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Michael Backman

Asian, Colonial & Tribal Antiques Gallery in central London, UK. All stock is sourced from old British and European collections.

Michael Backman Ltd, based in central London, just off Regent Street, has a large range of museum-quality Indian, Southeast Asian, Himalayan & other Asian antiques and decorative arts, as well as colonial and tribal antiques. We have sold around 100 items to around 20 international museums in the last five years, including to the Asian Art Museum in San Francisco, the British Library and the Natio

nal Gallery of Australia. We sell to collectors worldwide too. We ship worldwide - in fact most clients are outside the UK, particularly in the US, Europe and Singapore. The website is very comprehensive and always up-to-date. Clients receive a monthly catalogue by email so that they are alerted to new stock as it arrives. There are almost 8,000 recipients of the emailed monthly catalogue worldwide.

19/06/2026

This 𝗮𝘃𝗮𝗶𝗹𝗮𝗯𝗹𝗲 well-carved 19th century wooden image from the the Hindu island of Bali in Indonesia would have served as a pillar base (sendi tugeh) probably at an entrance of an open-walled pavilion, most probably in a temple compound. (height: 57.8cm, width: 53.5cm, depth: approximately 34.5cm, weight: 7,230g)

It is carved as a winged lion (singa bersayap) but with the head of the lion pointing down, wings outstretched, as if in flight and caught in a downdraught. The lion has bulging eyes, a mouth slightly open to reveal sharp white fangs, prominent ears, and a short, curled tail.

The pillar base has been decorated with red, white, yellow and black pigments. There are also ample traces of gilding.

A square cavity to the top of the base (the rear-end of the winged lion) would have allowed the post to be inserted.

The example here has a fine patina consistent and obvious age. There is some minor loss perhaps due to termites but this tends to be authenticating. It is a fine, decorative and sculptural piece.

𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑩𝒂𝒄𝒌𝒎𝒂𝒏
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𝗖𝗼𝗻𝘁𝗮𝗰𝘁 𝘂𝘀 𝗱𝗶𝗿𝗲𝗰𝘁𝗹𝘆: 𝗮𝗱𝗺𝗶𝗻@𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺

𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲. 𝗪𝗲𝗯𝘀𝗶𝘁𝗲 𝗹𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼.

𝘄𝘄𝘄.𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺
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infonesianart

18/06/2026

An 18th century Japanese carved wooden netsuke of a Dutch textile trader. (height: 9.8cm, width: 2.8cm, weight: 21g)

In the 18th century, Dutch traders were the only Europeans allowed in Japan and then they were confined to the man-made island of Dejima in Nagasaki Harbour. They did arouse much interest among the Japanese however, given their status as the only non-Asians permitted in Japan.

This beautiful and well-carved boxwood netsuke of a Dutchman is well observed and has the most splendid patina. The man wears a frock coat, pantaloons, a wide, brimmed hat, and enclosed shoes reminiscent of clogs. The lower part of his coat is engraved with decorative swirls.

He clutches cloth in one hand, and a large pair of clothmaker’s scissors in the other – suggesting that this Dutchman has come to trade cloth. Indeed, the trade in cloth was one of the main preoccupations of the Dutch in Japan in the 18th century. Dutch traders were responsible for importing large quantities of Indian chintz and Gujarati kalamkari into Japan. They also introduced the Japanese to batik from Java and Sumatra.

The reverse has been drilled with the necessary holes to allow the small sculpture to function as a netsuke – initially, netsuke were intended as a button fastener on the cords of an inrō box.

The example here is signed, finely, on the underside of the right foot, with 舟月 or ‘Shugetsu’, a netsuke carver and doll maker, who worked in Osaka and Edo, and was active 1764-1772.

Other examples of netsuke carved as Dutchmen are known, but the example here is unusually fine.

𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑩𝒂𝒄𝒌𝒎𝒂𝒏
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𝗖𝗼𝗻𝘁𝗮𝗰𝘁 𝘂𝘀 𝗱𝗶𝗿𝗲𝗰𝘁𝗹𝘆: 𝗮𝗱𝗺𝗶𝗻@𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺

𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲. 𝗪𝗲𝗯𝘀𝗶𝘁𝗲 𝗹𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼.

