From Hampstead to Somerset House: Highlights from London’s Spring Art Fairs

Posted on May 22, 2025May 22, 2025 by Ashley Crawford and Ben Hanly

Recently two of our specialists have been exploring some of the London art exhibitions – Photo London 2025 and the Affordable Art Fair. Here is their experiences in their own words:

Ashley Crawford, Asian Art Specialist

Recently, I attended the annual Affordable Art Fair in Hampstead (one location of several worldwide taking place throughout the year) to explore artworks by Contemporary Asian artists, both living in Asia and throughout the diaspora. The Affordable Art Fair generally sells works up to approximately 7,500 GBP and often below 1,000 GBP. This event is not only a great way to support living artists, but is also an opportunity to observe wider art market trends and discover up-and-coming artists locally and from around the world.

My first stop was TNB Gallery, a Korean Contemporary art gallery. I was immediately drawn to a series by Jeong Oh, who is known for her mixed media depictions of traditional antique Korean moon jars. Her series Holds All Good Things uses mother-of-pearl to depict the smooth, white glaze of moon jars with touches of color in a way that makes the jars particularly contemporary, while paying homage to their antique Korean heritage. Mother-of-pearl has also long been used in various Korean art forms. The three dimensionality and presence of mother-of-pearl means that these works appear different when viewed from various angles. The addition of gold creates a touch of drama that is otherwise absent from traditional moon jars. Oh’s larger works have recently been offered for roughly 7,500 GBP – 20,000 GBP, but her smaller objects on display at the Affordable Art Fair were all listed at about 1,000 GBP or under. For collectors searching for actual ceramic moon jars, they will be spoiled for choice; this ceramic form dates from the late 17^th century, with many contemporary renderings and antiques from the centuries in between. The most famous Contemporary moon jar artist is Young-Sook Park. Although his works are not the most affordable, there is ample modern-day production of this beloved Korean art form to suit a wide range of budgets.

Next, I visited Hanoi Art House, which specializes in Contemporary Vietnamese art. Contemporary Southeast Asian artists have typically been underrepresented in London (especially compared to Paris), even within Asian art circles, but the Affordable Art Fairs in Battersea and Hampstead have consistently showcased living Vietnamese artists over the past several years. My favorite works at Hanoi Art House were lacquer-on-wood paintings by Bui Trong Du, who is best known for his depictions of Vietnamese women in traditional dress, often in nature and amongst birds. The ladies’ dresses are intricately decorated. Like Jeong Oh, Bui Trong Du draws on his cultural heritage to inspire his Contemporary renderings, as Vietnamese lacquer dates to at least the 4^th century BCE. His works are typically offered for 500 GBP – 9,000 GBP. The works on display at the fair were within his more affordable range.

Lastly, I visited the UK-based Anrad Gallery, which showcased South Asian artists. The highlight of this exhibit was a series of Pichwai paintings by Contemporary artist Sushil Soni. Pichwai is an antique Indian tradition of painting on cloth, depicting Krishna’s Leelas (divine exploits) on temple walls. This practice dates back four centuries. As with the artists at the other galleries discussed here, Soni takes a beloved artistic tradition and breathes new life into it. Anrad Gallery displayed twelve paintings from Soni’s series Baraah Maas (Twelve Months) (2022). Each individual work was listed for 975 GBP. His larger works can be offered for around 1,000 GBP, so these fall within his typical range.

Pictured above is a vibrant scene of a Holi celebration, again, emphasizing and celebrating India’s cultural heritage.

There is something at the Affordable Art Fair for everyone. I was pleased this year with the continued presence of Asian artists and look forward to returning to the next fair in Battersea this October!

Contemporary Art Specialist Ben Hanly:

The first two weeks of May are busy ones in the London art scene, with 2 very different fairs opening their doors to London’s art loving audiences.

The first fair to open from 7th-11th May, is the Affordable Art Fair, which first launched in London’s Battersea Park back in October 1999. The founding philosophy of the fair was, and still is, to democratise the buying of art – to make the experience easy, accessible and affordable to the general public who often assume that buying art is for ‘other’ people and not themselves. The fair has been roaring success and has now grown into a veritable leviathan with fairs in 13 cities worldwide, including 3 in London at Battersea Park (October and March) and 1 at Hampstead in May.

The May edition in Hampstead Heath had everything one comes to expect from the AAF, with 106 galleries exhibiting and displaying works of art starting at £100 and maxing out at £10,000. Turner prize-nominated David Shrigley was among those showing work, with 106 galleries showcasing contemporary paintings, prints, ceramics, sculpture and photography.

This year the Fair invited artist Claire Knill (represented by Lara Bowen Contemporary) to be the fair’s official installation artist. Knill’s large-scale geometric work, Willow Tree, which took centre stage in the main atrium, transforming the space with movement, light, and reflection. The work focusses on the connection between art and mental well-being.

Sessions this year include Summer Lates, where ticket holders can enjoy live DJ sets with a drink in hand while browsing the fair for new art pieces, and family mornings with free activities from painting workshops to face painting.

