Friday, 28 April 2017

12thC / 13thC Gilded Copper Amitābha Buddha, Tibet : Arts and Crafts Company.


Gilded Copper Amitābha Buddha, Tibet.
銅鎏金無量壽佛坐像, 西藏 
  
Approximate Period: 
12th - 13th Century.  
Height: 26.0 cms.  Length: 20.5 cms.  Width: 16.0 cms. 
Condition Report:  Extremely well preserved.

This is a rare well-preserved gilded copper Amitābha Buddha, dates from the period circa 12th – 13th century and originates from Tibet. A similar Asian work of art has not appeared in any auctions or private sales which demonstrates the uniqueness of this particular Asian work of art.

The hat placed above the head comprises of the traditional Tibetan lotus flower at the centre, with smaller variations throughout. The seated figures right hand holds the sacred longevity bottle, with the left hand holding a casting folk. The proportion of the lotus base, body of the figure, and the head of the Buddha are all in the right dimensions and sizes, demonstrating the detailed craftsmanship and spiritual devotion of the lama in that era.

Please note: this Asian Work of Art is currently located with our client in Hong Kong, viewing by arrangement only, please contact Arts and Crafts Company.

Shipping / packing / crating and export formalities by arrangement and not included.

Please note: Asian works of art are very difficult to date precisely without specialist knowledge and technical laboratory testing. Asian works of art can on occasion be misleading due to decoration and forms being copied over many centuries in veneration of earlier periods. All dates mentioned in Arts and Crafts Company Asian works of art descriptions are a matter of opinion only and not a statement of fact. Arts and Crafts Company as fine art brokers encourage all buyers to obtain independent expert advice before completing any purchases.

Guarantee: Arts and Crafts Company offer a professional escrow service (Payment and Goods Transfer) to both international vendors and buyers to ensure all clients are 100% satisfied with every transaction completed.

Wednesday, 5 April 2017

Ming Dynasty Chenghua (1465 - 1487) Imperial Vase : Arts and Crafts Company.

Ming Dynasty Chenghua (1465 - 1487) Imperial Vase.
 
Chenghua six character under glaze blue mark and of the period.
 
明代成華(1465 - 1487年)皇家花瓶

This fine and rare Imperial Vase was made in China in Jiangxi Province during the Ming period (1368-1644) in the reign of Emperor Chenghua (1465 - 1487). Noted for their very thin translucent porcelain bodies and elegant shapes, porcelains made during the reign of the Chenghua Emperor are ranked among the finest examples of imperial Chinese porcelain wares. This mark and period masterpiece of Chinese porcelain displays a very high level of technical achievement and imperial quality craftsmanship, much admired by collectors worldwide.

Dimensions:
Height 19.8 cms, Diameter 7.6 cms. Weight 658g.

Condition Report:
Commensurate with age.

Provenance: Chinese Foundation Provenance (Canada):


 
Please note: This item is located with an Arts and Crafts Company client in Canada - viewing is available by appointment only: email for details.

Shipping / packing / crating and export formalities by arrangement and not included.

Please note: Asian works of art are very difficult to date precisely without specialist knowledge and technical laboratory testing. Asian works of art can on occasion be misleading due to decoration and forms being copied over many centuries in veneration of earlier periods. All dates mentioned in Arts and Crafts Company Asian works of art descriptions are a matter of opinion only and not a statement of fact. Arts and Crafts Company as fine art brokers encourage all buyers to obtain independent expert advice before completing any purchases.


Guarantee: Arts and Crafts Company offer a professional escrow service (Payment and Goods Transfer) to both international vendors and buyers to ensure all clients are 100% satisfied with every transaction completed.

Monday, 27 March 2017

Vaiśravaṇa (Bishamon-ten) Guardian Lokapāla : Arts and Crafts Company.


Vaiśravaṇa (Bishamon-ten)
Guardian Lokapāla
China
Tang Dynasty
619 - 907
Height 90 cms.
Provenance: Private Collection since 1970's.

 
 
Deities, protectors of Buddhism, who guard each of the four directions of the compass from harmful and dangerous influences. Originally from India, the Directional Guardians were transmitted to China during the Tang Dynasty (about 600 AD), and from thence to Tibet, Korea, and Japan. The Guardians appear in paintings, such as mandalas, and especially in temple sculptures, where they usually surround and protect a central Buddha image.

