sometimes paint for his own amusement. However, his extant works are quite rare. The present lot and a painting in the collection of The New York Historical Society are the only two works currently known.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
HENRI MARTIN (FRENCH 1860-1943)Boy with a Sailboat, circa 1932-1935oil on panel45 x 38 cm (17 3/4 x 15 in.)signed lower rightPROVENANCEPurchased from Chaite Gallery, Paris, 1950Private collection, New YorkWe are grateful to the Musee de Cahors Henri-Martin for assistance in cataloging this lot.LOT NOTESThe present lot was created in the early 1930s, when Henri Martin began to lean towards pointillism in his painting style. The painting depicts a boy who is preparing to launch his sailboat on the water of pond on a beautiful sunny afternoon. The subject, as well, as the manner of painting, point out at the decoration of the staircase of the building of the City hall of the 5th arrondissement of Paris. In 1932 the administration of the City hall commissioned Henri Martin to create a group of panels to complete the walls of the rotunda staircase on the first floor of the building. As the subject matter for this decoration, the artist chose the Luxembourg Garden and its pond. It is very likely that the present lot was a study for one of the characters (see attached reference image). The composition comprises of five panels, three of which depict the pond with children racing their toy sailboats, and the other two show shaded walkways on the sides. The work was completed in 1935 and still remains today at its original location.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
A CONTINENTAL GOLD AND ENAMEL SNUFF BOX SET WITH A MINIATURE PAINTING OF COLUMBUS BREAKING THE EGG, MARKED MM, 18-19TH CENTURYof rectangular form with rounded edges, the top panel set with a miniature enameled painting after Columbus Breaking the Egg by William Hogarth, the central panel is surrounded by a gold frame flanked by a pair of caryatids on a stippled ground, the side and base panels with an engine-turned design, each of the snuff box faces with a border of cobalt blue champleve enamel, 9 cm (3 1/2 in.), the interior with a makers mark MM, partially legible hallmark on the inside, additional mark A> on the inside fitting, 121.9 g.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
A CONTINENTAL GOLD SNUFF-BOX SET WITH A MINIATURE ENAMEL PAINTINGof rectangular form with cut corners, the top panel with a miniature enameled painting depicting Diogenes in Search of an Honest Man after a composition by Salvator Rosa, the central panel surrounded by a border of powder blue, white and black enamel with chased gold foliage, the side panels and the central panel on the base with a chevron guilloche ground covered with translucent cobalt blue enamel, length: 9 cm (9 1/2 in.), indistinct hallmarks on the inside, 140.5 g.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
A SWISS GOLD SNUFF BOX SET WITH A MINIATURE ENAMEL PAINTING, FRANCOIS JOANIN, GENEVA, CIRCA 1815of rectangular form with canted corners, the top panel set with a miniature enameled painting of an idyllic landscape under an opalescent sky, surrounded by a chevron and leaf border, the sides and bottom panel with an engraved coral pattern, length: 8.5 cm (3 3/8 in.), marked on the interior, additionally stamped 6280 on the inside fitting, 109.1 g.PROVENANCEChristie`s New York, October 21, 2003, lot 190PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
A CONTINENTAL ROSE GOLD AND ENAMEL SNUFF BOX, 19TH CENTURYof oval form, the body extensively decorated with pastel green champleve enamel with a white and blue ribboned motif punctuated by flowers, the center with a miniature painting en plein enamel depicting musical and travel instruments on a powder blue background, the verso with a similar cartouche filled with intricately-painted flowers, length: 7.5 cm (3 in.), indistinct hallmarks on the inside, 72.7 g.PLEASE NOTEIf you will be bidding live on auction day, please note that Session I of the Auction (Asian and Russian Fine & Decorative Art), starts at 10:00 AM New York Time and goes from Lot 1 through Lot 254. Session II of the Auction (European, American and International Fine & Decorative Art) starts at 3:00 PM New York Time and goes from Lot 500 through Lot 676. We sell approximately 70 lots per hour.
