A BRONZE PECTORAL PLAQUE DEPICTING HANUMAN, BAJRANG BALI, 18TH CENTURYWestern India, Maharashtra or Karnataka. Finely cast, the circular plaque depicts a striding Hanuman, who carries in his left hand the healing plant (sanjivani buti), walking above an armed figure lying prone. The leafy plant hangs down to his knees, twisting back behind his body. The outer frame serves as a circular mandala with a band of stylized flames (prabhavala) and rosettes, enclosed by a rope-like border formed by the tails of two peacocks at the top, centered by a seven-headed hooded cobra hovering over a figure of Krishna dancing atop Hanuman's head. The mandorla further with sun and moon symbols. The back is cast with a vertical loop for mounting.Provenance: From a private collection in London, United Kingdom. The stand with an old label, 'India. Hanuman. In wheel of rosettes and seeds with peacock terminals. Nagas and Krishna.' Condition: Very good condition with minor old wear and expected casting flaws, small nicks, light scratches, minor dents.Weight: 751 g (excl. stand) and 1,084 g (incl. stand) Dimensions: Height 22.9 cm (excl. stand) and 26.3 cm (incl. stand) With a fitted modern stand. (2)The scene depicted on this plaque recalls an episode in the Indian Ramayana epic when Hanuman flew through the air to bring a healing, medicinal herb (sanjivani buti) to the wounded Rama and his army. The small figure below Hanuman's feet could be Lakshmana, the brother of Rama, who was wounded during the battle. As a divine being, Hanuman has the power to augment or diminish his size at will, and so he grows to such a stature that he can span the ocean with a single stride. This unique ability, according to myth, enabled the god to rescue Rama.Expert's note: Known as a bajrang bali (strong monkey), this distinctive type of pectoral plaque depicts Hanuman, The Divine Monkey. It is worn suspended around the neck by Vaishnava ascetics devoted to Hanuman, in the regions of Karnataka and Maharashtra.Literature comparison:Compare a closely related bronze circular plaque depicting Hanuman mid stride, 21 cm high, dated 18th-19th century, in the British Museum, registration number 1853,0108.8. Compare a closely related plaque depicting Hanuman mid stride, 23 cm high, dated to the 16th century, in the Los Angeles County Museum of Art, accession number M.87.160.1. Compare a related bronze circular plaque depicting Hanuman, 6.75 cm high, dated 17th-18th century, in the British Museum, registration number 1940,0716.323.
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Ceramics - Royal Crown Derby including Mikado, Rougement, Bali, unfinished blue and white paperweights, etc; an Abbeydale Chrysanthemum plate; a Beatrix Potter Jemima Puddleduck musical box; a Crown Staffordshire model of a bluebird, by J. T. Jones; Crown Staffordshire Kowloon; a Beswick owl; Hammersley sugar sifter; Wedgwood; Aynsley; Royal Worcester, etc, qty