North - Bishamon-ten
South  - Zocho-ten
East  - Jikoku-ten
West  - Komoku-ten

Vaiśravaṇa (Sanskrit) or Vessavaṇa (Pali; Tibetan: རྣམ་ཐོས་སྲས་, Lhasa dialect IPA: Namtösé, Bishamon-ten (毘沙門天), is the name of one of the Four Heavenly Kings. He is considered the "chief" of the Four Kings and an important figure on his own in Buddhism in Japan.

In Tibet, Vaiśravaṇa is considered a lokapāla or dharmapāla in the retinue of Ratnasambhava. He is also known as the King of the North. As guardian of the North, he is often depicted on temple murals outside the main door. He is also thought of as a god of wealth. As such, Vaiśravaṇa is sometimes portrayed carrying a citron, the fruit of the jambhara tree, a pun on another name of his, Jambhala. The fruit helps distinguish him ironically from depictions of Kuvera. He is sometimes represented as corpulent and covered with jewels. When shown seated, his right foot is generally pendant and supported by a lotus-flower on which is a conch shell. His mount is a snow lion. Tibetan Buddhists consider Jambhala's sentiment regarding wealth to be providing freedom by way of bestowing prosperity, so that one may focus on the path or spirituality rather than on the materiality and temporary state of wealth.

In Japan Tamonten / Bishamon-ten, Guardian of the North, is one of the Shitennō or Guardians of the Four Directions. Tamonten and Kōmokuten (Guardian of the West) are the only two Shitennō depicted in the Daibutsuden.
Shipping / packing / crating and export formalities by arrangement and not included.

Please note: This item is located with an Arts and Crafts Company client in Germany - viewing is available by appointment only: email for details.

Please note: Asian works of art are very difficult to date precisely without specialist knowledge and technical laboratory testing. Asian works of art can on occasion be misleading due to decoration and forms being copied over many centuries in veneration of earlier periods. All dates mentioned in Arts and Crafts Company Asian works of art descriptions are a matter of opinion only and not a statement of fact. Arts and Crafts Company as fine art brokers encourage all buyers to obtain independent expert advice before completing any purchases.

Guarantee: Arts and Crafts Company offer a professional escrow service (Payment and Goods Transfer) to both international vendors and buyers to ensure all clients are 100% satisfied with every transaction completed.

Thursday, 16 March 2017

J A Lalkaka (India, b1908) Portrait artist to His Majesty King George V : Arts and Crafts Company.

J A Lalkaka (India, b1908) Portrait artist to His Majesty King George V.
Portrait of Her Majesty Queen Mary
Consort of King George V
Oil on Canvas.

Dimensions:
  5 feet x 3 feet.
 

Condition Report: Good minor surface wear and marks, gilt framed, would require cleaning commensurate with age.

JA Lalkaka was an artist of repute in colonial India, the first Indian deputy director of Sir JJ School of Art he painted the portrait of King George V that now hangs at Buckingham Palace. Arts and Crafts Company are honoured in presenting two portraits of Her Majesty Queen Mary.

J A LALKAKA:

Born in Ahmedabad, Gujarat in1908. Travelled to Europe for higher education sent by his grandfather Sir Navroji Vakil.
1913 Sets up a studio at Chowpatty after returning from Europe.
1930 Commissioned by Govt. of India along with Atul Bose to paint royal portraits from the originals in London, for Viceroys House, now Rashtrapati Bhavan, New Delhi, New Delhi. He painted the portrait of King George V, which is hanging at Buckingham Palace, London.
1931-33 Chairman, Board of Examiners, J.J. School of Art, Bombay. 1948 Vice-President, Diamond Jubilee Exhb., Bombay Art Society, Bombay.
1952, 1952-53, 57-58, 1958-59, 60, 61, 62 Vice-President, Annual Exhb., Bombay Art Society, Bombay.