Bühler (A.) & Eberhard Fischer. - The Patola of Gujarat: Double Ikat in India, 2 vol., Basle, 1979 § Yamanobe Tomoyuki. Fabrics from the Silk Road: The Stein Collection, National Museum, New Delhi, Kyoto, 1979 § Andrews (Fred. H.) Wall Paintings from Ancient Shrines in Central Asia, Recovered by Sir Aurel Stein, plate vol. only, 32 plates, some colour, some double-page, loose as issued in original cloth portfolio with ties, worn, lower cover severely damp-stained affecting final five plates, 1948 § Textiles in the Shosoin, 2 vol., Japanese text, each vol., with accompanying English booklet in original wrappers, main vol. original cloth, each in cloth box with lid, Tokyo, 1963 § Yoshida Mitsukuni. [Kyoto Kanoko], Japanese text, one of 1000 copies, Kyoto, 1975 § Kahlenberg (M.H.) & others. Asian Costumes and Textiles from the Bosphorus to Fujiyama: The Zaira and Marcel Mis Collection, New York, 2001 § Rhie (M.M.) & Robert A.F.Thurman. The Sacred Art of Tibet, 1996 § Zo (Za-yong) & U Fan Lee. Traditional Korean Painting, Tokyo & New York, 1990, illustrations, many colour, original cloth or boards, some pictorial, the last three with dust-jackets, the first and fifth with slip-cases ; and a small quantity of others, Asian art, particularly textiles, including issues of Hali , Textile History, Journal of the Royal Asiatic Society, Bulletin of the Asia Institute, Central Asian Review etc., many catalogues, v.s. (Qty)
Jivan Ram, Raja (fl. 1825-1840) - Portrait of Lieutenant Jasper Trower, of the Bengal Horse Artillery Oil on canvas Signed and dated Jeewun Ram 1827 lower left, with indistinct Sanskrit inscription underneath 35.5 x 31 cm. (14 x 12 1/4 in) Provenance: the Trower family; by descent to the present owner Comparative literature: William Sleeman, Rambles and Recollections , London, 1844, vol. ii, pp.285-7 J.P. Losty, Of Far Off Lands and People: Paintings from India 1783-1881 , Indar Pasricha Fine Art exh. cat., London, 1993) J.P. Losty, Indian Portraiture in the British Period , The Indian Portrait, 1850-1860', ed. by Rosemary Crill and Kapil Jariwala, National Portrait Gallery, 2010 J. P. Losty, A new portrait miniature by Jivan Ram acquired , Asian and African studies blog, British Library website, 12th January 2014 A previously unrecorded and unpublished oil painting by the Indian artist Raja Jivan Ram, whose work, miniatures and oils, are rarely available on the open market. Oil paintings by Ram are almost exclusively held in public institutions, with small collections in the British Library, London, and the Bodleian Library, Oxford. Ram is recorded in contemporary literature by William Sleeman who described him as an excellent portrait-painter, and a very honest and agreeable person, [who] was lately employed to take the Emperor's portrait ( op. cit., vol. ii, pp. 285-7). A preliminary drawing is unfortunately all that remains of the portrait described by Sleeman, but the fact that the Mughal Emperor Akbar II (1806-37) commissioned his portrait to be painted by Ram highlights the regard that the artist had with the Indian, as well as the British, elite. [The drawing is now held in the British Library s India Office and Private Papers collection, ref.: Add.Or.3167] The high regard held for Ram by his contemporaries is further shown with his appointment in the 1830s by the famous Begum Samru of Sardhana (1745-1836), whose palace was decorated with some twenty of his oil paintings ( op. cit., Losty, Jan. 2014). The European influence on Indian portrait painting, which began in the 18th century, and was continued by artists travelling and working in India such as George Chinnery (1774-1852) and Thomas Hickey (1741-1824), is clearly apparent in the portrait of Lieutenant Jasper Trower. The most comparable portrait by Ram to the present work is that of Captain Robert McMullin, which is similarly dated 1827, and may well have been executed in close succession (currently held by the British Library, ref.: F863). The sitter, Lieutenant Jasper Trower (c.1807-1845) of the Bengal Horse Artillery, later a Captain in the 7th Light Field Battery, was killed in action during the Battle of Mudki, Punjab, 1845. We have been unable to find any record for an oil painting by Raja Jivan Ram available on the open market for the last 20 years.