𝘄𝘄𝘄.𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺
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16/06/2026

This 𝗮𝘃𝗮𝗶𝗹𝗮𝗯𝗹𝗲 beautiful oval amulet ga’u box was intended for a man and to be worn in the hair. (length: 6.5cm, width: 5cm, weight: 37g)

Made from gilded brass, turquoise cabochons and a hammered copper sheet back, the form is based on those worn in the hair by male Government officials of the Fourth Rank and above in the Dalai Lama’s government in Lhasa. The box was worn in their braided hair on the top of the head as a symbol of their rank.

The upper part of the ga’u has a tube through which a hair braid was threaded. The lower part features a vajra or stylised thunderbolt motif. This also has a small, lower loop to further secure the box in the hair.

This particular example is either from Tibet or perhaps the Tibetan peoples of Sikkim or Ladakh in Himalayan India.

The example here is in fine condition and has an excellent patina.

𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑩𝒂𝒄𝒌𝒎𝒂𝒏
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𝗖𝗼𝗻𝘁𝗮𝗰𝘁 𝘂𝘀 𝗱𝗶𝗿𝗲𝗰𝘁𝗹𝘆: 𝗮𝗱𝗺𝗶𝗻@𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺

𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲. 𝗪𝗲𝗯𝘀𝗶𝘁𝗲 𝗹𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼.

𝘄𝘄𝘄.𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺
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15/06/2026

Visiting the Alexander Calder (1898-1976) exhibition at the Louis Vuitton Foundation in Paris. It’s another peerlessly massive exhibition at the Foundation which has the space and the high ceilings to showcase such splendid and important artworks. The exhibition runs from April 15 to August 16. Its magnificent!

𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑩𝒂𝒄𝒌𝒎𝒂𝒏
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𝗖𝗼𝗻𝘁𝗮𝗰𝘁 𝘂𝘀 𝗱𝗶𝗿𝗲𝗰𝘁𝗹𝘆: 𝗮𝗱𝗺𝗶𝗻@𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺

𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲. 𝗪𝗲𝗯𝘀𝗶𝘁𝗲 𝗹𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼.

𝘄𝘄𝘄.𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺
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14/06/2026

This 𝗮𝘃𝗮𝗶𝗹𝗮𝗯𝗹𝗲 superb 19th century Batak knife has an iron blade and a scabbard and hilt carved from horn, with silver mounts. Probably it is of the Karo Batak, though sometimes such knives are also accorded to the Toba Batak. There is the occasional suggestion too that they are priest’s knives. (overal length: 50.6cm, length of blade: 29.5cm, width: 7cm, weight: 201g)

The hilt is of two ancestor figures, one sitting with bunched-up knees, and the other standing behind resting his arms on the heard of the other. The standing figure wears what seems a high headdress but actually is a lizard cascading down the back of his head. Both figures have deep eye sockets and these are inlaid with lead to signify eyes.

The top of the hilt is carved with a large, mythical beast with a prominent humanoid face. Eight small human figures are carved right around the base of the creature.

The tapering scabbard has seven bands of plain silver and it terminates with a silver, bud-like terminal.

The widest silver band at the top of the scabbard and that on the hilt bother have fine silver bands decorated with fine twisted wire and granulation work.

The blade is single-edged and tapers to a point. The upper section is cut with motifs.

The example here is in excellent condition. There is old rust staining to the blade but more importantly, there are no losses to the carving.

𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑩𝒂𝒄𝒌𝒎𝒂𝒏
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𝗖𝗼𝗻𝘁𝗮𝗰𝘁 𝘂𝘀 𝗱𝗶𝗿𝗲𝗰𝘁𝗹𝘆: 𝗮𝗱𝗺𝗶𝗻@𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺

𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲. 𝗪𝗲𝗯𝘀𝗶𝘁𝗲 𝗹𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼.