Hotel-Etiketten. - Koffer-Aufkleber. Umfangreiche Sammlung von ca. 950 originalen Hotel-Etiketten, teils in Originalgraphik, meist Farblithographie oder Offset. Alle sauber montiert auf Tonkarton. Zwischen 10 x 8 und 20 x 16 cm. Europa, Afrika und Asien ca. 1900-1950.Eine veritable Kulturgeschichte der Hotellerie ergibt sich anhand dieser vielfältigen, farbenfrohen Sammlung von Hotel-Etiketten, die zahlreiche Koffer der Reisenden aus und in die ganze Welt zierten. Da vielfach neben den zahlreichen Stadtveduten auch die Hotels selbst abgebildet wurden, bieten die Etiketten interessante historische Ansichten einer meist vergangenen Zeit, da nichts so oft umgebaut und modernisiert wurde, wie Hotelfassaden oder -interieurs. Die meisten Etiketten stammen aus der Zeit um 1930. Auf vielen sind auch die besonderen Vorzüge der Hotels vermerkt, wie z. B. beim Hôtel Venezia, Torino, "Ascenseur - Luce elettrica", Hôtel Royal Superga ebendort bietet eine "Auto-Garage" etc. Vorhanden sind hier Brasilien (ca. 20), Deutschland, Österreich, Schweiz (ca. 70), Indien (ca. 6), Italien (ca. 100), Japan und China (ca. 120), dabei auch zahlreiche Restaurant- und Teestuben-Etiketten, Portugal (ca. 100), Spanien (ca. 100), Tschechien (ca. 60) Ungarn (ca. 80) und vieles, vieles mehr, z. B. Albergo Croce di Malta, Firenze, Albergo Pensione, Balestri, Firenze, Albergo Rufolo, Ravello, Alpenhof, Bad Aussee, Alpenrose, Feldkirch, Aston, Stockholm, Bali Hotel, Den Pasar, Bayerischer Hof, Leipzig, Beau Rivage, Interlaken, Carlton, Bratislava, Clark's Hotel, Benares, Continental Savoy, Kairo, Copacabana, Rio de Janeiro, Coq d'Or, Ostende, Corvetto Plaza, Genova, Crazy Corner, Ginza Tokio, Eden, Düsseldorf, Eskilstuna, Stockholm, Excelsior, Rio de Janeiro, Excelsior, Sao Paulo, Fenix, Lisboa, Gellert, Budapest, Goldener Hirsch, Rothenburg, Grand Hotel & Des Palmes, Palermo, Grand Hotel Bellevue, Cortina d'Ampezzo, Grand Hôtel Kitzbühel, Grand Hotel Regina, Salsomaggiore, Grand Hôtel, Falun, Grand Hotel, Napoli, Guldhedens, Göteborg, Haarlass, Heidelberg, Horfolk Hotel, Nairobi, Hotel Astor, Dresden, Hotel Belgica, Puerto de la Cruz, Tenerife, Hotel Bellevue, Hamburg, Hotel Cavalletto e Doge Orseolo, Venezia, Hotel Central, Wien, Hotel Colón, Sevilla, Hotel Compostela, Santiago, Hotel de la Gare, Venezia, Hotel Erzherzog Johann, Semmering, Hotel Héviz, Gyöngyvirág, Hotel Hokyoko, Kobe, Hotel Imperial, Vienne, Hotel International, Prag, Hotel La Pace, Pisa, Hotel Las Salina, Peñon de Ifach, Hotel Massimo d'Azeglio, Roma, Hotel Moskva, Gottwaldow, Hotel Mosser, Villach, Hotel Mozart, Wien, Hotel Nettuno, Pisa, Hotel Oriente, Barcelona, Hotel Post, Bad Ischl, Hotel Regina, Wien, Hotel Reichshof, Hamburg, Hotel Sacher, Baden, Hotel Sta Caterina, Amalfi, Hôtel Stella, Firenze, Hotel Suizo, Gerona, Hotel Terme, Abani Terme, Hotel Timeo, Taormina, Hotel Turismo, Luanda, Hôtel Venezia, Torino, Hotel Victoriano, Granada, Intourist, (Ost-)Berlin, Knaust, Sundsvall, Langbian Palace, Dalat, Luisenhof, Hannover, Majestic Hotel "Già Baglioni", Bologna, Margitsziget, Budapest, Mollberg, Helsingborg, Palace Hotel, Milan, Palace Hotel, Praha, Palace, Bahia, Brasil, Palace-Hotel, Göteborg, Parc Hotel Concordia, Cortina, Pensione Villa Barbara, Lerici, Royal Hôtel S. Marco, Ravenna, Savoy-Hotel, Davos,Schwarzer Bär, Jena, Seilerhaus, Zermatt, Semiramis, Kairo und viele, viele hunderte mehr. "Aufkleber auf Koffern hatten ursprünglich ganz praktische Gründe: Hoteldiener brachten Name und Adresse des an- oder abreisenden Gastes auf dessen Gepäck an, um Verwechselungen auszuschließen. Findige Hotelbesitzer ließen etwa ab 1880 neben den ersten lithografisch gedruckten Postkarten auch typografisch gestaltete Etiketten herstellen. Den Koffer mit Aufklebern, den Visitenkarten bekannter Hotels, schmücken zu lassen, galt von Beginn an als ebenso selbstverständlich wie schick. 