British School, late 19th century- Fishes, Isaac Walton, Angler & Author, A Petty Couple, Fishing Extraordinary, The Prince of Wales landing a Jack, The Princes, Albert Victor and George Line fishing at Sea"; hand-coloured lithograph, 46.5x59.5cm: French School, mid-late 19th century- Figures on a shore; over-painted print laid down on panel, bears inscription, in an ebonised frame, 9.8x14cm: British School, late 20th century- Study of two girls; black pen, inscribed, 10.5x10.5cm: Henricus Hondius, Dutch 1573-1670- "Scotiae pars Septentrionalis", 1619; hand-coloured engraved map, 36x46cm: together with a South East Asian painting on fabric of a portrait subject, (5) (part unframed) (VAT charged on the hammer price)
Robert Arneson (American, 1930-1992), ""In Search of the Asian Gilda #2,"" 1980, mixed media on paper, signed in pencil lower right, titled in pencil lower center, dated ""9-16-80"" lower left, sheet: 42.25""h x 34.5""w, overall (with frame): 51.25""h x 44""w. Provenance: Purchased from Frumkin & Struve Gallery (Chicago) in the 1970s. Note: Arneson depicted one of his patrons, Gilda Bookbinder, in this composition when she visited his studio on the way to Asia and posed for the painting.
Robert Arneson (American, 1930-1992), ""In Search of the Asian Gilda #2,"" 1980, mixed media on paper, signed in pencil lower right, titled in pencil lower center, dated ""9-16-80"" lower left, sheet: 42.25""h x 34.5""w, overall (with frame): 51.25""h x 44""w. Provenance: Purchased from Frumkin & Struve Gallery (Chicago) in the 1970s. Note: Arneson depicted one of his patrons, Gilda Bookbinder, in this composition when she visited his studio on the way to Asia and posed for the painting.
Robert Arneson (American, 1930-1992), ""In Search of the Asian Gilda #2,"" 1980, mixed media on paper, signed in pencil lower right, titled in pencil lower center, dated ""9-16-80"" lower left, sheet: 42.25""h x 34.5""w, overall (with frame): 51.25""h x 44""w. Provenance: Purchased from Frumkin & Struve Gallery (Chicago) in the 1970s. Note: Arneson depicted one of his patrons, Gilda Bookbinder, in this composition when she visited his studio on the way to Asia and posed for the painting.