𝘄𝘄𝘄.𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺
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10/06/2026

This 𝗮𝘃𝗮𝗶𝗹𝗮𝗯𝗹𝗲 Tibetan 19th century ‘conch’ trumpet has mounts of embossed and chased copper sheet with parcel gilding. (length: approximately 40.5cm, width: approx 25cm, depth: approx 9cm, weight: 1,490g)

The gilt and copper fl**ge is decorated with a dragon with a long, scaly body, amid scrolling foliage and clouds interspersed the Ashtamangala or Eight Auspicious Buddhist Symbols.

The dragon, the Auspicious Symbols, and some flower motifs are highlighted with gold.

The elaborate mouthpiece comprises several tiers of lotus petals, together with flower motifs highlighted with gold.

The reverse of the fl**ge is chased with flowers, a double vajra motif with a central mantra syllable of Tibetan script, and a large , elaborate Kalachakra symbol featuring the all-powerful ten mantra syllables.

Such shells usually are referred to as conch trumpets but the shells used are not conch shells but chank shells (Turbinella pyrum). The shell has been converted into a trumpet or horn with the removal of the end of the point to provide a blowing hole.

Such shells are important ritual objects in Tibetan Buddhism. They are used as ceremonial trumpets in prayer rituals, to summon monks to prayer, to summon spirits as well, and to invoke rain and water. Conch shell trumpets have a long history and their use in Tibetan Buddhism has its origins in ancient India.

Conch trumpets such as this example were made either in Tibet, or in Nepal, either for the local or Tibetan market.

The conch trumpet here is in fine condition. It has clear age.

𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑩𝒂𝒄𝒌𝒎𝒂𝒏
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𝗖𝗼𝗻𝘁𝗮𝗰𝘁 𝘂𝘀 𝗱𝗶𝗿𝗲𝗰𝘁𝗹𝘆: 𝗮𝗱𝗺𝗶𝗻@𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺

𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲. 𝗪𝗲𝗯𝘀𝗶𝘁𝗲 𝗹𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼.

𝘄𝘄𝘄.𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺
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07/06/2026

This 𝗮𝘃𝗮𝗶𝗹𝗮𝗯𝗹𝗲 fine, solid cast and chased 16th-17th century Ming Dynasty Chinese scholar’s bronze weight is of a recumbent goat with a long beard, and with a leafy flourish in its mouth and over its back. The tail ends in small but elaborate curls. (length: approximately 5.6cm, height: 3.6cm, weight: 125g, overall weight (including base): 135g)

The weight benefits from having a carved wooden stand that has been custom-made for the piece, which possibly dates to the piece’s manufacture.

Such weights charmingly combine design with the utilitarian, in a way which conforms with the Confucian aesthetic with its emphasis on scholarship, and which drew upon the natural world to present the harmonious co-existence of man with nature. Such weights were ideal for the scholar’s desk where they might both perform a function and be the subject of contemplation.

The example here is in fine condition.

𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑩𝒂𝒄𝒌𝒎𝒂𝒏
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𝗖𝗼𝗻𝘁𝗮𝗰𝘁 𝘂𝘀 𝗱𝗶𝗿𝗲𝗰𝘁𝗹𝘆: 𝗮𝗱𝗺𝗶𝗻@𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺

𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲. 𝗪𝗲𝗯𝘀𝗶𝘁𝗲 𝗹𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼.

𝘄𝘄𝘄.𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺
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04/06/2026

An 𝗮𝘃𝗮𝗶𝗹𝗮𝗯𝗹𝗲 14th century ritual conch trumpet from Tibet. (length: approximately 12.8cm, width: approximately 8.5cm, weight: 464g)

Ritual trumpets made from seashells play an important role in Tibetan Buddhism, and this is the oldest example we have seen. Decorated with simple, carved, parallel lines, it has the most extraordinary patina from age, use and handling, and dates to around the 14th century.

Such instruments usually are referred to as conch trumpets but the shells used are not conch shells, but chank shells (Turbinella pyrum) usually sourced from the Bay of Bengal and then traded into Tibet from India.

The shell has been converted into a trumpet or horn with the removal of the end of the point to provide a blowing hole.

Such shells are important ritual objects in Tibetan Buddhism. They are used as ceremonial trumpets in prayer rituals, to summon monks to prayer, to summon spirits as well, and to invoke rain and water. As such, they were important, ritual objects and were among the most important possessions of a Tibetan monastery.