'Wenn ich in irgendeinem großen Hotel in Berlin, Dresden, München, Wien, Montreux, Zürich, London oder Paris Koffer sah, die Etiketten aus allen Erdteilen trugen, aus Kairo, New York, San Francisco, Sidney, Buenos Aires, Schanghai, Yokohama, Kapstadt oder Kalkutta, dann habe ich immer ein wenig Neid empfunden. Vor allem beneidete ich die Besitzer dieser Koffer um die Stunden der Erinnerung, die leuchtend auftauchen, wenn das Auge wieder einmal auf den kleinen, bunten Kunstwerken ruht. Es sind kaleidoskopartige Bilder, die uns, wie ein orientalischer Märchenerzähler, von entschwundenen, glücklichen Tagen und von Zeiten des Weltdurchstreifens vorplaudern,' schrieb Harry Nitsch 1927 in seinem Buch 'Das Hotel - und Gastgewerbe - Moderne Propaganda-Methoden'.Die Hoteletiketten, in englischsprachigen Ländern "Luggage Labels" genannt, waren die heißgeliebten Clubabzeichen der Globetrotter dieser goldenen Tage - Reisetagebuch und Ansichtskarte zugleich adelten Sie das Gepäck des Reisenden mit seiner ureigensten Geographie, die nicht in wenigen Tagen zu haben war. Die schönsten Exemplare entstanden in der Zeit zwischen 1900 und 1930. Mit dem einsetzenden Massentourismus der sechziger Jahre und der zunehmenden fotografischen Berichterstattung durch Print und TV wurde diese Form der Reiseandenken nicht mehr gebraucht." (Der Spiegel 01.03.2008, 16.40). - Wenige doppelt, hin und wieder unwesentliche Gebrauchsspuren, meist sehr gut erhalten.
A QUANTITY OF ASSORTED MIDWINTER DINNER AND TEAWARES, including thirteen pieces of 'Happy Valley' designed by Jessie Tait, a Stylecraft set of six coffee cups, six saucers and six saucers with blue and grey flowers, three pieces in the Carmen pattern, five Bali-Ha'i pattern plates, Bella Vista comports and plates, etc, s.d. (Qty)
INDONESIAN, LATE 20TH C. - MONKEYS AND PARROTS IN A JUNGLE Gouache on fabric, signed MD Sutra, Ubud Bali lower right 120 x 128cm Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
INDONESISCHE SKULPTUR / TEMPELFIGUR, Holz, geschnitzt, farbig gefasst und teilweise vergoldet; Indonesien / Bali, 19./20. Jh.. Auf karreeförmigem Postament stehende männliche Figur mit reichem Kopf- und Brustschmuck und prächtiger Kleidung. H. 34 cm (Rückseitige Strebe mit Spannungsriss). Aus dem Nachlass einer westfälischen Sammlung.
A mixed lot to include selection of china and glassware to include a Carlton ware flower planter, Victorian cranberry jug, and an Italian majolica ware, a Japanese blue and white table lamp together with a treen carved Bali centre bowl, crystal salts and a porcelain ashtray and a log tray, wood working tools and othersLocation: G
A Bali rice sheath paddle panaptapan Indonesia with a carved smiling face wearing a headdress, with a black patina and red pigment underneath, the back flat and with a curved handle, 19th century, 35.5cm long.The rice paddles were used to flatten the top surface of the bundles of rice, before they were taken to the rice barns.