BOWIE, HENRY P. `On the Laws of Japanese Painting. Published by Paul Elder and Co., 1911. Red clock; COSGROVE, MAYNARD G. The Enamels of China and Japan. Pub 1974; BROWN, ROXANNA. M. The Ceramics of South East Asia - Their Dating and Identification. AND related works Japanese and Asian Art and culture (24)
GROUP OF ASIAN & VENETIAN MASKS & AN INDIAN PUPPET NO RESERVE - NO MINIMUM GROUP OF SOUTHEAST ASIAN AND VENETIAN MASKS AND AN INDIAN MARIONETTE, 20th century, including painted and natural wood examples, the Venetian example of paper mache and painted to depict a Picasso painting, the marionette of painted wood and in authentic Rajahastan attire. (lot) Height of marionette: 31 in., Height of Venetian mask: 16 in. THIS SALE IS BEING CONDUCTED AS AN ""ABSOLUTE NO RESERVE - NO MINIMUM SALE"". AS A COURTESY, WE ARE PROVIDING YOU WITH A GENERAL CONDITION REPORT FOR THE ITEM(s) YOU INQUIRED ABOUT. PLEASE NOTE ALL SALES ARE FINAL REGARDLESS OF CONDITION. Thank you for the consideration and your expressed interest. A.B. Levy_s NOTWITHSTANDING THIS REPORT AND/OR ANY DISCUSSION CONCERNING LOTS: ALL LOTS ARE OFFERED AND SOLD AS IS"" IN ACCORDANCE WITH THE CONDITIONS OF SALE AS POSTED HERE AND AS PRINTED IN THE SALE CATALOGUE. WE (A.B. LEVY) ARE NOT RESPONSIBLE FOR ERRORS OR ANY MISREPRESENTATIONS CONCERNING THE CONDITION OF ANY OR ALL ITEMS MENTIONED IN THIS REPORT OR ELSEWHERE. Prospective buyers should inspect each lot to satisfy concerns as to condition. Understand that any statement made by us, (A.B Levy) is merely a qualified subjective opinion. We are not professional conservators or professional restorers. Prospective buyers should refer to Important Notices regarding this sale and/or any lot that might be printed in the Sale Catalogue and/or posted On-line.
* KUZNETSOV, PAVEL (1878-1968) Eastern City. Bukhara, signed, also further signed, inscribed "Moskou" and in Cyrillic "V Bukhare" and dated 1912. Oil on canvas, 103 by 80 cm. Provenance: Acquired directly from the artists’s studio by Tatiana Kozyreva in 1956. Private collection, Europe. Authenticity of the work has been confirmed by the expert V. Petrov. Authenticity has also been confirmed by the expert I. Geraschenko. Exhibited: Mir iskusstva, Moscow, 1915. Mir iskusstva, Moscow, 1917. Vystavka kartin khudozhnikov Pavla Kuznetsova i Eleny Bebutovoi, Russian Academy of Artistic Sciences, Moscow, May 1923. Peredvizhnaya vystavka sovetskogo iskusstva v Yaponii, Harbin, Tokyo, Aomori, 1926–1927. Pavel Varfolomeevich Kuznetsov. 75 let so dnya rozhdeniya. 55 let tvorcheskoi deyatel’nosti, Central House of Art Workers, Moscow, April 1956. Pavel Varfolomeevich Kuznetsov, Moscow, 1964. Pavel Kuznetsov. K stoletiyu so dnya rozhdeniya, Moscow, 1978. Literature: Exhibition catalogue, Mir iskusstva, Moscow, 1915, p. 11, No. 147, listed as V Bukhare. Exhibition catalogue, Mir iskusstva, Moscow, 1917, p. 7, No. 97, listed as V Bukhare. Katalog vystavki kartin khudozhnikov Pavla Kuznetsova i Eleny Bebutovoy, Moscow, 1923, p. 5, No. 53, listed as V Bukhare. Exhibition catalogue, Peredvizhnaya vystavka sovetskogo iskusstva v Yaponii, Harbin, Tokyo, Aomori, 1926–1927. Exhibition catalogue, Pavel Varfolomeevich Kuznetsov. 75 let so dnya rozhdeniya. 55 let tvorcheskoy deyatel’nosti, Moscow, Sovetskii khudozhnik, 1956, p. 12, listed as V Bukhare under works from 1912. Exhibition catalogue, Pavel Varfolomeevich Kuznetsov, Moscow, 1964, p. 14, listed as Bukhara under works from 1912. M. Alpatov, Pavel Kuznetsov, Moscow, Izobrazitel’noe iskusstvo, 1969, illustrated; p. 113, No. 19, listed as Bukhara, incorrectly dated 1911. L. Budkova, D. Sarabianov, Pavel Kuznetsov, Moscow, Sovetskii khudozhnik, 1975, pl. 44, illustrated; p. 332, No. 225, listed as Vostochnyi gorod. Bukhara under works from 1915–1916. A. Rusakova, Pavel Kuznetsov, Leningrad, Iskusstvo, 1977, p. 123, illustrated; p. 281, listed as Vostochnyi gorod, incorrectly dated 1913–1914; pp. 125–126, mentioned in the text. Exhibition catalogue, Pavel Kuznetsov. K stoletiyu so dnya rozhdeniya, Moscow, Sovetskii khudozhnik, 1978, illustrated and listed as Vostochnyi gorod. Bukhara under works from 1915–1916. Related literature: For the reproduction of the present