Overall, this is an astonishing example with extraordinary patina. The surface is crazed and has become brown and mottled from age and handling in a manner unlike any other that we have seen. Almost certainly it was used for centuries in a Tibetan monastery to summon monks and spirits, where it developed its deep patina.

𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑩𝒂𝒄𝒌𝒎𝒂𝒏
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𝗖𝗼𝗻𝘁𝗮𝗰𝘁 𝘂𝘀 𝗱𝗶𝗿𝗲𝗰𝘁𝗹𝘆: 𝗮𝗱𝗺𝗶𝗻@𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺

𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲. 𝗪𝗲𝗯𝘀𝗶𝘁𝗲 𝗹𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼.

𝘄𝘄𝘄.𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺
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01/06/2026

This 𝗮𝘃𝗮𝗶𝗹𝗮𝗯𝗹𝗲 fine solid cast and chased Ming Dynasty (16th-17th century) bronze weight is of a reclining lady with her head resting on her raised right hand. Her hair is tied into an elaborate bun. Her left hand holds a small ruyi sceptre. Her back rests against a drinking gourd. (length: approximately 8.4cm, weight: 102g)

Her dress is that of a Ming noble woman. She has an elaborate stylised cloud collar, and her robes fall in long pleats over her legs and feet.

Such weights charmingly combine design with the utilitarian, in a way which conforms with the Confucian aesthetic with its emphasis on scholarship, and which drew upon the natural world to present the harmonious co-existence of man with nature. Such weights were ideal for the scholar’s desk where they might both perform a function and be the subject of contemplation.

𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑩𝒂𝒄𝒌𝒎𝒂𝒏
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𝗖𝗼𝗻𝘁𝗮𝗰𝘁 𝘂𝘀 𝗱𝗶𝗿𝗲𝗰𝘁𝗹𝘆: 𝗮𝗱𝗺𝗶𝗻@𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺

𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲. 𝗪𝗲𝗯𝘀𝗶𝘁𝗲 𝗹𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼.

𝘄𝘄𝘄.𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺
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31/05/2026

The 𝗮𝘃𝗮𝗶𝗹𝗮𝗯𝗹𝗲 fine bracelet from Partabargh, Rajasthan, India, and dating to around 1850, comprises five gold panels joined by three rows of faceted gold beads. (length: 23cm, width: 3.1cm, weight: 51g)

Each panel holds a thin glass sheet over scenes executed in gold foil against a green foil background – a type of work known as theva (or thewa) work. The panels are decorated with hunting scenes – a hunter with a musket aiming at a lion attacking a deer, along with other deers.

The central panel is the largest; the remaining four are the same size as each other. Each panel is backed with thin gold sheet.

The bracelet closes securely with a sliding box clasp.

Theva work (‘theva’ means ‘setting’) was a specialty of Raj Soni goldsmiths from Partabargh in Rajasthan. They were men, all from one large, extended family. The technique involved incising and then cutting out small scenes and images from thin 24 carat gold. This was then fused onto glass behind which green and sometimes red foil was attached. The whole is then held in place by silver or in the case here, gold, mounts. Typically, theva work shows village scenes, hunting scenes, or Hindu deities.

𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑩𝒂𝒄𝒌𝒎𝒂𝒏
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𝗖𝗼𝗻𝘁𝗮𝗰𝘁 𝘂𝘀 𝗱𝗶𝗿𝗲𝗰𝘁𝗹𝘆: 𝗮𝗱𝗺𝗶𝗻@𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺

𝗩𝗶𝘀𝗶𝘁 𝗼𝘂𝗿 𝘄𝗲𝗯𝘀𝗶𝘁𝗲. 𝗪𝗲𝗯𝘀𝗶𝘁𝗲 𝗹𝗶𝗻𝗸 𝗶𝗻 𝗯𝗶𝗼.

𝘄𝘄𝘄.𝗺𝗶𝗰𝗵𝗮𝗲𝗹𝗯𝗮𝗰𝗸𝗺𝗮𝗻𝗹𝘁𝗱.𝗰𝗼𝗺
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