There is no denying the huge impact that the AAF has had on the international Art Fair landscape. More prestigious fairs may judge it as being too entry level and decorative, however, none can knock its enduring appeal. Similarly, all international art fairs have taken a leaf out of the AAF’s book and put increasing effort and money into developing exciting engagement programs and talks with the aim of appealing to new collectors.

Photo London, which ran from 15th-18th May, is London’s premier photographic fair which brings the finest international photography to the British capital every year. Staged at Somerset House the home of the Courtauld Galleries, the Fair presents the best historic and vintage works while also spotlighting fresh perspectives in photography. Along with a selection of the world’s leading photography dealers and galleries Photo London’s Discovery is dedicated to the most exciting emerging galleries and artists. In addition, each edition sees a unique Public Programme including special exhibitions and installations; and several Awards announced, headlined by the Photo London Master of Photography Award.

Beyond the Fair, Photo London regularly hosts Pre-Fair Talks engaging with the craft, market and knowledge of photography and acts as a catalyst for London’s dynamic photography community, with major institutions, auction houses, galleries and the burgeoning creative communities in the East End and South London presenting a series of Satellite Events.

This year the Fair marks its 10th anniversary in the capital, and with it, a new direction under the newly appointed Director, Sophie Parker, who was determined to move away from the clichés of pretty pictures of supermodels, artful murmurations of birds and majestic beasts and present something more serious, international and inclusive culturally.

By and large Sophie Parker has begun to achieve this. 100 galleries took stands in the Fair, ranging from small to large operations, all showing their finest works. At least half the exhibitors this year were foreign galleries, with an increasing presence from Asia. Well established galleries such a the Grob Gallery, showed superb examples by European greats such as Billy Brandt, Brassai and Brancussi; whilst GBS Gallery showed a strong selection of contemporary photography including ethereal landscapes by Harry Cory Wright and figure studies by the Canadian artist Laura Jane Petelko. There was a strong presence of Paris based galleries, including Galerie Bendana-Pinel who showed the work of Niccolo Montesei – one of the short-listed photographers of the Nikon Emerging Photographer Award, and Galerie Clémentine de la Féronnière who showed beautiful nocturnal landscapes by the Paris based artist, Juliette Agnel.

The price pointing at Photo London was naturally higher than at the Affordable Art Fair, with prices starting at about £1,500 and reaching over £200,000 for a rare Brancusi photograph. Having said that, many wonderful things could be bought under the AAF’s top limit of £10,000, meaning that both fairs give new or modestly funded collectors the scope to start their own art collecting journey.

Today, as the fair marks a decade of operations, photography is firmly entrenched in the art world mainstream. Blue-chip galleries now routinely display photographic works alongside painting and sculpture at art fairs like Frieze and Art Basel. This shift was exemplified by mega-gallery Hauser & Wirth’s decision to represent Cindy Sherman in 2021—a bellwether event for photography’s ascent. Sherman, who began her career in the 1970s, was long overlooked by major art fairs but now shares gallery representation with icons like Louise Bourgeois and Philip Guston. In 2023, fellow mega-gallery Gagosian announced its representation of Nan Goldin and brought original prints by Francesca Woodman to Art Basel, alongside personal works by the fashion photographer Richard Avedon.

Together, the Affordable Art Fair and Photo London highlight the breadth and depth of London’s art scene this May – from accessible, playful pieces to museum-quality photography. Whether you’re starting your collection or expanding it, there’s no shortage of opportunity to engage with art that resonates, challenges or simply brings joy.

To arrange a valuation of your art or photographs, give us a call on 01883 722736 or email us at [email protected].

Reading Gandharan Friezes

Posted on April 23, 2025April 23, 2025 by Ashley Crawford

Earlier this month, I explored the South Asian and Himalayan collections at the Smithsonian National Museum of Asian Art in Washington, DC for the first time. While there were many spectacular objects on display, the Gandharan friezes were a particular highlight, showcasing a range of scenes from the Buddha’s life.

To the untrained eye, these scenes might at first appear confusing, but with some background information, they become easy to interpret and spot throughout Buddhist art in other periods and regions. Gandharan art holds particular historical significance because the Gandharan period was the first to represent the Buddha anthropomorphically. While often categorized as Indian art, the contemporary region today would be Afghanistan or Pakistan. These friezes depict the Buddha Shakyamuni, the historical Buddha who lived around 600 BCE. The first known images of the anthropomorphic Buddha appeared on Kushan coins from approximately 50 CE, and the most classical friezes and sculptures were produced over the next four hundred years. Gandharan images of the Buddha are distinguishable for their Graeco-Roman influences and sublime facial expressions.

Gandharan Scenes

Gandharan friezes depict stories from the Buddha’s life or previous lives and adorned Buddhist temples and other architectural sites during the Kushan Dynasty. While for some Buddhist art enthusiasts, Buddhist scenes on Gandharan friezes feel familiar today because the stories are so frequently repeated throughout Buddhist history, during the Gandharan period, the novelty of the Buddha appearing in anthropomorphic form in these tales for the very first time would have had a very powerful impact. These friezes offered viewers a completely new way of understanding and ultimately worshipping the Buddha. The Smithsonian has four extraordinary friezes on display, read from right to left, depicting the Buddha’s birth, the bhumisparsha mudra, the first sermon, and the Buddha’s death.