lot as a postcard, see E. Butorina, Pavel Kuznetsov. Komplekt otkrytok, Leningrad, 1970. Eastern City. Bukhara is one of the principal and best-known masterpieces of Pavel Kuznetsov’s Central Asian series. Kuznetsov spent several years in the East before the First World War, travelling first across the steppes of Kirghizia and then visiting Central Asia in 1912–1913. “Wishing to continue the theme of the East, which has an affinity for me,” he wrote in his notes, “I decided to delve deeper into Asia: Tashkent, Samarkand and Bukhara. For two consecutive summers I reflected the landscapes and life of this region in my works. The colouration of everything I saw there, so unfamiliar to us Russians, inspired me with new emotions and a new approach to painting, which sprang from the reality around me.” Bukhara, the most harmonious of the works in Kuznetsov’s Central Asian cycle, offers a certain quintessence of the eastern city. Alongside the best of the steppe pictures from 1911–1912, it represents the summit of Kuznetsov’s creative achievement. Motifs from other Bukhara works reappear in the picture recast, abstracted and purified to a full clarity and simplicity of primary forms. In Bukhara we find the clearest manifestation of the search for new structural solutions in harmony with the time, a search which is also present, in a milder, veiled form, in Kuznetsov’s other Bukhara works. The artist’s “course towards Derain and Picasso” (in the apt phrase of the art critic, Abram Efros) led Kuznetsov in this picture to a tangible geometrization of forms. And yet Cubism as a world view or even as an intellectual analysis of visible structures remained alien to the artist. While accepting many features of Gauguin’s synthetism, Braque’s decorative qualities, and some of Derain’s painting techniques, Kuznetsov remained sensitive to other important artistic trends of the Russian avant-garde – the influence of the old iconographic tradition and a passion for different variants of Oriental art. Kuznetsov, in his Bukhara works, limited cubist treatment to those phenomena, which seemed to him to come to meet a type of geometrisation that was more visual than methodological – the architecture of the buildings made from stone or pressed earth, and the jagged outcrops of the mountains around Bukhara. This selectiveness, with which objects are chosen or not chosen for cubist treatment within a single picture, produces a vibrant duality, lending an inner tension to the composition. This duality is present in Bukhara, where only the background of the picture fragments into stereometric protoforms. Kuznetsov on the one hand analytically decomposes inanimate objects in the image, but on the other hand achieves their organic unity and easy mergence with nature. He looks at objects sometimes from above and sometimes from below, and compacts the space of the picture without sacrificing its architectonic quality. Rectangular planes intersect and are deformed, volumes are fragmented, broken lines reach upwards in a repeating, rhythmic drawing pattern. The buildings, rising ledge by ledge, are akin to the icon representation of hills in Novgorod wall paintings. The colouration of the background is in an unexpected relationship with its complex constructivist treatment – a range of light yellow, pinkish-orange, ochre tones, subtly tinged with the crimson, blue, and glowing red surfaces of the buildings. In this portrait of Bukhara, which the artist loved above all eastern cities, Kuznetsov brought together his principal impressions of the region, achieving a composite unity of mountains, buildings clinging together, solitary trees, a shred of sky and the women with peacocks, united by the rhythmic organization of the picture as a whole and the colour harmony of golden-yellow and sky-blue tones. All of these elements make Bukhara into one of the most valuable and important examples of the artist’s work. In the 1970s Budkova and Sarabianov suggested that the picture, from the collection of Tatiana Kozyreva, was in fact painted in 1915 when the artist was revisiting his memories of Central Asia, synthesising what he had discovered there and on his wanderings on the Kirghiz steppes.