An Edith Head costume design for Madeleine Carroll as Gail Allen in the film production Honeymoon in Bali (Paramount 1939). An original costume design by legendary costume designer Edith Head, sketch artist unknown. The sketch features a full-length female figure in a skirt-suit ensemble, a fitted short-sleeve diagonal check jacket worn with a white blouse and black fan pleat skirt paired with black heeled mules. The ensemble is a smart look for Carroll who plays Gail Allen a buisness manager on 5th Avenue in New York. The sketch is unsigned with no anotations of markings. Carroll is a busy buisness manager by chance walks onto a boat and meets happy-go-lucky Bill "Willie" Burnett (Fred MacMurray) who owns the boat and lives in Bali. They quickly fall in love and he proposes, Gail turns him down. After Willie leaves she regrets her decision and it is off to Bali to find true love. SKETCH: 14.5 X 22.5 INCHESMOUNT: 19.5 X 31 INCHES
Mixed Asian collectables to include a carved wooden elephant figure group (approx 40cm high), Chinese black lacquer stand, Chinse painted egg, Chinese carved wooden photograph frame with Foo dogs to base, cased set of six Chinese black lacquer liqueur glasses & tray, a quantity of Chinese figures, bamboo plates, Bali carved wooden figures, and a Chinese diorama in lacquer case
1880 BALI - 2 NIGHT, 3 DAY STAY AT 1880 HOTEL, BALI 2 nights, 3 days accommodation at 1880 Bali Subject to availability from 1st Sept 2023 to 31st Aug 2024. All proceeds from the sale of this lot will be donated to the Atlas Foundation: Nicholson Memorial Fund. The fund supports projects across Asia which are focused on improving the lives and life chances of the most disadvantaged children in the region. The Nicholson Memorial Fund was set up by Ben Nicholson in memory of his wife Anita and their two children Alex and Annabel who tragically lost their lives in the Sri Lanka bombings on Easter Sunday 2019. Anita was a hugely popular member of the Atlas Foundation family. Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Kleine Truhe Bali 20. Jh., Holz geschnitzt, schwarz gefasst und goldbronziert, langrechteckiger schlichter Korpus über getreppter Basis, die Wandung umlaufend kassettiert und mit figürlichen Szenen aus der Fabelwelt verziert, eingelegter flacher Deckel, Altersspuren, berieben, Maße 34 x 81 x 30 cm.
KrisBali, 20. Jh., zweischneidige Damastklinge mit zwölf Wellen, als Mittelgrat fast über die ganze Länge die Darstellung der "Naga-Raja-Schlange", der Griff in Form eines Tempelwächters aus Messing und mit bunten Glassteinen besetzt (wenige davon fehlen), Holzscheide mit ornamental verzierten Beschlägen aus Messing, guter Zustand, L ges. 68 cm.
Two trays of Royal Crown Derby porcelain to include: unfinished blue and white Imari pattern items: octagonal bowls, centre bowls, lozenge shaped and other small dishes and trinket trays and 'Bali' design items; teacups and saucers, coffee cups and saucers, 'Derby Days' small plate etc. (2)(B.P. 21% + VAT)
Vintage jewellery to include coral necklaces, bead necklaces from Bali, a pearlised multi-strand bracelet A/F with 9ct gold clasp, an Art Deco silver necklace with dark green cabochon, a small Egyptian yellow metal ring g, loose stones to include amber together with a Cartier box A/F and other items all housed in a vintage Bernado Hernandes Guijuelo produce box. Location:R2.2
Sinta Tantra Happy Talk, 2023 Gold leaf on paper Signed on Recto 10 x 15cm (3¾ x 5¾ in.) About Artist Sinta Tantra (b.1979) is known for her colourful large scale public artworks and geometric paintings. Living and working in between her two studios in London and Bali, Tantra's artwork occupies multiple dimensions and scales. Her canvas shifts comfortably from a bridge slicing through the urban skyline to a stretched linen frame produced within the intimate setting of her studio - each artwork is an abstract blueprint for her utopian aspirations. Born in New York to Balinese parents, Sintra grew up in London and studied art at the Slade School of Fine Art (2003) and at the Royal Academy Schools (2006). Within her work, motifs derive from Western movements such as Bauhaus, Art Deco, modernism and abstraction. Her Balinese identity within the post-colonial