The first story, the Buddha’s birth, shows the Buddha’s mother Maya giving birth to him in a garden amongst onlookers, while standing in a traditional yakshi (tree spirit) pose, paying tribute to India’s Vedic heritage. What is remarkable about the Buddha’s birth scene is that he emerged from her right side, already equipped with an ushnisha (cranial protuberance) and nimbus, both symbols of his holiness. Recent examples of auction offerings depicting this scene are available here and here.

The second scene depicts the Buddha calling the Earth to witness at Bodhgaya, which is one of the most popular Buddha’s life scenes depicted in Buddhist art, symbolized by his display of the bhumisparsha mudra; the Buddha is shown seated in lotus position with his right hand touching the ground. This action was in response to the demon Mara doubting the Buddha. As the Buddha proves him wrong, human and animal onlookers gasp in awe. Two soldiers below from Mara’s army are defeated.

After this success, the Buddha conducts his first sermon in the third frieze. Sitting in lotus pose under the bodhi tree, he displays the abhaya mudra (the gesture of reassurance) with his right hand and holds a teaching scroll with his left. Dedicated worshippers and monks listen to his preachings. A focal point of this story is the wheel of the law, displayed on the Buddha’s pedestal. In the final frieze, the Buddha achieves nirvana and leaves the cycle of birth. Mirroring his birth from his mother’s right side, he dies for the final time by laying down onto his right side. Below him sits Subhadra, the Buddha’s last convert. Recent sales showing this scene with the Buddha’s first sermon are available here and here.

The Current Gandharan Market

While there are many Gandharan sculptures available on the market, the popularity of this period has stood the test of time. The most popular Western markets are in New York, London, and Paris, although regional auction houses and galleries also frequently offer Gandharan art. Factors to consider when purchasing a Gandharan piece include authenticity (there are many fakes), age (the best objects typically come from around the middle of the period), quality, size, condition, whether there has been restoration, and especially provenance. There are many works of low-to-medium quality on the market, so choosing sculptures with higher levels of craftsmanship will ensure they better retain their value over time. It remains to be seen how severely US tariffs will affect the global Gandharan art market in 2025 (as it is affecting all related Asian art markets), but this market has traditionally been less susceptible to damage, given the steadfast nature of interest in the subject material. There are multiple factors to consider when assessing your Gandharan sculptures, and Doerr Dallas is here to help!

To arrange an Asian Art valuation, call us on 01883 722736 or email us on [email protected]

Daggers and Angels: Exploring Mughal Wonders at the Victoria and Albert Museum

Posted on February 6, 2025February 6, 2025 by Ashley Crawford

As an Islamic art enthusiast, I had the pleasure of recently visiting the exhibition The Great Mughals: Art, Architecture, and Opulence at the V&A. This exhibition focuses on the Golden Age of Mughal art, spanning the reigns of Akbar (1556-1605), Jahangir (1605-1627), and Shah Jahan (1628-1658). The arts flourished during these periods due to economic prosperity, religious tolerance, international trade and its resulting artistic influences, and an immense artistic production across media types. This was reflected in the wide range on display at the exhibition, including objects such as manuscript paintings, arms and armor, ceramics, tiles, and textiles. There were many wonderful items to choose from, but I will explore the topics of daggers and paintings with angels here, which were some personal favorites.

Mughal Daggers

The splendor of the Mughal Empire resulted in bountiful dazzling objects, especially gems and jewelry. Some of the most captivating gems on display at the exhibition were found in ornately decorated imperial daggers. Weapons from each reign had their own distinctive style. My favorite example from this exhibition was a Jahangir nephrite jade dagger with a hilt and scabbard (the sheath attached to the wearer’s belt), all set with emeralds, rubies, and a pearl set in gold.

There are several factors that make this Imperial dagger so noteworthy. Aside from the gems themselves, the size and quality of the nephrite jade would have made this dagger all the rarer, as jade was a coveted material in the 17^th-cetury Mughal Empire. The most delightful aspect, in my opinion, was the presence of neither the jade nor the gems, but rather of the delicate red ostriches made of rubies and stacked vertically, picturesquely framed by gold vines of emeralds and rubies. Ostriches were a further symbol of opulence and would have been brought from abroad to Jahangir’s court. While Imperial Mughal daggers are difficult to obtain on the market (such as this dagger owned by Shah Jahan, which sold for well over $3,000,000 in 2019), Mughal daggers and other weapons are frequently offered at auction at a wider range of price points. High-quality 17^th-century jade examples with gems have always performed strongly, such as here, here, and here.