Monumental Carved Chinese White Jade Censer, Qing. Important and Monumental White Jade Censer, Qing 1644-1911) Description: Tripod censer of unusually large proportions. Finial a lion, ribbon and ball motif in elaborate openwork carving. Lid and body decorated with an archaic motif, handles carved with animal heads and hanging rings. Each handle as a lion with curled tufts of hair extending broadly towards the body, giving the handles a broad presence. The stone of white or pale celadon color. Large spinach green jade stand, carved with a ribbed design. Qing Dynasty (1644-1911). Censer 12" across handles, on stand 11 1/2" H. Provenance: -Private Collector (letter of Provenance included) -Personal Collection of Mr Simon Kriger. Compare: Related censer from the National Museum of History, Taiwan, exhibition Jade: Ching Dynasty Treasures, Taipei, 1997, no. 80; Another related censer: The Splendor of Jade. Four Thousand Years of the Art of Chinese Jade Carving, New York, 1974, pl. 36; another Stanley Charles Nott, A Catalogue of Rare Chinese Jade Carvings, Palm Beach, 1940, no. 125. Notes: Simon Kriger b. 1900 in the Russian ÈmigrÈ community in Harbin, China and lived as an investment banker in the French Concession of Shanghai until political events lead him to move to America with his family. Residing in Washington D.C. from 1938 onwards he founded ìThe Asian Cultural Exchange Foundationî an organization who`s focus was to promote cultural exchange between Asia and the United States. He was known to the Freer and Smithsonian Collections having donated objects and is also noted for owning and lending for exhibition an 83 foot scroll painting by artist ìLang Shi Ningî (Giuseppe Castiglione). Kriger exhibited items from his personal collection at various Universities. Simon Kriger had a distinguished shop specializing in Asian art only steps from the White House in Washington D.C. A special few were invited to the second floor to see his ìJade Vaultî where he kept his most prized jades. The present censer remained in Mr. Kriger`s possession until it was acquired by Mr. S. A. in 1970s (letter of provenance included with lot) Although other jade censers such as this are known, this appears to be the largest in size to come to market for sale publicly. Starting Price: $10,000
Painting, Follower of Hovsep Pushman, Still Life with Asian Figurine American School (20th century)/Follower of Hovsep Pushman (American, 1877-1966), Still Life with Asian Figurine, oil on canvas, 1941, oil on canvas, signed and dated "Wilfred L. Rice 1941" lower left, overall: 34.25"h x 36.25"w Starting Price: $100
Patrick Scott HRHA (b.1921)GOLD PAINTING 4, 1978acrylic with gold leaf on canvassigned, titled and dated on reverse; with Annely Juda Fine Art label on reversePortrait48 by 48in., 120 by 120cm.Annely Juda Fine Art, London;The Collection of Liam O`Keeffe-AyudhkijLiam O`Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O`Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott`s oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O`Keeffe-Ayudhkij`s love of art manifested itself in his support of Asian artists, the setting up of `Liam`s Gallery` in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After traveling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O`Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick`s Society among other accolades. Outside of the business arena O`Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."
Two Chinese watercolour paintings, 20th Century, one depicting a seated fisherman beneath lines of text, the other of a white flower, framed and glazed, together with a Chinese watercolour, 20th Century, painted with an elderly gentleman holding a basket, another painting of a gentleman and a South East Asian relief panel depicting five gilt deity, framed and glazed.
Patrick Scott HRHA (b.1921) GOLD PAINTING WITH BLUE CIRCLE AND GREEN oil with gold leaf on canvas 48 by 48in., 121.92 by 121.92cm. The Collection of Liam O`Keeffe-Ayudhkij Whyte`s are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O`Keeffe-Ayudhkij. Liam O`Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O`Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott`s oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O`Keeffe-Ayudhkij`s love of art manifested itself in his support of Asian artists, the setting up of `Liam`s Gallery` in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After travelling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O`Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick`s Society among other accolades. Outside of the business arena O`Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, "He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."
