A Victorian 18ct gold knot design ring, marked for Birmingham 1886, ring size O, together with a George V diamond set 18ct gold ring, the central mixed cut diamond claw set in yellow marks for Birmingham, 1911, ring size L, gross weight 8.0gms (2)CR; Knot ring: Overall condition is good. No signs of splitting, thinning, re-sizing or repair. There is general scratching, wear and tear to the head and shank commensurate with age and use. All hallmarks to the interior are crisp and legible.Diamond example: There is a chip at the edge of the table of the central diamond, and possibly a hairline crack running from it, seen at 10x under reflected light. There is Moderate where to the claws of the setting, but the stone appears to be secure. Engraved decoration to shoulders is in good order. There is heavy thinning to the shank and some light misshaping, but no splitting, major damage, resizing or repair. Hallmarks are crisp and clear.
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A topaz set 18ct gold ring, the marquise shaped golden coloured topaz measuring 15mm x 7mm, claw set in white metal, continuing to an 18ct yellow gold plain polished shank, hallmarked Birmingham 1976, ring size J ½, weight 4.7gmsCR; Central stone is in good order, no cracks, chips or losses. Some light scratching and wear only. Moderate wear to claws, but stone is secure. Some thinning to the shank, general scratching and wear, but no splits, repairs or resizing.
A Victorian yellow enamelled locket pendant, the cover with an enamelled portrait of a masked women in 18th century attire, with small rose cut diamonds set to eyes, 35mm x 28mm, two compartments to interior, weight 10.2gmsCR; Diamonds are in tact, and secure in their settings. There is a small chip to the left side of a portrait, though it does not expose the metal beneath. There is some light scratching and wear to the enamel, but it is largely it good order. There is moderate scratching and tarnish to the front and reverse, but no denting, thinning, splitting or repair. One of the glazed panels to the interior is missing, but the remaining one is in good order. The red fabric to the interior is heavily frayed and worn. Hinges operating smoothly and securely. Clasp is firm but does open, and closes with a snap.Please note: The yellow metal is unmarked, and untested.
A diamond and sapphire five stone 18ct gold ring, comprising three oval mixed cut sapphires and two round brilliant cut diamonds, all set in 18ct yellow gold, size M 1/2, together with a sapphire and diamond floral cluster 18ct gold ring, size O, gross weight 6.4gms (2)CR; Floral cluster: All stones are present and in tact. Sapphires show a moderate degree of wear, with nibbling to the facet edges and scratches to the faces. There is wear to the claws around the stones, but they appear to be secure. Setting in good order, no signs of thinning, splitting or repair. General scratching and wear to the shank, but no signs of thinning, splitting, resizing or repair. Piece would benefit from professional cleaning.Five stone: All stones are present and in tact, no cracks, chips or losses, some light scratching and wear commensurate with age and wear. Claws are in good order, stones are secure. Some thinning to the base of the shank, but no splitting, resizing or repair.
A Victorian coral snake bracelet, the head and tail with scale effect decoration, red pastes set to eyes, the body decorated with coral beads, 7.7cm diameter (at fault)CR; several coral beads are missing, and the thread has become detached at the tail end of the snake. The coral bead twists are loose around the tail, and repair is required. The coral bead twists around the middle and neck appear secure. Signs of glue around the head of the snake. The beads show general scratching, wear and losses at high points. The head and tail are in good order, some signs of light splitting around the sides, and general scratching and wear commensurate with age and use. The glass eyes are heavily scratched and nibbled.
A 9ct gold hinged bangle, the white gold oval bangle with applied elephants in yellow, rose and white gold, tongue and box snap clasp fastening, 6.7cm x 5.8cm, weight 26.3gmsCR; Elephants in good order, no splitting, major damage or signs of repair. Some light denting, scratching and general wear consistent with use. Bracelet proper in good order, no denting, splitting, thinning or repair. Hinge in working order, clasp opening smoothly and closing with a click.
A Mont Blanc 'Jules Verne' Limited Edition fountain pen, the silver coloured case with blue guilloche enamel decoration, 18ct nib, numbered 08909/18500, 14cm longCR; Light scratching and wear to the enamel, with a few concentrated patches of wear around the contact point wear the cover meets the body. No large chips or losses. White metal mounts on pen and cover in good order, no splitting, thinning, repair or loss. No personal engravings or markings.
Spanish school (19th century),Portrait of a young girl holding a jug with mountains and lake beyond,Oil on canvas,Unsigned,30.5cm x 25cm,Framed CONDITION REPORT:The canvas is not tight on the stretcher but, but appears securely attached. The paint surface shows expected craquelure, with some areas of the lower and upper sky showing finer craquelure over what appears to be light staining and scuffing. There are further areas of finer craquelure and wear to the lower parts of the headdress. The back of the canvas shows a craquelure pattern which partially corresponds to the worn areas on the front of the picture. Examination under UV shows no evidence of repair or restoration. There is a loss to the top edge of the lower frame mount over almost its full length, so the canvas does not fit perfectly into the frame and shows wear to the edges as a result of the consequent movement. The frame shows losses to the moulded details, particularly at the bottom left hand corner.