In Jahangir-period paintings, daggers were reserved for use by the emperor and others with high rank. Similar daggers are frequently visible in miniature paintings of the various Mughal rulers. This exhibition provided many examples of emperors wearing such daggers on their belts (which are also ornately decorated with gems); one is even visible in the title image for this exhibition!

Angels

One of my other favorite objects from this exhibition was a painting depicting the angel Raphael. There is a common misconception that all religious Islamic art is aniconic. While this rule does apply to art in strictly religious settings, it does not apply to religious art produced by laypeople for lay settings, especially when used as a visual aid in manuscripts (you can learn more about iconic representation and religious art here). The Western term “Islamic art” itself may be a contributor to this confusion, as it serves as an umbrella term encompassing both religious and secular art. Angels are common subjects in Islamic art and appeared in several works in this exhibition. A common story featuring angels used in early Mughal paintings is that of Tobias and the angel Raphael. This story was the focus of the painting The Angel of Tobias by Husayn from the Mughal court workshops during Akbar’s reign around 1590-1600, which depicts the biblical encounter of the angel Raphael assisting Tobias in catching a fish. Raphael is shown here surrounded by colorful flowers and dressed in exquisitely decorated gold clothing. His wings are the most commanding feature, delicately painted in layers of blue, red, green, and black. Raphael is set against a plain beige background, enhancing the boldness of his clothing. The scene is framed with a pattern of gold scrolling leaves with flowers. Angel paintings of similar quality periodically appear in London auctions and perform well, including this example with very similar multicolored wings and this lot from a 2024 sale.

The Great Mughals: Art, Architecture, and Opulence exhibition in on display at the Victoria and Albert Museum through 5 May, 2025 and is definitely worth a visit for both Islamic art novices and seasoned collectors alike! The V&A is also home to impressive permanent collections of antique Islamic art, as well as the Jameel Prize for those interested in contemporary Islamic art.

Lunar New Year 2025: Year of the Snake

Posted on January 27, 2025January 29, 2025 by Ashley Crawford

新年快乐! – Happy Lunar New Year from Doerr Dallas! We wish you all a healthy and prosperous year for 2025, the Year of the Snake (蛇), which begins on 29 January.

Often referred to as Chinese New Year in Western countries, Lunar New Year is the largest festival in many East and Southeast Asian cultures. Each year, a different animal from the twelve animals of the Chinese zodiac is celebrated. Last year was the Year of the Dragon, one of the most iconic symbols in East Asian material culture. The snake is the sixth animal in the zodiac progression. People born during the Year of the Snake are characterized as intellectually curious, comical, and sophisticated. As snakes somewhat resemble East Asian dragons, this year can also be called the Year of the Small Dragon. While snakes are not quite as prevalent as dragons in Asian art, they still have a varied history dating back thousands of years and hold an important role in East Asian material culture, especially in China. Forms featuring snakes include porcelain, jade, coins, terracotta, cloisonné, and other popular Chinese media.

While zodiac animals are most typically depicted individually in Chinese art, sometimes all twelve figures of the Chinese zodiac appear together as a complete set (known as shi-er shengxiao), especially in ceramics. Collectors display these animals together in a semicircle in the chronological order of the zodiac. This was frequently done during the Tang Dynasty (618-907), when zodiac animals were crafted as semi-anthropomorphic terracotta figurines, such as this in this complete set on display at the Metropolitan Museum of Art. Tang zodiac figurines possess animal heads with human bodies. They are dressed in traditional Tang robes and pose like Tang court ladies, who were the quintessential subject of Tang terracotta figurines. Complete sets are rare on the market, but are occasionally offered at auction, as recently as this set offered at Sotheby’s last year or this set sold at Galerie Zacke in 2023. The Zacke set is in particularly good condition, with more pigment remaining and carving in the faces revealing characterful expressions. Because the market is generally flooded with Tang figurines, it is not currently particularly strong unless the object is unusual, large, or in excellent condition. Complete zodiac sets such as the one offered at Galerie Zacke would definitely fall under this category. Because the quality of Tang figurines can vary widely, there are many avenues for purchase, including the online retail marketplace, Chinese art galleries, and both regional and larger auction houses.

Anthropomorphic scenes also sometimes appear in other three-dimensional forms, such as jade. Only a fraction of the size of their Tang terracotta counterparts, these jade works were particularly prevalent during the Qing Dynasty (1644-1912). There were two recent examples of jade zodiac snakes sold at Sotheby’s, including this individual anthropomorphic snake and this complete set. The Chinese jade market has largely recovered from the pandemic, but like Tang figurines, the quality and size of jade can vary widely, so objects that are strong in both areas are likelier to retain their value over time. Provenance, literature, and exhibition history also support these values. For those across the pond, there will likely be a selection of higher-end Tang terracotta and Qing jade figurines available at the auction houses and galleries participating in Asia Week New York this year.