EDUCATION
  • Educated at Ahmedabad High School, Ahmedabad and Elphistone College, Bombay.
  • 1903-07 Studied at J.J. School of Art, Bombay.
  • 1908-13 Joined St. Johns Wood and Westminster School of Art, London and studied portrait painting under artist A. Stanhope, Paris.
EXHIBITIONS
  • Group Exhb., Delhi Fine Arts Exhb. Society, New Delhi.
  • 1936, 40, 44 Annual Exhb., Bombay Art Society, Bombay.
  • 2005 Manifestations III, organised by Delhi Art Gallery, Nehru Center, Mumbai and Lalit Kala Academy, New Delhi.
COLLECTION
  • Rashtrapati Bhavan, New Delhi.
  • Bombay Art Society, Mumbai.
  • Buckingham Palace, London.
  • Delhi Art Gallery, New Delhi.
AWARDS
  • His painted Royal portraits were much appreciated by the Viceroy and Lady Irwin, London.
  • 1931 Reception was organised on his return from England by the members of Art Society of India, Society's Hall, Girgaum.
  • 1931-33 First Indian to be appointed as Deputy Director, J.J. School of Art, by Govt. of Bombay, Bombay.
TEACHING EXPERIENCE
  • Dean, J.J. School of Art, Bombay.
Please note: This item is located with an Arts and Crafts Company client in India - viewing is available by appointment only: email for details.

Shipping / packing / crating and export formalities by arrangement and not included.

Please note:  All dates mentioned in Arts and Crafts Company works of art descriptions are a matter of opinion only and not a statement of fact. Arts and Crafts Company as fine art brokers encourage all buyers to obtain independent expert advice before completing any purchases.


Guarantee: Arts and Crafts Company offer a professional escrow service (Payment and Goods Transfer) to both international vendors and buyers to ensure all clients are 100% satisfied with every transaction completed.

Friday, 10 March 2017

Yali (or Vyalas or Shardulas) Indian Temple Carvings : Arts and Crafts Company.

Pair of Yali (or Vyalas or Shardulas) Indian Temple Carvings. Polychrome Decorated Carved Wood with Wrought Iron Tails.

18thC - 19thC (base stands later). Tamil Nadu, India
Height 27 cms. (including base stands).

Yali are a motif found in Indian art and have been widely used in South Indian sculpture. Descriptions of and references to Yalis are very old, however, they became prominent in South Indian sculpture during the 16th Century. Yalis are believed by some to be more powerful than the Lion, Tiger or the Elephant.

Yali (or Vyalas or Shardulas) represent a genre of decorative arts known as grotesque in Indian art. Similar depictions are found all over the world. They are represented as Gargoyles in European architecture or Leogryphs in Asian architecture. Vyalas are also known as the "Indian Dragons".

Yali are sculpted at the entrance of temples and homes in India deployed as a guardian protectors from evil. One of the popular stories of Narasimha states that a Yali was subdued by Narasimha, Avatar of Vishnu. Therefore the utsava murti of Narasimha in some temples ride on Yali Vahanam during the Brahmotsavam festival in some Vishnu temples.


Yali are found as stone carvings in numerous ancient temples in Tamil Nadu and across Southern India, including the Kailasanathar Temple, Tharamangalam, Salem District, Tamil Nadu.

Collections include British Museum Yali 17thC - 18thC.

Please note: this Asian Work of Art is currently located with our client in the United Kingdom, viewing by arrangement only, please contact Arts and Crafts Company.

Shipping / packing / crating and export formalities by arrangement and not included.

Please note: Asian works of art are very difficult to date precisely without specialist knowledge and technical laboratory testing. Asian works of art can on occasion be misleading due to decoration and forms being copied over many centuries in veneration of earlier periods. All dates mentioned in Arts and Crafts Company Asian works of art descriptions are a matter of opinion only and not a statement of fact. Arts and Crafts Company as fine art brokers encourage all buyers to obtain independent expert advice before completing any purchases.

Guarantee: Arts and Crafts Company offer a professional escrow service (Payment and Goods Transfer) to both international vendors and buyers to ensure all clients are 100% satisfied with every transaction completed.

Sunday, 26 February 2017

Khmer Cambodia Bronze Singa 12th Century Angkor Wat Style (1100-1175) : Arts and Crafts Company

 
Khmer Cambodia
Bronze Singa
(Guardian Lion)
12th Century
Angkor Wat Style
(1100-1175)

Height 41 cms
Width 20 cms
Depth 20 cms
Weight 8 Kgs

In Cambodia statues of lions (singa) flank the temple gates or access roads and are commonly found at the temple of Angkor. Bakong, a stepped pyramid Hindu temple from earlier period also display lion statues as guardians of each stages on each of the cardinal points. Khmer lion guardian statues are commonly found in Angkor Wat, Bayon, Pre Rup and Srah Srang. Just like ancient Java, the depiction of lion in ancient Khmer art is not in naturalistic style, more like a symbolic mythical animal derived from Indian Hindu-Buddhist art. The royal emblem of Cambodia depicting a pair of guardian animals gajasinga (hybrid of elephant and lion) and singa (lion).

