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Preisdatenbank abonnierenA Chinese silver gilt, filigree, enamelled and stone set tea caddy, cylindrical, mesh ground, overlaid with foliate scroll and floral decoration, Persian style cartouches, set with turquoise and coral cabochons and cloisonne floral sprays, the central band between ruyi head and floral rosette borders, 10.5cm high, 8.94ozt
A BLUE AND WHITE OCTAGONAL TEA CADDY, KANGXI PERIODChina, 1662-1722. The sides painted with flowers rising from vases and bowls on high stands as well as mountain landscapes with trees and houses, the shoulders with simplified versions of the same motifs, the circular cover with an octagonal top painted with flowers on scrolling leafy vines.Provenance: Holzapfel collection, Geneva, Switzerland. The greater part of the Holzapfel Oriental Ceramics collection was formed in England and Ireland in the late 1950s and 1960s. After the death of Mr. Holzapfel, most of his pieces went to his children, ten in all. Two of Mr. Holzapfel's eldest sons then started their own collections in the early 1970s, both by adding significantly to their shares of the inheritance. Collecting was eventually continued by one of Mr. Holzapfel’s grandsons, who lives in Switzerland and is a member of the Oriental Ceramic Society. This lot was acquired by second generation members of the Holzapfel family circa between 1970 and 2005 and has remained in the family ever since.Condition: Good condition with manufacturing flaws, such as pitting, dark spots, and irregularities to the neck, a small chip to the cover with an old fill.Weight: 484.8 gDimensions: Height 12.6 cm13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.康熙青花八角茶葉罐中國，1662-1722年。八面分別描繪花瓶與花卉紋、樹木和屋舍等山水景觀，肩部同樣描繪相似圖案，圓蓋上多葉藤蔓花紋。來源：瑞士日內瓦Holzapfel收藏。 Holzapfel 東方陶瓷收藏的大部分藏品是在1950年至1960年代在英國和愛爾蘭成立的。Holzapfel老先生去世後，他的大部分藏品都交給了他的十個孩子。Holzapfel先生年長的兩個孩子隨後於1970年代初開始了自己的收藏，都擴大了從遺產得到的收藏。Holzapfel先生的孫子之一他目前居住在瑞士，是東方陶瓷協會的成員，他最終延續了收藏工作。此拍品是Holzapfel家族第二代1970 年至 2005年間收藏的，在家族相傳至今。圖片：Holzapfel東方陶瓷收藏的一部分，包括此拍品。品相：狀況良好，帶有製造缺陷，例如點蝕，黑斑和頸部不規則， 蓋上一小缺口，有舊時填充物。重量：484.8 克尺寸：高12.6 厘米
A LARGE AND MASSIVE ‘DOUBLE VAJRA’ PORCELAIN CADDY FOR SACRED TEA, LATE MINGChina, late 15th to mid-17th century. Of square form, the sides painted with Buddhist lions and cubs with brocade balls and ribbons surrounded by scrolling clouds and flames, the cover with a continuous lotus scroll to the sides and a visvavajra, the utter symbol of protection, at the top. The interior is fortified with a vertical flange to each side, supporting the considerable weight of this storage canister.Provenance: British private collection. Condition: Overall in good condition with wear, firing flaws, kiln grit, pitting, and fritting, the unglazed ware burnt to orange at the base, all exactly as expected on late Ming wares. Small hairlines, traces of usage and minor losses around the foot rim. Two areas of old repair to shallow surface chips (ca. 3 x 3 cm each).Weight: 16.4 kg (excl. cover) and 1,576 g (the cover) Dimensions: Height 50.4 cmThe present caddy was used to store ‘Dian’ tea, served only in a sacred hall where all the monks of a monastery or temple would gather before the Buddha, after the tea bell was struck by the tea monk as an initiation of the tea ceremony.The visvavajra on the cover is a most potent and indestructible symbol of protection, placed in this particular spot not only to dispel evil, temptation, and deception from the four directions, but also to repudiate individuals from withdrawing - thus desecrating - the precious contents of this caddy.The double vajra motif appears to have entered the Chinese repertoire of porcelain designs with the increased popularity of Lamaism – Tibetan Buddhism - in the Yuan dynasty. As early as 1207 Ghengis Khan sent envoys to Tibet, and a system developed so that Tibet accepted Mongol protection and suzerainty while providing the Mongols with spiritual guidance. In 1239, however, a Mongol army under Koden, second son of Ogodai Khan attacked Tibet, and the Tibetans decided to negotiate. The result was that Tibet submitted to the Mongols and the latter appointed the abbot of the Sakya monastery to exercise political authority over the whole of Tibet. The magic of Tantric Buddhism appealed to the Mongols and when they were initiated into the practices of Lamaism, they began to adopt that type of Buddhism to take the place of their own Shamanism.When Kublai Khan took over the great Khanate in 1260, he made Lamaism the national religion of the Mongols. After the Mongols established the Yuan dynasty in China in 1279, Lamaism flourished, receiving huge grants of land from the ruling house and the nobility. Tibetan Buddhist iconography appeared on objects in a variety of media made for the Yuan court. These included motifs such as the double vajra, which is seen on blue and white porcelain of the period. The influence of Lamaism on these porcelains came not only from the interests of the Mongols themselves, but from the Tibetan and Nepalese craftsmen who held high positions at the imperial porcelain kiln at Jingdezhen. The famous Nepalese artist Aniko (1245-1306) was appointed head of the Imperial workshops in 1278.In the Ming dynasty a number of the Chinese emperors had a