Snakes are also found in animal groupings outside of the zodiac. In all cultures, snakes can sometimes suffer a bad reputation, and while East Asia is no exception, in this case, snakes can use their venom for good! This is the case for the Five Poisons, which along with snakes consists of centipedes, scorpions, toads, and spiders. Despite the belief that these creatures bring bad luck, people also believed that depicting the Five Poisons artistically and keeping them nearby would have the opposite effect, combatting any bad luck that came their away. In this sense, the Five Poisons then become protectors. This grouping appears together frequently in Chinese art, from old charm coins that people would carry with them to items with more stationary purposes, such as jade, porcelain, and cloisonné.

During the Wanli period (1572-1620), the Five Poisons sometimes appeared on wucai porcelain, decorating the exteriors of dishes. Such examples are not common, but they occasionally appear in auctions, such as this Bonhams sale in 2023. For those in London wishing to view one in person, there is a characteristic example currently on display in the Percival David Collection at the British Museum. The market for high-quality Wanli porcelain in good condition has always been strong, especially when depicting the Five Poisons. There are many options for purchasing Ming Dynasty (1368-1644) porcelain in London, such as the major auction houses, Marchant Gallery, and Eskenazi Gallery.

No matter where you fall within the zodiac, we hope you will find some snakes you enjoy this year – ideally from the safe distance of viewing them artistically!

To arrange an asian art valuation, email us at [email protected] or call us on 01883 722736.

A Glimpse into Asian Art in London: Highlights from a Vibrant 2024 Edition

Posted on November 7, 2024November 11, 2024 by Ashley Crawford

Over the past few days, I have enjoyed attending Asian Art in London (AAL), which is always a focal point of the year. Whether you are an arts professional, a seasoned collector, or a complete newcomer to the world of Asian art, AAL offers a multitude of valuable experiences for everyone.

As an Asian art valuer, I always make sure to attend as many Asian art fairs as possible to assess current market trends, widen my knowledge of objects outside of my specialties, meet new colleagues, and, of course, enjoy some world-class Asian art! This year, I attended Asia Week in New York, Printemps Asiatique in Paris, and AAL, which is currently running through 8 November. Over a 10-day period, AAL celebrates galleries from all over the world, local Asian art auctions, and, for the first time ever, a full-day symposium on various Asian art topics at SOAS, University of London. While all of the Asian art fairs I’ve attended have been very successful, Asian Art in London is unique because it is the oldest, currently celebrating its 27^th year. This is the third year I’ve attended, and thus far, 2024 has been my favorite. Here are three highlights from my experience this year:

The Asian Art in London Gala

The annual gala was held at the V&A this year, where guests networked, learned about the winners of each of Asian Art in London’s prize categories, and were able to view the Asian galleries outside of the hustle and bustle of opening hours. I enjoyed attending a curator-led tour of the Japan collections, particularly the kimonos on display. One of my favorite kimonos was a bright and bold contemporary work by Ueoka Taro, which was a striking juxtaposition placed next to the traditional kimonos.

Ming Gu Gallery’s Lecture with Artist Li Chevalier

This year, Sotheby’s is hosting several gallery participants from AAL. Ming Gu Gallery, a contemporary gallery specializing in East Asian art, very kindly invited me to attend a lecture with Li Chevalier, the artist of the gallery’s solo exhibition Unveiled Silence. As an antiques specialist, I greatly benefitted from learning more about contemporary Asian art trends and techniques. Chevalier has led a fascinating and international life, reflected in her mixture of Chinese and Italian art techniques. Her career began in music, rather than art, at the age of 15, when she joined the Chinese army as an opera singer. She has since lived in Italy and France and often works in the UK. Today, her work remains heavily influenced by music, poetry, and a multicultural identity. This is demonstrated in her painting In der Fremde (In a Foreign Land), named after Robert Schumann’s Lied. [1]

The SOAS Symposium

As a SOAS alumna of both the Postgraduate Diploma in Asian Art and the MA in History of Art, I was excited to attend SOAS’ first ever symposium for AAL, Asian Art: Objects in Focus. I attended to learn more about the specialist topics offered, but also as a Travel Hands volunteer guide for a deafblind participant, as I frequently provide museum tours for this organization. SOAS has a very engaged alumni community, so it was wonderful to see so many familiar faces. Two major recurring themes across the lectures were provenance and dating, topics that are always at the forefront of an Asian antiques valuer’s mind!

My favorite lecture was Dr Johnson’s Chinese Teapot: Tracing the History of a Celebrity Object by Professor Stacey Pierson. This keynote presentation explored the fascinating and complex provenance of a teapot at the British Museum that had been incorrectly labeled as having been owned by Dr Samuel Johnson, the British lexicographer. Professor Pierson raised important questions about the implications of naming an object after a famous person or place, a term called “provenance branding”. She cited other examples such as the Hope Diamond and the Benin Bronzes. In the case of the Dr Johnson teapot, the issue extended far beyond a single object, as many stylistically similar teapots were also misattributed. Going a step further, auction lots of similar teapots (such as here and here) that had no contact with Dr Johnson at all often still include reference to this celebrity somewhere in the listing.

