Far Eastern Works of Art
Pair of Indian brass Piano Sconces, early C20th
Price: £55
A pair of brass piano sconces, the elaborately cast arms attached to a circular hinged mounting fitment and supporting the candle holders and drip pans. Candle sconces were regularly fitted to upright pianos in the nineteenth and early twentieth century to assist the pianist and perhaps a singer accompanying him in reading the music at a time when rooms in general were not so brightly lit. With the advent of electric lighting, they gradually fell out of use and many pianos can be found now with the sets of holes into which they were once screwed. Most are European, but the work here is clearly Indian, in particular the engraved stylised floral design on the surface of the pans and the cast floral decoration on the candle holders. Doubtless they were made for European colonial settlers and this suggests an early twentieth century dating. Most piano sconces are swivelled, as here, and it is possible that some examples were, in fact, intended as gimble candlesticks to be used on a boat or a train.
Asian copper vase with applied brass dragons, probably Nepal or Tibet, early C20th
Price: £45
A copper vase with a globular body above a spreading foot and below a neck formed from two cones, one inverted, separated by a broad raised circular band, decorated with two applied dragons crawling upwards, each with a glass roundel below, the neck with hammer punched circles, the body surrounded by a white metal band with stylised brass mask heads and the foot with an incised design of repeating plantain leaves, the base countersunk.
There are many elements of Chinese design here, in particular the climbing dragons, but the neither the materials used nor the work itself give any indication of Chinese workmanship. India, Nepal and Tibet have been suggested for similar vases and of these Tibet seems the most likely although Nepal is, of course, a near neighbour. These vases seem to have been a provincial imitation of Chinese work but retain a naif charm of their own. Dating is most likely to the early twentieth century.
Pair of Indian gouache paintings depicting regal Elephants, framed, C20th
Price: £75
This is a highly attractive pair of paintings on silk of two elephants, elaborately caparisoned with richly embroidered robes and jewels. The images face and are set in oval cartouches with stylised floral panels to each corner creating a rectangle within a border of repeating grape pattern. The quality of the draftsmanship is outstanding and the work is both detailed and highly decorative. During India’s regal eras, the elephant symbolised power, wisdom and divinity and were often represented in art. The style of painting here can be loosely termed ‘Mughal’ but similar representations of elephants are often ascribed to the artists of Rajasthan, which may, then, be the case here. Dating is most likely to the twentieth century, perhaps towards the middle years, but whenever created the achievement of the artistry is self evident.
Three Indian gouache paintings depicting Krishna and Radha, framed, first half C20th
Price: £150
Three Indian gouache paintings, one depicting Krishna and the other two depicting Krishna and Radha, all with lady attendants in stylised landscape scenes within elaborate floral borders. The Hindu God, Krishna, and his beloved consort, Radha, were often portrayed in Indian paintings from the early to mid C20th. The relationship between them was complex. Radha was acknowledged as the Supreme Goddess and Krishna was held to achieve fulfilment only by devotional service from her. Devotees would worship her in order to attain Krishna through her and this may be intended in some of the compositions here. This triptych probably derives from a larger set but stands on its own as an excellent and atmospheric example of Indian art. Dating is probably to the early to mid C20th but the frames are later.
Peacock Window, Ankhi Jhyal, Nepal, second half C20th
Price: £55
An intricately carved panel with a ledge at the top and a separate tail piece at the bottom, an openwork central roundel to the centre with a peacock, its feathers raised, flanked by two groups of three square columns and a sinuous border beyond, each side with the image of an eye, the top with bands of lotus leaf, rosettes and stylised repeating feathers and the whole with incised stylised floral designs.
Panels in this form are referred to as ‘windows’ and are modelled on the decorations to be found in the temples and architecture of Nepal. Some have a peacock roundel, as here, and some an openwork ‘window’. Created by the woodcarvers of the Nevar people who live mainly in the Katmandu valley and its surrounding areas they are known locally as ‘Ankhi Jhyal’ made up of two words, 'Ankhi' meaning eye and 'Jhyal' meaning window which explains the two images of an eye seen here and the inclusion of a peacock with its typical feathers. These ‘windows’ were made over a long period of time and are even produced today but this example most likely dates to the second half of the twentieth century and is a fine example of the genre in excellent condition.
Small inlaid panel with a man feeding chickens, Mysore Government certified, C20th
Price: £25
A hardwood, possibly rosewood, small panel with two ball feet and three ball details at the top, the back with a folding strut and the front surface with an inlay design in wood veneers and bone depicting a man feeding chickens. To the reverse is a slightly frayed circular label reading ‘GOVERNMENT OF MYSORE’ ‘CERTIFICATION [TRADE]Mark’ ‘IND & COM DE[PT]’, the wording surrounding an image of two red elephants. Mysore is a city in the southern Indian state of Karnataka. It is known for rosewood inlay work and around 4,000 craftsmen are said to have been employed in this craft around 25 years ago. The scene depicted here seems to have been just a decorative composition and attempts to link it to the themes of the Rubáiyát of Omar Khayyám (see Lot 6 in this sale) are tenuous. Dating is to the later years of the twentieth century.
Indian silver plate Cheroot Case, engraved scenes Taj Mahal, early C20th
Price: £35
A silver plated slender rectangular case, hinged to one side with a small clasp fitting opposite, which opens to reveal two shallow tray compartments with cloth ‘retainers’, the lid and base both engraved with elaborate near identical designs, a roundel depicting the Taj Mahal to the centre flanked by two confronting peacocks on an intricate stylised floral ground, the scene enclosed within a geometric pattern and foliate border. The work here is typical of that produced by Indian metalworkers in the late nineteenth and early twentieth centuries intended both for the home colonial and the export market. The quality of their craftsmanship stands out and they have chosen here a ‘classic’ design with India’s most famous building accompanied by two peacocks who are doubtless intended to recall the famous ‘Peacock Throne’ which was commissioned in 1628 by Shah Jahan before the Taj Mahal itself in 1632, but which reputedly cost twice as much. Peacocks are also to be seen in the gardens of the Taj Mahal and the two are often represented together in Indian art. The length of this case suggests that it was intended for the Cheroot, a form of Indian cigar, which was much longer than a standard cigarette. Probably, then, this particular item was made with the home market in mind but it can certainly enjoy a wider appeal today.