A set of three Chinese porcelain stacking cups, Daoguang seal mark, each of tapered cylindrical form and externally decorated en grisaille, iron red seal mark to the underside of the largest example, widest 11cm (3) Condition Report: No obvious chips or signs of restoration. The largest cup has a small stained rim descending hairline. Gilt and surface decoration appears good and remains relatively unworn. Some light surface scratches.
A Chinese Nephrite Jade inset table screen, the four-fold screen set with spinach jade panels, each signed in gilt and carved depicting geishas standing, within a hardwood brass inlaid frame, 44.5cm high x 43.5 wide Condition Report: Some sun fading to the back of the screen, and two hair line cracks to the reverse of one panel, with the pediment of the same panel bent slightly inwards, see further images, otherwise only light scuff marks and wear commensurate with age and use.No chips or cracks to the jade panels
A set of four blue and white 'Taymouth Castle, Perthshire' pattern plates by Enoch Wood & Sons, 19th century, with another from the same series titled 'Fonthill Abbey', all 26cm diameter, with a Rogers pearlware pierced dish decorated in the 'Elephant' pattern, 23.5cm wide, and a Rogers Windsor Castle pattern plate, 20cm diameter, a Rogers sauce tureen printed with an internal zebra pattern with lion's mask handles and lion finial, 20.5cm wide, with a further selection of printed wares (Qty) (at fault)Condition reportTallest tankard has 1cm chip to rim, small star shaped hairline crack to base, and a small repair to the rim.Second tankard has minor under glaze faults and light scratching to the interior base.Tureen is heavily crazed with chip to cover rim and hairline crack.Pot and cover has chips to rim and cover and overall heavy crazingAll plates have some crazing, hairline cracks and chips
A pair of George III silver spectacles, marks for 'TP', probably London 1801, circular frames with plain polished mounts and folding arms, complete in a brown leather glasses caseCR; Glass in good order, no cracks, chips or losses. Slight bent/misshaping to the bridge. Slight bend to the left arm. Light denting, moderate scratching and wear to the glasses consistent with age and use. Case shows very heavy scratching and wear to the exterior. Please see additional pictures for illustration.
A Minton game bird part dinner and coffee service, comprising, six dinner plates each signed A.Holland, hand painted with scenes titled, partridge, snipe, quail, woodcock, mallard and a further partridge, 27cm diameter, a coffee pot, titled pheasant and signed RA.Shufflebotham, 19cm high, five coffee cans and saucers, two cans signed L.Sumner, and three signed R.Shufflebotham, four saucers signed L.Sumner and one unsigned, three coffee cups and saucers and two tea cups and saucers by various artists, all titled (27)Condition reportVery small underglaze stain to the interior of one cup, very light tarnishing to the gilt on the coffee pot handle, otherwise good condition with no visible cracks, chips or repairs
A pair of Royal Doulton 'Doulton & Slaters Patent' vases of large proportions, early 20th century, of inverted baluster form with flared neck and stepped spreading foot, decorated in an impressed lace pattern on a graduated blue ground with gilt highlights, impressed maker's marks and painted 'X2031 II' to base, 43.5cm high (2)Condition reportThe foot on one vase has an uneven rim, possibly indicating restoration, underglaze paint 'drip' faults at the neck of one vase, some light rubbing to the gilt detail, otherwise no visible cracks, chips or faults.
A Wedgwood 'Countryware' part service, comprising: a tureen and cover, seven salad plates, two dinner plates and two teacups and saucers, with a similar Coalport 'Countryware' part service, comprising: five dinner plates, ten side plates, two desert bowls, four coffee cups, a teacup and eleven saucers (Qty) (at fault)Condition reportGeneral light wear with some minor cutlery scratches to plates, one dinner plate has a small hairline crack and a side plate with a full width hairline crack
A Minton part service in the 'Buckingham' pattern, comprising: eight dinner plates, seven desert plates, eight side plates, eight teacups and eight saucers (Qty) (at fault)Condition reportOne teacup has a hairline crack to the interior, the majority of pieces with a very small drilled mark/chip below the makers name indicating possible seconds.Otherwise general light wear and cutlery marks.