As valuers, we employ the same provenance research skills when assessing objects. The correct provenance is crucial when determining values, and, as Professor Pierson’s lecture demonstrated, it’s important not to automatically assume that the provided provenance is accurate! I learned so much from the various case studies at the SOAS symposium and was very grateful for the invitation from the SOAS-Alphawood Diploma in Asian Art. I hope the symposium will become an AAL tradition in future years!

Asian Art in London runs through Friday, 8 November. You can learn more about the events offered here.

You can learn more about Ming Gu Gallery’s current exhibition Unveiled Silence here.

You can learn more about the SOAS-Alphawood Postgraduate Diploma in Asian Art here.

You can read Professor Pierson’s article about the Dr Johnson teapot here.

[1] Some examples of her previous similar paintings are here and here.

To arrange a valuation of your Asian Art call us on 01883 722736 or email [email protected]

Lunar New Year

Posted on February 6, 2024December 13, 2024 by Ashley Crawford

Lunar New Year, which begins on 10 February in 2024, is the largest festival in many East and Central Asian cultures. Lunar New Year typically falls on the second new moon following the winter solstice. In China, this festival is also called Chinese New Year or the Spring Festival. Each year highlights one of twelve animals in the Shengxiao, the Chinese Zodiac.

This year will be the year of the dragon, one of the most prevalent symbols in East and Central Asian material culture. People born in the year of the dragon are characterized as intelligent, lucky, and charismatic. Dragons have historically been depicted in forms such as embroidery, porcelain, sculpture, paintings, jade, ivory, and furniture.

Dragons are particularly popular in embroidery, one of East Asia’s oldest decorative arts traditions, originating in China during the late Neolithic period. From the first century CE, silk embroidery technology spread to Japan, Korea, and Central Asia. Throughout the centuries, Chinese symbols, imagery, and embroidery techniques continued to have significant influences on embroidery practices across Asia. Dragons, also originating in China, have a long history in East Asian art forms. Dragon imagery dates to at least the Zhou period (1046-256 BCE), where it functioned as a totem to which small agricultural clans prayed for rain and protection from fires. This is why many East Asian dragons, such as those depicted in the much later Meiji tapestry below, are often depicted in ponds or seas. Water dragons symbolize prosperity for the owner. While imperial robes are the most famous form of dragon embroidery today, everyday water dragons comprise a far larger quantity of objects that have survived. This is particularly a result of the Ming Dynasty’s (1368-1644) rapidly growing merchant class, which increased the demand for silk embroidery and continued into the Qing Dynasty (1644-1911).

In the late nineteenth and early twentieth centuries, there was unprecedented Western demand for Chinese and Japanese silk embroidery, as China and especially Japan opened foreign trade. Export markets were already popular within Asia and Europeans had long enjoyed fine examples of handwoven dragon embroideries. As foreign demand grew, China and Japan mass produced silk embroidery in export markets for the first time. Improved technology and the advent of embroidery factories also contributed to this rapidly increasing market, which catered to Western tastes. In the early 20th century, silk was China’s largest export commodity. By the 1930s, this demand subsided due to the rise of synthetic fibers. Today, regardless of the medium, dragons continue to enjoy popularity in Asia and throughout the world.

Year of the Dragon

Posted on January 23, 2024March 20, 2025 by Alastair Meiklejon

In East Asian cultures, the Year of The Dragon in the Zodiac is marked with power, energy and fortune, with strength and intelligence assured of those born during this period.

Whilst every symbol holds a special place in East Asian cultures, the dragon has always held a significant place in the nations folklore and history, with emperors associating themselves with the dragon as a symbol of imperial authority and strength.

The dragon has often been used for many decorative items throughout history in the art world and even further afield. At Doerr Dallas we thought we would talk you through some of the most glorious examples of this most auspicious figure.

1. Vacheron Constantin Les Cabinotiers – Recits de Voyages collection

Vacheron Constantin, despite usually being a very conservative watch brand have recently introduced this impactful piece in a series of multicultural one-offs. Included in the stunning line-up is an ode to China, with a five-clawed dragon realised in grisaille enamel. The 16th century technique uses white enamel on a dark enamel base to emphasise the interplay of light and shadow without the use of vibrant colours.

2. An early 20th century Chinese Dragon carpet

The carpets of the far east have always been fascinating to many people and this example is no different.

Stunning golden dragons on a deep indigo blue background with a classical T pattern border design, it is supposed that the figures from which they were derived, once symbolised thunder and clouds.

3. A mid 19th century Tibetan painted chest of drawers

The number 12 figures prominently in Tibetan astrology, making this simple chest’s dozen drawers the perfect canvas to honour the year of the dragon. Tibetan astrology recognizes a 12-year cycle, characterized by 12 animals, including the dragons that wind their way on this expressively painted cabinet. The gessoed dragons symbolize ambition, dignity and success. Camouflaged by lush flowers and vines, each writhing dragon clutches in its claws a lotus flower, a symbol of purity and perfection, and a peach, a symbol of immortality.