Guardian Lions (singa) from the Malay word "singa" meaning Lion, flanked the main approaches to the sanctuary of most Khmer temples and were also placed along the stairways and on terraces. The lion, representing royalty, strength, and courage, was the personal symbol of the Khmer Kings, who were also believed to be gods. Therefore, the lion as guardian of the sacred precinct suggested the ability to ward off evil through both divine and royal protection.

Angkor Wat was the state temple and mausoleum of Suryavarman II (1113 AD to 1145-1150 AD). It was dedicated to the God Vishnu, which is the probable reason for its (unusual) orientation to the West. Today, it has lost its Hindu association in the minds of most, and has become an important place of pilgrimage for Buddhists.

Angkor Wat is without doubt the most important monument of the Khmer Empire. Its immense scale alone demands attention, but this coupled with its artistic precision and historic significance make it one of the great wonders of the world. Its image--to Cambodians and foreigners alike--is synonymous with the country today, and has graced every flag in Cambodia's history.

Nothing embodies Cambodia's history more than Angkor Wat, which was built by Suryavarman II. Construction--which took thirty years--was not completed until after his death, and the temple appears to have been both his state temple and mausoleum. It was also the capital of the Khmer Empire, which reached its height under his rule.

Almost nine centuries after its construction, Angkor Wat remains one of the world's largest religious monuments. Like so many of the Khmer temples, it is a representation of Mt. Meru. Unlike most of the temples at Angkor, however, it is oriented towards the west, probably due to its association with Vishnu. Its outer perimeter is marked by a moat 200 m wide that stretches a kilometer and a half north to south, and nearly that distance east to west. A stone causeway crosses this moat on the western side, the principal entrance, meeting the outer laterite enclosure wall in a grand gopura.

Another stone causeway leads from this gopura to the temple itself, which is effectually a pyramid of three levels, each with a concentric gallery, four corner towers, and four gopuras at the cardinal points. The summit is crowned with five towers, each meant to imitate the silhouette of a lotus bud. The sheer size of the monument makes the layout difficult to discern from the ground. The central tower of Angkor Wat reaches a height of 65 meters, dwarfing the cathedrals being built at the same time in Europe.

Please note: this Asian Work of Art is currently located with our client in the United Kingdom, viewing by arrangement only, please contact Arts and Crafts Company.

Shipping / packing / crating and export formalities by arrangement and not included.

Please note: Asian works of art are very difficult to date precisely without specialist knowledge and technical laboratory testing. Asian works of art can on occasion be misleading due to decoration and forms being copied over many centuries in veneration of earlier periods. All dates mentioned in Arts and Crafts Company Asian works of art descriptions are a matter of opinion only and not a statement of fact. Arts and Crafts Company as fine art brokers encourage all buyers to obtain independent expert advice before completing any purchases.

Guarantee: Arts and Crafts Company offer a professional escrow service (Payment and Goods Transfer) to both international vendors and buyers to ensure all clients are 100% satisfied with every transaction completed

Friday, 10 February 2017

Wilhelm Josef Soukop RBA, FRBS, RA (Vienna, 1907 - 1995) : Cubist Bronze Figural Study.

Wilhelm Josef (Willi) Soukop RBA, FRBS, RA
Vienna, 1907 - 1995
Untitled
Cubist Figural Study
Bronze / Rosewood
Signed "wS 1/9" (L/H in bronze)

Height 25 cms (max)
Width 14.5 cms (max)
Weight 1377g


Royal Academy Teacher of Sculptor Elizabeth Frink and associate of Sculptor Henry Moore.
Biography:
Wilhelm Josef Soukop, sculptor: born 5 January 1907; RBA 1950; FRBS 1956; ARA 1963, RA 1969; Master of Sculpture, Royal Academy Schools 1969-82; married 1945 Simone Moser (died 1993; one son, one daughter); died Glasgow 8 February 1995.

"My life was never planned, it just happened," said Willi Soukop. A comment that many Europeans who endured the upheaval of two world wars would have in common.
Born in Vienna in 1907, of an Austrian mother and a Czech father, he displayed a natural artistic talent when he produced aged four a chalk drawing of a tree. As well as the normal state school education, he became a student of drawing by night and an apprentice engraver by day. In 1919 his father, who had been wounded in the war, committed suicide, leaving his wife to cope with Willi and two other children. To supplement the pittance he earned as an apprentice, he worked nights carving umbrella handles and ivory boxes for a local trader. This provided a small income that enabled him in time to afford to study sculpture at the Academy of Fine Art in Vienna.

