Asian Art and Antiques

Large Sandstone Buddha Head, Eastern Thailand, Khmer Influence, 12-13th Century

Large sandstone head of Buddha with anatomical Khmer features of a peaceful face, heavy-lidded eyes beneath gently curved brows, bow-shaped lips, elongated pendant lobes with heavy earrings, a crown across the top of the forehead and a snail-like covering of the the top of the head, Angkor Period, 12-13th century, Cambodia, former property of Doris Duke.  Extensive wear. Eastern Thailand or Cambodia, 12-13th century.

15.75 inches

39.4 cm

Price upon request

Jain Votive Plaque, West India, 18th Century

West Indian Jain votive plaque depicting one of the Jain tirthankara (said to be the 23rd incarnation Parshvanatha) finely painted in gold and bright pigments and studded with many small pearls and set within a copper alloy covered frame.  Wear and repairs to exterior case.

5.75 inches diameter

14.6 cm diameter


Hardstone Male Fragmented Head, Cambodia, Angkor Wat Baphuon Period, 11 – 12th C

This characteristic hardstone carving of a male deity with a serene expression, prominent almond-shaped eyes,  full lips with a slight smile, ridged eyebrows, broad nose, and framed by large ears under a simple coiffure of plaited braids drawn up into a domed chignon encircled by a simple diadem identifies this subtle and voluptuous sculpture as being from the great Khmer Baphuon period (11th century).  Minor damage to the nose. Khmer, Angkor Period, Baphuon style, 11th Century

6.25 inches tall

15.9 cm tall


Bronze and Silver Lutuan (Betel Nut Box) with Batik Strap, Mindanao Island, Phillipines, 19th Century

Bronze and silver Lutuan are inlaid betel nut boxes made by members of the Maranao tribe on Mindanao Island in the Phillipines.  The Maranao, from the Lake Lanao region, are Muslim and well known for their inlay work as can be seen on this ornate Lutuan, displaying traditional Muslim motifs of scrolling floral and geometric designs of inlaid silver against the rich bronze patina of the exterior and interior.   Horseshoe shaped handles are on both sides of the flat-topped, rectangular bronze and silver box.   Three inner compartments with hinged lids are for betel nuts, betel leaves, and slaked lime paste. White residue on the edges is lime paste deposited from use, and is easily cleaned if desired.

Chewing betel nuts, the common name for the Areca Palm nut, in betel quid, a mixture of betel leaf, areca nut, and slaked lime (hydrogenated calcium – Ca(HO2), is a stimulant that has been commonly practiced throughout South East Asia and China for more than 2000 years. Intricately inlaid Lutuan were prominently displayed and used by wealthy Maranao families to impress arriving guests when offering betel quid.   This example, at slightly more than 17.5 centimeters, is larger than most and in excellent condition with no losses.  The intact  batik strap is extremely rare.

19th century

7 x 3.25 x 3.25 inches

17.5 x 8.3 x 8.3 cm



Bamboo Flower Basket by Maeda Chikubosai II

Japanese modern bamboo (madake) flower basket, by Maeda Chikubosai II (1917-2003), of egg shape with a single handle, all formed by irregular plaiting, bottom signed ‘Chikubosai kore [o] tsukuri’; together with an inscribed wooden box with the underside of the lid signed and sealed by the artist.

14 inches long

35.6 cm long


Illustrations of Tales of the Genji, 3-Volume Set of Shunga by Kunisada III‏,

A three-volume set of Shunga woodblock prints titled, Tales of the Genji, c. 1880, by Kunisada III (1848-1920), also known as Baido, Baido Hosai, Hosai, Kunimasa IV and Toyokuni IV, an under-appreciated artist of the Meiji Period.  The subject matter is derived from Murasaki Shikibu’s great romantic novel of the eleventh century, Tales of the Genji, that vividly details the life and love affairs of Prince Genji and has had profound influence on literature, both within and outside Japan.

Having been produced using the best quality materials, these three books are exceptionally beautiful with rich colors, metallic inks, and double printed to create jewel-like  images of sensual pleasure. Each book is in very fine condition without any foxing, however the covers are slightly soiled and one fold out diptych has minor worm damage to one edge.

The albums contain one diptych, one four-section fold out, one eight-section fold out, and 40 additional shunga prints in Choban size.

7.1 x 9.6 inches

18 x 23 cm




Tsutsugaki Futon Cover with Butterflies and Karashishi, Japan, Meiji Period, 19th Century

Framed Japanese Tsutsugaki (resist dyeing using rice-paste on cotton) futon cover with four narrow panels of multicolor resist patterns depicting  butterflies and karashishi (Chinese lions) amid lush flowering peony bushes issuing from rockwork, Meiji Period, 19th century, Denver Art Museum Deaccession.

62.5 x 52.5 inches

158.8 x 133.3 cm


Kammavaca with Chest, Burma, 19th Century

Fine Burmese Kammavaca in gilded lacquer with tamarind seed writing encased in an elaborate gilded lacquer box embellished with glass and mirrored mosaic pieces on a red lacquer stand, 19th century.

Kammavaca are the most sacred of Burmese religious texts and consist of nine Khandakas from the Pali Vinaya Pitaka that relate to specific ceremonies of Theravada Buddhism. Typically, 16 pages with five or seven lines of text and a cover and back made of lacquered and gilded wood were commissioned when a son entered the Buddhist Order as a novice or a monk.  The earliest date to the Pagan Period (1004-1287) and were simply incised on palm leaves, but by the 14th century, the palm leaves became much more ornate when they were lacquered and gilded before the text was applied in thick black lacquer, called tamarind seed, and by the end of the 17th century, a square writing style was introduced that continues to this day.  Heavy cotton replaced palm leaves as the medium for the leaves and tiny,ornate decorations including birds, florals, and mythological creatures were intricately applied in the negative process.  Elaborate lacquered and mirrored boxes were created to house and safeguard the sacred texts.  Burma, 19th century

30 x 12 x 12 inches

76.2 x 30.5 x 30.5 cm


Bronze Temple Bell, Japan, Edo Period, Dated Kyoho 19 (1734)

Japanese bronze temple bell, Edo period, of typical hemispherical shape with a hammered body and slightly beveled rim, with two incised inscriptions, one reading Chishin-in (place name) and the date Kyoho 19 (1734), third month, auspicious day, now with an iron stand of Western manufacture, overall: 25.25”h.

11.5 x 15.25 inches

29.2 x 38.7 cm


Sawankhalok Garuda, Vishnu’s Vessel, Sukhothai Period, Thailand, 14-15th Century

Thai Sawankhalok ceramic figure of Garuda, Sukhothai period, 14th/15th century, the part-human part-bird form divinity subduing a three-headed naga (snake deity) by standing on the sinuous body and holding two of the tails to either side of his bird-like face with its features accented with iron-oxide, all supported on a square plinth,  NB: similar reference  from James and Elaine Cornell collection at the Asian Art Museum of San Francisco.

17 inches tall

43.2 cm tall


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