context is central to her work. The drawings of 20th century Balinese artist, architect and stone carver I Gusti Nyoman Lempad have informed explorations into two-dimensional lines and three-dimensional space. Her pop-tropical colour palette draws from the culture and environment of Bali. Education Slade School of Fine Art (2003) Royal Academy Schools (2006) Select Exhibitions/Awards Solo shows such as Modern Times at Kristin Hjellegjerde Gallery in London (2020) have seen Tantra move beyond the walls and into the architectural space, while others explore dimensionality within the canvas as seen at A House in Bali at the ISA Art Advisory in Jakarta (2017), and Flatland: A Romance of Many Dimensions at Pearl Lam Gallery in Hong Kong (2016). Her work has been included in biennials and group exhibitions exploring identity, post-colonialism and the environment such as Framer Framed (2020) in Amsterdam, Karachi Biennale (2019), Folkestone Triennial UK (2017), and Liverpool Biennial UK (2012). Tantra's work is part of the Government Art Collection, the Benetton Foundation collection and other private international collections. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Postcards, Foreign, a good selection of approx. 113 cards on Indonesia, with Batavia, Soerabaia, Java, Bali, Djokia, Semarang etc. Many good ethnic inc. rug making, wagon, market, farming, offering to temple in Bali, many good street scenes and villages. Also butchers, rail, waterway, ploughing, lunch, a few Malaya, funeral etc (mainly gd)
A RARE AND LARGE CARVED HARDWOOD 'MALE AND FEMALE' DOOR, ODA MATANTimor, Belu Regency, late 19th century. Expressively carved in relief with a male and female figure standing side by side, the man holding a dagger and the woman a bottle, their faces with deep eye sockets centered by a triangular nose and small mouth, the woman further with two small breasts. The panel is additionally incised with abstract geometric patterns.Provenance: From the collection of Alexander Goetz, a noted German art expert and collector who specializes in Indonesian works of art. As a young man, he built and sailed wooden boats around the world, and eventually arrived in Bali in 1971. Within a year, he became involved in the local art scene and in 1975, he was sponsored by the Indonesian Institute of Science to do research on contemporary art in Bali. In 1990, Goetz and his family moved to London where he opened a gallery specializing in Southeast Asian art, with Indonesia as the main focus. Since 2015, Alexander Goetz has run Gallery 101, a dedicated art space in Kabupaten Badung, Bali.Condition: Good condition with extensive old wear, weathering as expected, age cracks, some with associated old repairs. Small nicks, scratches, and losses. Beautiful, naturally grown patina overall.Weight: 16.4 kg Dimensions: Size 128.5 x 78 cm This door was originally installed in a great thatched communal house belonging to an aristocratic, matrilineal Tetun clan. Such residences were usually embellished with painted walls as well as elaborately carved panels and doors. The floorplan reflected Tetun notions of the cosmos which held that humans lived on earth between the upper world and the underworld. The rear of the house was viewed as the women's domain and symbolized the sacred underworld. Following birth, a father carried his infant through the "female door" to the upper world, which was predominantly male.Most of such doors were decorated solely with tightly patterned geometric designs, while others singularly depict or combine raised carvings of breasts, animals, or ceremonial jewelry. In the case of figurative doors, they usually consist of a single effigy with a long angular frame or a half-bodied torso. Only very few doors actually depict male and female figures, like the two seen on the present door.Literature comparison: Compare a closely related door, dated c. 1915, in the collection of the Dallas Museum of Art, object number 2013.3. Compare a closely related door, dated c. 1900, combining male and female aspects in a single figure, in the collection of the Powerhouse Museum of the Museum of Applied Arts & Sciences in Sydney, object number 2002/6/1.
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