#Khalili Collections

[arthistoryanimalia]

#InternationalPolarBearDay:

Vase In The Form Of Two #PolarBears Inside An Icy Cave 'Makuzu' ware, Miyagawa Kozan workshop,Yokohama, Japan, c.1900-10 porcelain with decoration in underglaze turquoise & brown, H 22.2 cm x D 15.9 cm Victoria and Albert Museum C.244-1910: https://collections.vam.ac.uk/item/O39341/vase-miyagawa-kozan/ "From the late 19th century, the Makuzu workshop produced porcelain for the Western market. The source of inspiration for this remarkable object was models of polar bears made by the Royal Copenhagen Manufactory. The icy effect was created using experimental glaze techniques."

PS: there is a similar, slightly larger piece in the Khalili Collections:

[lionofchaeronea]

Sculpture (carved and painted limestone) of a crowned head, made by an unknown Central Asian artist between 700 and 900. Now in the Nasser D. Khalili Collection of Islamic Art. Photo credit: Khalili Collections / CC-BY-SA 3.0 IGO.

[baebeylik]

Incense Burner in the Form of a Dove. Iran. Seljuk Period. 12th Century CE.

The Khalili Collections.

[nununiverse]

Chemise talismanique en coton sur laquelle sont inscrits des versets coraniques, des prières et des invocations à Dieu, terres ottomanes, XVII e siècle. Les Collections Khalili, TXT 545 .

[beyourselfchulanmaria]

Pair of Vases (right of a pair)

Pair of Vases (Both)

Enamel vase.  Tokyo, Japan. circa 1883.  Cloisonné enamel, gilt metal wire, silver wire, shosen jippo, applied with gilt metal mounts.  height 55.2 cm.  A pair of Cloisonné enamel vases with a design in the style of Nishi Chinnen (1792-1851), each decorated with butterflies above flowers and grasses on a pale grey ground. The flowers include peonies, Chinese bell-flowers, and susuki, and the butterflies are varaities of whites. The peony-leaves and some of the flowers worked in gilt metal wire, the others in silver wire, each with extensive shading; some of the smaller flowers of partially wire-less outline (shosen jippo). The upper border worked in silver wire with numerous stylized dragonflies of various sizes, on a black ground. The foot decorated with a border of stylized pinks beneath scattered foliage and berries, also on a black ground. Applied with gilt metal mounts.

These vases, demonstrably the work of Namikawa Sosuke, were exhibited at the Amsterdam Exhibition of 1883 at which Sosuke and the Nagoya Cloisonné Company were awarded the first-class gold medal and where the President of the Company, Mr Muramatsu, was decorated by the King of Holland. Text and image via Khalili Collection

[memories-of-ancients]

Emerald set box, Mughal Empire (India), circa 1635

from The Khalili Collection

[dyke-delphinia]

Skånsk textiles, late 18th century

from the Khalili Collections

[peashooter-in-exile]

Folding fan, Iran, circa 1870

from The Khalili Collection

[centuriespast]

The Qajar Ruler, Fath 'Ali Shah Baqir (active early 19th C) The Khalili Collections

[gayforgarica]

Brands that support Palestine/ Palestinian brand products 🇵🇸

Paliroots

KUVRD

West Bank Apparel

PurePali

West Bank Hoodie

PALIDRIP

Hirbawi

Anat International

Deerah

Nol Collective

Watan

MeeraAdan

Holy Land Boutique

Nnbynn

Ayadi

Balady Stich

Nadine Khalili Jewelry

Sunbula

ElBustan

Fyrouzi

FalastiniBrand

Dar Collective

Handmade Palestine

Darzah designs

Haute Hijab

Huda Beauty

Rising Cane's

Tatcha

[arthistoryanimalia]

Fabulous find for #FishyFriday:

Oshima Joun (Japanese, 1858-1940) Ornament of Fish in Waves (Okimono), c. 1900 bronze, silver, gilt, shibuichi and shakudo 13.1 x 48.7 cm Khalili Collections M159

"An okimono of stylized bronze waves among which swim two shubunkin, one cast in richly patinated copper, the other in oxidized silver with partially gilt areas, the eyes of shibuichi, shakudo, and gilt. The fish naturalistically modelled, supported by the highly stylized waves.

Oshima Joun (1858-1940), given name Yasutaro, was the son of the cast-metal worker Oshima Takajiro, whose father Yasubei had started the family business. He succeeded to the business in 1877 and took the name Joun. He used the go Shokaken.

He rapidly built up his business, and in 1879 had eleven assistants, selling mainly through Murakami Heishichi and a French client. Later he worked through the commissioner Honda. He first exhibited in Paris in 1878. In 1879 he was working with the Sanseisha Company of Tokyo, specifically on the great bronze figure of the Dragon King of the Sea, made for the Second National Industrial Exposition of 1881, that is so markedly similar to the figure M 17 in the Collection by Otake Norikuni (see Impey and Fairley, The Dragon King of the Sea, No. 11). He taught at the Tokyo Art School from 1887 until 1932.

A similar but slightly larger group of five carp was exhibited in the Paris Exposition of 1900, illustrated in the Fine Arts Magazine catalogue. Another similar silver group of carp was exhibited in the Japan-British Exhibition of 1910, illustrated on p. 184 of the English version of the catalogue, where it is listed under the name of the exhibitor Yezawa Kingoro, whereas in the (unpaginated) Japanese edition it is under the name of Oshima Joun. He was praised for his renditions of carp by Harada in ‘Metal-work’ p. 101.

O. Impey, M. Fairley (eds.), Meiji No Takara: Treasures Of Imperial Japan: Metalwork Vol II, London 1995, cat. 102. J. Earle, Splendors of Imperial Japan: Arts of the Meiji period from the Khalili Collection, London 2002, cat. 198, pp. 284–5."

[ghw-archive]

Circa 1968 Aloisia Rucellai evening bag, gold and platinum, translucent enamel, diamonds, and rubies.

[yama-bato]

"Waves" maki-e panel, 1888-1890, the Khalili Collection of Japanese Art

Shibata Zeshin

[drsonnet]

Title: Pilgrimage Certificate of Hajj ‘Abbas Kararah

Date: 1930 or earlier

Khalili Collections | Home

Location: Egypt

[luxe-pauvre]

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Swan Lake @ Royal Opera House

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[distilled-prose]

6/14/24 LinkedIn - from Rui Galopim de Carvalho

Gem quality emeralds are known to typically display internal characteristics, such as those known in gemmology as fluid inclusions and fissures, sometimes in such a quantity that it may compromise the stone's "crystalline" transparency, making polishing as bead, as cabochon or carving as an adequate options in fashioning. Colombian emeralds, such as those produced in the 16th and 17th century, were often carved with artistic or devotional motifs, in both low and high clarity rough material. This ca. 1635 green box (4 x 5 cm) made in Mughal India using gold sheet, set with faceted diamond in gold kundan, with an enamelled base, is set with 103 matched Colombian emeralds carved in shallow relief to depict cypress trees within borders of repeated stylized leaves, is a fine example of this fashioning solution. At the highest levels of the Mughal courts, a considerable number of carved emeralds were commissioned and this is believed to be one of those cases. Photos © Khalili Collections

can you believe it!? fantastic!!!