genuine interest in Lamaist Buddhism, but they also patronized Lamaism as a way of maintaining control over both the Tibetans and the Mongols, through the support of the powerful high lamas. The Yongle Emperor involved both Tibetan and Nepalese craftsmen in the building of his new palace in Beijing. He also involved them in the running of the Imperial workshops, as had the previous Mongol dynasty. Their influence can clearly be seen in the works such as exquisite gilt-bronze Buddhist figures in Tibetan-Chinese style made during this reign. These pieces and those of the succeeding Xuande period (1426-35) were made with reign marks and for ritual use by the Imperial household or as gifts from the emperor to high Tibetan lamas favored by the Chinese court.During the reign of the Chenghua Emperor (1465-87) there were 437 Tibetan monks holding high rank and 789 lamas who could enter the court freely. The emperor’s advisers became concerned by this preoccupation with Buddhism and the amount spent by the emperor in connection with it, so that they suggested a sharp reduction in his support of Buddhism. This appears to have been adopted for the middle part of his reign, but his resumption of expressed interest in Buddhism can clearly be observed through the arts produced in the latter years of the Chenghua reign. Among these, the ceramics made at the imperial kiln provide a good indication of the incorporation of Buddhist motifs, including Tibetan Buddhist motifs, on porcelains made for the court.Literature comparison: A somewhat simpler double-vajra and ribbon design can be seen on the interior of a blue and white dish, in the collection of the Palace Museum, Beijing, illustrated in Blue and White Porcelain with Underglaze Red (II), The Complete Collection of Treasures of the Palace Museum, vol. 35, Hong Kong, 2000, p. 9, no. 7. A dish with double vajra on the interior, which is similar to the Beijing dish, was excavated at the Ming imperial kilns from the late Chenghua stratum and is illustrated in The Emperor’s broken china – Reconstructing Chenghua porcelain, London, 1995, p. 77, no. 102. A double vajra can also be seen in the central medallion on the interior of a large blue and white bowl in the collection of the Idemitsu Museum, illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, color plate 140. Compare also to a dish with a double vajra from the collection of Sir John Addis, illustrated by Jessica Harrison-Hall in Ming Ceramics in the British Museum, London, 2001, no. 6:10.Auction result comparison: Compare with a blue and white dish from the Ming dynasty, showing a closely related double vajra as on the present caddy, at Christie’s London in Rarity and Refinement: Treasures from a Distinguished East Asian Collection, on 15 May 2018, lot 7, sold for GBP 81,250.明代末期大型青花金剛杵茶葉罐中國，十五世紀末至十七世紀中葉。茶葉罐外壁可見太獅少獅戲珠圖，四周是滾動的雲彩和火焰，頂部纏枝蓮紋，側面可見金剛杵。 來源：英國私人收藏. 品相：總體而言狀況良好，有磨損，燒傷缺陷，窯渣，麻點和燒結現象，露胎部部成橙色，完全符合明代晚期瓷器的特徵。 細小的裂縫，使用痕跡和腳沿周圍的輕微磕損。有兩處舊時修復區域小開片（每片約3 x 3厘米）。 重量：不含蓋16.4 公斤；蓋1,576 克 尺寸：高50.4厘米 拍賣結果比較：於2018年5月15日 倫敦佳士得 Rarity and Refinement: Treasures from a Distinguished East Asian Collection 拍場中，與一件明代時期藍白盤比較，出与本罐密切相关的双金刚，lot 7，售價GBP 81,250。
A pair of late Victorian silver apostle spoons by James Deakin & Sons, Sheffield 1897, with faded gilt bowls, the stem with horned devil to one end and apostle finial, each 16.5 cm long, together with a Continental silver spoon with embossed Dutch girl and children, and a 1898 silver caddy spoon with the Virgin and child finial, the bowl with Roman style coin, weight 157 g
Silver reproduction Georgian style caddy spoon with shell bowl and scallopshell tab handle, Birmingham 1991, an Edwardian silver-mounted glass matchholder on stepped silver-mounted circular foot, Birmingham 1904, 5.5cm high, another silver-mounted ribbed glass matchholder and a small silver trumpet vase, 11.5cm high (4)
An antique 19th Century English papier mache tea caddy of typical form having painted simulated burr / burl wood grain. Slight domed lid with armorial brass mounts. Hinged lid opening to reveal a matching burr interior with twin caddy sections and turned ivory handles. Measures approx; 12cm x 18cm x 12cm.
A CASKET SHAPED TEA CADDY WITH GILT MOUNTS,approximate height 17cm x width 31cm x depth 16cm, lacking mixing bowl, together with a Georgian toilet mirror in need of restoration, approximate height 45cm x width 34cm x depth 17cm, Chinese root carving of a male figure and a display case of sea shells
A collection of assorted silver flatware, including a pair of George III silver tablespoons, later decorated as berry spoons, a set of six teaspoons, a small ladle with twisted whalebone handle, a Victorian silver and mother of pearl fruit knife, a caddy spoon and other items, weighable silver 8oz 3dwt, 254g (qty)
A 19th century brass inlaid rosewood tea caddy, a similar mother of pearl inlaid box and a rosewood writing slope (3). Tea caddy with feet detached but retained. No key. Fittings complete but some detached. Veneer on top with slight lifting. Mother of pearl inlaid box with front beading detached but retained, slight wear. Writing slope with slight inlay lacking, some minor leather loss to the fitted interior. No key.
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