4. A 20th century Chinese Jardiniere upon stand

This monumental cloisonné enamel jardinière is a superb example of 20th century Chinese design. The jardinière is of traditional form, rising from a narrow foot to a flared shoulder and culminating in a rolled rim. The body is profusely adorned with cloisonné enamel designs over the white enamel ground: dragons, waves, floral patterns, and other motifs abound. The piece is supported by a wooden stand, each of the stand’s four legs ornately carved and finished.

So whilst the images of other Zodiac figures such as the Rat, Dog, Rabbit and others all have their fans, it’s clear that the Dragon really does hold a special place in the heart of the Chinese people and judging by the popularity of the items relating to it, all over the world.

To arrange a an asian art valuation, call us on 01883 722736 or email us on [email protected].

Decoding Bencharong Porcelain

Posted on September 12, 2023January 3, 2025 by Ashley Crawford

During the eighteenth and nineteenth centuries, Bencharong porcelain was considered Thailand’s most valuable ceramic ware and is still widely celebrated in Thai culture today.

First commissioned by the royal Thai court from the late Ayutthaya period (1351-1767), Bencharong wares were produced in a variety of shapes, colours, and sizes, featuring both religious and secular motifs.

Three Bencharong wares on display at the newly reopened Humboldt Forum.

These pieces are instantly recognizable for their bright palette, geometric patterns, and frequent appearance of Thai Buddhist scenes. The name “Bencharong” means “five colours” in Thai; however, most Bencharong palettes range from three to eight colours.

The Bencharong palette first included yellow, black, white, red, and turquoise. Later, blue, orange, purple, and pink increasingly appeared.There is more than meets the eye, however, as this quintessentially “Thai” form was crafted entirely in China at Jingdezhen!

The most common theory for Bencharong’s name cites a literal translation from Bencharong’s Chinese Ming predecessor, wucai (“five colours” in Chinese). Another theory links the name to bencharongse, a Thai cotton dyeing technique with a similar five-colour palette, dating to the Sukhothai period (1238-1438).

Techniques

Bencharong techniques closely resemble those of Ming and Qing wucai (sometimes called yingcai in the Qing Dynasty or famille verte, noire, or jaune). Like Bencharong, wucai was also glazed, double fired, and decorated with three-to-eight polychrome enamels.

The primary differences between domestic wuai and Bencharong are Bencharong’s different colour palette (particularly turquoise), which catered to Thai tastes, its lack of underglaze blue, and its enamel, which was more thickly applied.Bencharong enamels also cover the entire surface of the body, displaying no white porcelain, unlike many of their domestic Chinese counterparts.

Bencharong’s production history is difficult to reconstruct, as no commission records remain. However, recent excavations at Jingdezhen have revealed decorated Bencharong sherds, suggesting that Bencharong wares were both fired and decorated at Jingdezhen, during a period when some export wares were only fired at Jingdezhen and decorated after export.

Closeup of a wucai famille verte dish on display at the Holburne Museum. Both familie verte and Bencharong emply the same porcelain techniques.

Dating and Uses

One useful technique to date Bencharong objects is by palette. Objects such as the one below (currently on display at the Humboldt Forum in Berlin) can be dated to the eighteenth century because nineteenth- century pieces often heavily feature pink or gold, a technique called Lai Nam Thong.

This piece also minimizes use of purple and blue, meaning that it was unlikely produced after 1800. When examining an object, don’t forget to examine the interior, which can provide useful clues! For example, turquoise interiors are only found in earlier Bencharong wares. Precise dating is typically unreliable, as Bencharong styles did not always align with Thai reigns.

18th century Bencharong lidded bowl on display at the Humboldt Forum, featuring a Thai Buddhist figure called a thephanom.

Bencharong was often used as a dining ware, and therefore often came in matching sets.

Early Bencharong court wares also sometimes served as containers for cosmetics or medicine.

Initially, Bencharong was only produced for the Thai court, but high nineteenth-century demand necessitated expanded production for Thai nobility and merchants.

In the nineteenth century, King Rama II so admired Bencharong that he attempted to produce copies himself, as he was an amateur artist!

Visual Characteristics

Bencharong decorations often reflect traditional artistic tastes across Thai media. Bencharong’s most common motifs include geometric patterns, Buddhist or Hindu iconography, mythic or literary creatures, and Thai flora and fauna.

The entire surface of the Buddhist lidded bowl at the Humboldt Forum is covered with polychrome enamels in red, navy, turquoise, white, yellow, and green, with floral bands and motifs surrounding Buddhist figures. These bands typically frame primary motifs and are either plain or subtly decorated.

The various floral patterns, particularly the yellow stem pattern at the top of the bowl, are commonly found in Buddhist Bencharong wares. The red band near the bottom of the bowl and repeated throughout the lid is a lai kruay cherng pattern (a funnel motif) depicting repeating tri-lobed flowers.

Given Buddhism’s predominance in Thailand, many Bencharong wares depict scenes specific to Thai Theravada Buddhism. This scene takes place in the Himaphan forest, a lower Buddhist heaven. At the center of the primary scene sits a thephanom on a red medallion shaped like a lotus petal, with his hands in anjali mudra.