Patrick Scott HRHA (b.1921) GOLD PAINTING 13, 1965 gold leaf and tempera on canvas signed and titled on reverse 48 by 60in., 121.92 by 152.4cm. Dawson Gallery, Dublin; Where purchased by Liam O`Keeffe-Ayudhkij `Patrick Scott`, Dawson Gallery, Dublin, 3-24 June, 1965, catalogue no. 6 Whyte`s are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O`Keeffe-Ayudhkij. Liam O`Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O`Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott`s oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O`Keeffe-Ayudhkij`s love of art manifested itself in his support of Asian artists, the setting up of `Liam`s Gallery` in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After travelling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O`Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick`s Society among other accolades. Outside of the business arena O`Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, "He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."
Patrick Scott HRHA (b.1921) GOLD PAINTING, 64 oil with gold leaf on canvas signed and titled on reverse 46 by 50in., 116.84 by 127cm. The Collection of Liam O`Keeffe-Ayudhkij Whyte`s are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O`Keeffe-Ayudhkij. Liam O`Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O`Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott`s oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O`Keeffe-Ayudhkij`s love of art manifested itself in his support of Asian artists, the setting up of `Liam`s Gallery` in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After travelling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O`Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick`s Society among other accolades. Outside of the business arena O`Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, "He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."
Patrick Scott HRHA (b.1921) GOLD PAINTING 9, 1979 gold leaf and acrylic on canvas signed, titled and dated on reverse; with typed exhibition label on reverse; with name [Mrs Von Konig, Dublin] inscribed on stretcher on reverse 32 by 32in., 81.28 by 81.28cm. The Collection of Liam O`Keeffe-Ayudhkij Whyte`s are pleased to offer a further selection from the collection of distinguished businessman and arts patron, Liam O`Keeffe-Ayudhkij. Liam O`Keeffe-Ayudhkij, who was born in Dublin in 1945, relocated to Thailand at the age of eighteen and is renowned in both the country of his birth and in South East Asia for his contribution to business, arts and charitable organisations in Thailand. O`Keeffe-Ayudhkij was a keen art collector and built up lasting friendships with Irish artists such as Patrick Scott. The meditative quality of Scott`s oeuvre appears to have connected with him and his collection of early Scott canvases offered in this sale is testament to this. In Thailand O`Keeffe-Ayudhkij`s love of art manifested itself in his support of Asian artists, the setting up of `Liam`s Gallery` in Pattaya and a book written by him on Thai art. He was also director of the Phya Thai Palace Restoration Committee. After travelling Thailand from 1963 he settled in Bangkok where a surge in the local property market in the 1970s opened up employment opportunities particularly in the property care services industry. In 1989 he led the management buyout of the company he worked for and formed his own business, which he grew from the mid 1990s. By 2007 the company was employing 23,000 people. As an Irish expatriate O`Keeffe-Ayudhkij was invited in 2009 to the Global Irish Economic Forum in Farmleigh. He was also a founder and director of the Irish Thai Chamber of Commerce and a past president of the Bangkok St. Patrick`s Society among other accolades. Outside of the business arena O`Keeffe was a true philanthropist and committed to many charitable organisations including Support the Children Foundation and the Bangkok Nursing Home Hospital. His obituary in the Irish Times this year noted, "He will be remembered for his business acumen, charity work, love of art and boundless enthusiasm."
Asain Hanging Scroll, ImmortalsAsian hanging scroll, ink and color on silk, Immortals, late 19th/early 20th century, the lower right bearing signature `Xiao Xian` in Chinese and `Kosen/Shosen` in Japanese, above a cartouche, painting: 60``h x 37``w; overall: 42.25``w x 102.5``hStarting Price: $400
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