A cased set of six Danish enamelled silver gilt coffee spoons by Marius Hammer, each with engine turned decoration and polychrome enamel to bowls and handles, each 9.5cm long, together with a cased set of four silver gilt and enamelled coffee spoons, Turner & Simpson, Birmingham 1961, each 8.6cm long, gross weight 2.81ozt (10)CR; Turner & Simpson examples: Some loss the the enamel on the reverse of the bowls on the blue examples. All show scratching and wear to the enamel decoration on the bowls and handles. Bowls show moderate scratching and some loss to the gilt. There is wear to all of the hallmarks, varying from moderate to heavy across all examples. There is some thinning around the edges of the bowls, most notably on the light blue example. No large dents, splitting or repair to any of the examples.Marius Hammer examples: Loss to the enamel on the edge of the bowl of the light blue example. All examples show scratching and wear to the enamel on the bowls and handles, though this is most notable on the dark blue example. General scratching and wear to the gilt of the bowls and handles. No large denting, splitting or repair.
An early 20th century brass chandelier, the plain cylindrical support extending to a baluster shaped pendant over five arched arms, each applied with scrolling openwork detail and terminating in the light fittings with Art Nouveau opaque trumpet shaped glass shades, 80cm high Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
An early square form brass candlestick, possibly Dutch 17th century, the baluster knopped stem upon a square drip tray raised on four paw feet, 16.5cm high, with a pair of early 19th century French copper alloy candlesticks, each baluster stem raised upon a stepped octagonal base with ogee rim, 26cm high (3)Condition reportDutch candlestick has some light dents and pitting, small split to the stem collar, possibly caused by compression.One of the French candlesticks 'rocks' slightly when on a flat surface, the sconce of the same candlestick also has a small repair/fault running from the rim.Otherwise only light tarnishing and minor pits
A Relko laminated wooden rocking horse, late 20th century, with a natural wooden finish, applied with horse hair mane and tail along with a leather saddle and bridle, raised upon swing rockers, the base impressed with the makers name, 128cm highCondition reportChip to the horses hind quarter, 3cm x 2cm, small chip /hole on the horses chest 2cm long.General light rubbing wear particularly to the top of the front legs.Light rubbing wear to the saddle and tack commensurate with age and use.Water stain to the base over the makers name, see image.
50 Bi Planes, Warplane Cards (Photo on Front, Country and name, Info & Tech' on Back) approx 6 x 6, A mixture of Transport and Utility, Reconnaissance and Observation, Light, Medium and Heavy Bombers, good condition. Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Large Presentation Pack Collection of 19 mint packs, including: Football Legends, Enid Blyton, H. M Queen Elizabeth the Queen Mother, Transports of Delight, Pillar to Post, Airliners, Scotland, Magical Worlds, Comedians, Health, Queens Beasts, The Great Tudor, Happy and Glorious 1992, Tales of Terror, Carnival, Astronomy, Light Houses, Swifter Higher Stronger and Endangered Species. Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
AUGUSTE RODIN (1840-1917)Age d'Airain, petit modèle dit aussi '2ème réduction' signed 'Rodin' (on the base), inscribed with the foundry mark 'Alexis Rudier Fondeur Paris' (to the verso) and stamped with the raised signature 'A. Rodin' (on the inside of the base)bronze with brown-black patina64.4 cm (25 3/8in). highConceived between 1875-1877, this reduction from November 1904, this bronze version cast by the Alexis Rudier Foundry in November 1943.Footnotes:This work will be included in the forthcoming Auguste Rodin catalogue critique de l'oeuvre sculpté currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay.ProvenanceMusée Rodin, Paris.Eugène Rudier Collection, Le Vésinet (acquired from the above in 1943).Galerie Beyeler, Basel.Arthur Stoll Collection, Arlesheim (acquired from the above in 1954); his sale, Kornfeld und Klipstein, Bern, 18 November 1972, lot 169.Private collection, Switzerland (acquired at the above sale).Acquired from the above by the present owner.ExhibitedBasel, Galerie Beyeler, Le petit format dans l'art moderne, 1 December 1954 – 10 January 1955, no. 42/b.LiteratureG. Grappe, Catalogue du Musée Rodin, Paris, 1927 (plaster version illustrated p. 28).M. Aubert, Rodin Sculptures, Paris, 1952 (another cast illustrated pl. 11).M. Fischer, Sammlung Arthur Stoll, Skulpturen und Gemälde des 19. und 20. Jahrhunderts, Zurich, 1961, no. 7 (the present work illustrated).C. Goldscheider, Rodin, Paris, 1962 (another cast illustrated pp. 54-55).R. Descharnes & J-F. Chabrun, Auguste Rodin, London, 1967 (plaster version illustrated p. 54).J.L. Tancock, The Sculpture of Auguste Rodin, The Collection of the Rodin Museum Philadelphia, Philadelphia, 1976, p. 356.C. Goldscheider, Auguste Rodin, catalogue raisonné de l'oeuvre sculpté, Vol. I, 1840-1886, Paris, 1989, no. 95d, p. 116.I. Ross & A. Snow (eds.), Rodin, A Magnificent Obsession, London, 2001, no. 17 (another cast illustrated p. 28).A. Le Normand-Romain, The Bronzes of Rodin, Catalogue