The thephanom is a minor celestial being in Thai Theravada Buddhism, often mistaken by contemporary viewers for a Buddha. He wears jewellery and an ornate Thai headdress.

Although he is featured alone here, he is often surrounded by norasinghs, Thai Buddhist semi-deities who flank the thephanom and can be identified by their human upper body and lion/ deer mixture lower body.

Collecting Bencharong

Bencharong remains a popular form in museums and in private collections throughout the world, with a demand for a contemporary reproduction market in Thailand. Taking your Bencharong wares to a valuer may help you determine whether your objects are antiques or are contemporary reproductions.

Bencharong reveals a rich history of trade, religious activity at Thailand’s royal court, and upper-class desires to emulate royal tastes.

Further academic examination of the history of Bencharong may result in a better understanding of China’s historical relationship with Thailand, religious and secular imagery in Early-Bangkok Period art, merchant trade culture, and the upper class’ relationship with the royal Thai court.

Meanwhile, there is plenty Bencharong for us to enjoy in public collections, such as the Humboldt Forum, the V&A, and the British Museum!

Year of the Rabbit – Rabbits in art

Posted on January 23, 2023January 15, 2025 by Jenny Knott

To celebrate the Chinese New Year and the start of the Lunar New Year on the 22nd January we thought we would look at the rabbit, our friendly bunny.

So, what might we expect from this new year?

The rabbit is a symbol of longevity, peace, and prosperity in Chinese culture. 2023 is predicted to be a year of hope. People born in a Year of the Rabbit are believed to be vigilant, witty, quick-minded, and ingenious.

Rabbits have been seen as a symbol of sex and fertility since antiquity. In ancient Rome rabbits were frequently depicted as the animal of Venus. Conversely the rabbit was used by artists of the Middle Ages and Renaissance as a symbol of sexual purity and was often depicted alongside the Madonna and Child.

For those wanting to celebrate the Year of the Rabbit, you can purchase a £5 gold coin from The Royal Mint. If you have something more elaborate in mind, Christian Dior have produced a watch for this auspicious year, which retails at £29,000.

We could, however, simply celebrate the role of the rabbit in art over many centuries. See how the furry creature has inspired artists throughout the years.

Wishing everyone a Happy Year of the Rabbit.

Caring for Ceramics

Posted on November 2, 2020August 22, 2024 by Mark Longley

Tips on Handling and Examination

Ideally, ceramics should be handled as little as possible and with great care, never picking pieces up by handles or rims, being aware of loose parts like lids. Wear thin nitrile gloves when handling unglazed wares or if the glaze is flaking. See tips on cleaning below. If you are carrying items use both hands to cradle objects. Handle pieces over a soft cloth or towel.
Ideally one should have a knowledge of those pieces that are restored or damaged. Examine pieces for losses to the rims, applied decoration or projecting parts of a piece. Hairline cracks and firing faults are usually noticeable. If you are unsure, call a professional Fine Art surveyor.
Restoration may involve an element of over-painting a damage. This paint will be softer than the hard glaze and can be felt with a soft application of a coin or metal point. Some people might use their teeth on a clean area of repair as this method, while not professionally used and advisable, enhances sensitivity. Older repairs are often apparent because old paint yellows with age. Examine pieces under a strong light for repairs. Use a UV light or a UV torch in a dark room for a more thorough examination of potential restoration. Repairs and natural faults both shine with a white light.

A poorly repaired English tin glazed earthenware bowl,
late-17th to mid-18th century

Tips on Display and Storage

Never crowd shelves or display cabinets and place smaller items at the front. Using a display cabinet will reduce the risk of dust and grime attaching itself to your collection and will be protective.
Resist the temptation to stack too many plates in a pile. The resulting weight can easily lead to accidents. Use plate stands or specially designed stands for display.
A collection of vintage plate stands
Take care that when hanging plates, that you use the correct size devices otherwise you may put a considerable strain on the plate. Do not hang plates with hairline cracks.
Remove old style plate hangers that have springs to tension the attachment hooks. Replace those with wire hangers. Investigate adhesive hanging devices but be aware that this adhesive might affect certain surfaces.
Store ceramics by wrapping in acid-free tissue paper and bubble wrap, and packing into a strong plastic crate.

Tips on Cleaning

Occasionally it may be desirable to wash objects, but usually a careful dust with a soft duster or hog’s hairbrush should be enough.
Washing may be best done by using swabs of cotton wool or cotton buds, rather than immersing the object in water. A soft toothbrush could be of assistance. Avoid extremely hot water. The addition of a little detergent may help. Never attempt to use bleach to remove stains.
Not all ceramics have a hard glaze. Great care needs to be taken with certain kinds of ceramics where these are porous or made of soft-paste, or Parian or biscuit ware, and never immerse anything which has gold decoration which may be unstable. Some decoration may be applied by a transfer technique, commonly found in antique dinner services, so be aware of rubbing surfaces with cleaning or handling.
Keep broken or damaged ceramics carefully until you can get the piece to a professional restorer.