After six years Soukop met a sympathetic Englishwoman who lived in Devon and who invited him to England to escape, at least for a few weeks, the political and economic misery of Vienna. So it was in 1934 Soukop came to stay at Dartington near Totnes in south Devon. He was given the use of a studio and was able to carve, even sell, his work in a congenial atmosphere. Dartington Hall was owned by Leonard and Dorothy Elmhirst, who created a virtual international centre for the arts. This had a tremendous effect on Soukop, and its influence on him lasted decades, with the friendships formed enduring to his death. European exiles came to Dartington, such as the entire Jooss Ballet from Germany, Michael Chekhov and his drama school, and Bernard Leach and his son David, the celebrated potter, with whom Soukop formed a lasting friendship and who taught him the art of pottery. Another friendship in 1937 was with the artist and gallery-owner Eardley Knollys, whose Storran Gallery gave Soukop his first one-man show in 1938.
Other influences on Soukop came from friendships with the artists Cecil Collins and Heine Heckroth, the latter producing designs for many films of Michael Powell, including The Red Shoes. Leonard Elmhirst swore that at this time there were more beautiful women per square yard in Dartington than anywhere else in the world. So it was that, through an American artist Mark Tobey, Soukop met a beautiful French dancer, Simone Moser, whom he courted - with certain difficulties, since she didn't speak German or English and he didn't speak French. However they married - a marriage that lasted for over 40 years.

For Soukop, Dartington became an idyllic haven where he was not only free to carve but was also offered a teaching post, at Dartington Art School. With war approaching, he had no wish to return to Vienna, but after the fall of France in 1940 he, like many others, was classified as an "alien" and first interned at Aintree racecourse, then shipped off to Canada, where he remained nine months until he was released to return to Dartington. Offered the job of Art Master at Blundell's School, he set up the sculpture department so well that the work was exhibited in London. He then set up other sculpture departments, first in Bryanston School, in Dorset, and then the Downs School in Worcestershire.
In 1945 Soukop came to London and taught at Bromley, Guildford and Chelsea Schools of Art - he remained in the last position until 1972. In 1969 he accepted the additional position of Master of Sculpture at the Royal Academy Schools as an early teacher of Dame Elisabeth Frink and he frequented the same bronze foundry as Henry Moore OM CH FBA in Fulham, London. Later Wilhelm Josef Soukop became a member of the faculty for the British School in Rome.

He first exhibited at the Royal Academy in 1935 and attracted the attention and admiration of John Skeaping, Tom Monnington and Charles Wheeler. He was elected an Associate (ARA) in 1963 and a full member (RA) in 1969. He received many commissions, both for portrait busts and larger pieces for public buildings. Over the years he exhibited in numerous mixed shows including "Sculpture in the Open Air", Battersea  Park (1949 and 1950), many Arts Council exhibitions, Biennales and an exhibition in the Yehudi Menuhin School and University College Swansea. The Battersea Park show brought public awareness of modern sculpture; the Contemporary Art Society's gift to the Greater London Council of Henry Moore's stone Three Figures Standing (1947-48) remains as a permanent landmark in the park.
Willi Soukop excused himself when the public found it difficult to identify his pieces. "My work is rather catholic," he said, "and ranges over a wide variety of subject-matter as well as materials - my art education was traditional but my chief influence was the German sculptor Ernst Barlach (1870-1938) and travelling and meeting the other artists who widened my horizons, in particular through teaching in England." He never followed any particular style or direction; his aim was always to capture the harmony in the materials he used.

Wilhelm Josef Soukop Man and Woman - Albany House Petty France Westminster London.

Please note: this Work of Art is currently located with our client in the United Kingdom, viewing by arrangement only, please contact Arts and Crafts Company.
Shipping / packing / crating and export formalities by arrangement and not included.

Please note: All dates mentioned in Arts and Crafts Company works of art descriptions are a matter of opinion only and not a statement of fact. Arts and Crafts Company as fine art brokers encourage all buyers to obtain independent expert advice before completing any purchases.
Guarantee: Arts and Crafts Company offer a professional escrow service (Payment and Goods Transfer) to both international vendors and buyers to ensure all clients are 100% satisfied with every transaction completed.