Private Sales
Discover exceptional pieces from our curated collection of fine art and antiques. Each item is carefully selected for its historical significance and artistic merit.
Showing 12 of 90 items • Page 3 of 8
Thai Sawankhalok Celadon Glazed Stoneware Bowl
Ayutthaya period, 15th-16th century
Thai Sawankhalok Celadon Glazed Stoneware Bowl; Ayutthaya period, 15th-16th century; Raised ribs radiating from base on outside; two incised lines around top of interior. Comparison: https://asia-archive.si.edu/object/S2005.276/
Dimensions: D: 4.5 x H: 2.5 in.
Thai Sawankhalok 'Fish' Bowl
Sukhothai Kingdom, 15th / 16th Century
Painted to the interior with a large fish enclosed by a circular medallion containing scrolling foliage, the rim with a band of classic scroll, the exterior with large petal lappets. Sukhothai Kingdom, 15th / 16th Century
Dimensions: D: 9.5 x H: 3.5 in
Peachbloom-Glazed 'Chrysanthemum' Vase, Juban Ping, 19th Century
Qing Dynasty
The peachbloom glaze is one of the most celebrated glazes in Chinese porcelain history, specifically linked to the Kangxi reign (1661-1722) of the Qing Dynasty. It is found only on a small group of vessels for the scholar's table. The unique name "peachbloom" reflects its delicate appearance that resembles the varying tones seen on a ripening peach, encompassing soft pinks, pale reds, and hints of green.
Dimensions: D: 2.5 x H: 8.5 x W: 4 in.
Condition: Good
Celadon-Glazed Ewer (in the form of hamsa, with Brahma)
Sawankhalok, Si Satchanalai Kilns, 14th-16th Century
Used to carry oil or other liquid, this exquisite Thai Sawankhalok ewer, masterfully formed as a hamsa with a rider representing Brahma, stands as a testament to the cross-cultural exchanges and religious syncretism that marked Southeast Asia during the 14th to 16th centuries. The melding of the celadon glaze technique with the symbolism of Hindu mythology showcases the rich confluence of trade, artistry, and spirituality of the period. This ewer was most likely used for religious feasts and ceremonies. The celadon glaze covers a form that is deeply rooted in Hindu iconography: the hamsa. A celestial bird in Hindu mythology, the hamsa is often associated with divine knowledge and purity. Riding atop this hamsa is most likely Brahma, the god of creation, emphasizing the significance of this vessel not just as a utilitarian object but also as a spiritually charged emblem. Brahma’s association with the act of creation and his transport by a bird that symbolizes purity and transcendence might hint at the potter's intention to invoke blessings of fertility, abundance, and protection for its user. Provenance and Collector's Note: Private Collection, Cagayan Province. Such ewers are rare, with few known counterparts in major collections worldwide: 1. Worcester Art Museum, MA (US): https://worcester.emuseum.com/objects/8737/bird-with-human-rider-ewer-sawankhalok 2. Victoria & Albert Museum, London: https://collections.vam.ac.uk/item/O251073/kendi-unknown/
Dimensions: H: 10 x W: 12 in.