of works in the Musée Rodin, Vol. 1, Paris, 2007 (plaster version illustrated p. 128).'Beauty is everywhere. It is not beauty that our eyes lack, it is our eyes that are deficient in perceiving it. Beauty is character and expression. And there is nothing in Nature that has more character than the human body. Through its force it evokes the widest variety of images. At times it is like a flower: the way the torso bends is like the stem...At times it is like a supple creeper..At other times still it is an urn...The human body is first and foremost the mirror of the soul and its greatest beauty comes from that' – A. RodinAge d'Airain is a work of unprecedented importance within the oeuvre of Auguste Rodin. It not only transformed European sculpture but truly set the artist on his path as the father of modern sculpture. Initially causing huge controversy through its unfathomable perfection, critics soon realised the importance of both the sculpture and indeed its author. With versions of the figure in major public collections such as the Victoria & Albert Museum, London, the Metropolitan Museum of Art, New York and of course the Musée Rodin in Paris, it is undeniable how key this work is to our appreciation of sculpture as a medium.Rodin began his work on Age d'Airain in Brussels after an inspirational trip to Italy in 1876, where his exposure to the Florentine masters Donatello and Michelangelo had a profound effect on him, particularly Michelangelo's Dying Slave with which we can draw a clear comparison with Age d'airain. His chosen muse was Auguste Neyt, a Belgian soldier, and not a professional model. It was through his form that Rodin sought a raw naturality in place of an exaggerated pose. This is an early example of Rodin's desire to strip away the narrative of myth and allegory from academic sculpture and to explore the natural elements of the human form. He dismissed the gods and muses of Neo-Classical tradition and focused on the distinctly human characteristics of psychology and physicality, making his surfaces rougher and more unfinished in contrast to the polished idealised figures of his predecessors like Jean-Baptiste Carpeaux and Albert-Ernest Carrier-Belluese. As a naturalist, Rodin was more concerned with character, emotion and movement: it is this appreciation for the subtlety of movement that perhaps stems from the influence of his teacher Antoine-Louis Barye, who paid great attention to the details of animals in motion. Auguste Neyt provided a figure that offered Rodin the chance to depict both an outer physicality as well as the inner emotional conflict of the modern man.Age d'Airain recalled an early era in the history of humankind, a suspended moment of self-awareness and human awakening. It possesses a mastery of light, form and shadow, with rugged textured surfaces, all of which add to the work's startlingly realistic presence. After its unveiling at the Salon in Paris in 1877, the perfect realism of Age d'Airain caused many critics to believe it was in fact a surmoulage, cast directly from the body of the model. Whilst fighting to deny these allegations, Rodin's notoriety was in fact boosted by the affair and it eventually led to the French government purchasing a version of the work, in addition to commissioning La porte de l'enfer in 1880 - one of Rodin's most celebrated works. We can see the true precision of the Age d'Airain from the photograph of Neyt, taken by Gaudenzio Marconi, a prolific photographer of nudes. Through studying this image, Rodin's masterful execution of the sculpture is only emphasized and his brilliance in capturing the human profile reinforced.Auguste Rodin's combination of a boldly modern approach to form and finish, whilst maintaining a respect for sculptural tradition through his focus on the human form, is as remarkable today as it was during his lifetime. His sculptures are still revered for their beauty, emotional power and technical brilliance, with Age d'Airain considered amongst his finest work. As one of Rodin's earlier works and the catalyst for his international renown, there is no denying its pivotal importance.This smaller reduction of Age d'Airain, as documented in the Musée Rodin Archive's notes from René Cheruy, Rodin's secretary, would have been created at Rodin's request by Henri Le Bossé, reducer/enlarger, after November 1904 with the aim of donating a bronze copy to Léon Bourgeois, the first French delegate to the Peace Conference in The Hague. The first version, cast in 1907 by the Alexis Rudier Foundry, is now in the Musée Municipal de Chalons-sur-Marne, France.As outlined in the present work's certificate, we know from the production records of the Alexis Rudier Foundry that foundry workers Alliot and Nadiras worked on this cast for thirty-three hours and a further five hours for the mounting. This invaluable archival note is the perfect anecdotal reference that outlines the importance and craftsmanship of these casts of Rodin's work.This particular cast of Age d'Airain has belonged to a number of important collectors and was once housed in the collections of Eugène Rudier (son of Alexis Rudier), Galerie Beyeler and Arthur Stoll. Arthur Stoll (1887-1971) was a prominent Swiss biochemist, who, alongside his interest in science, built a prestigious collection of art. Part of this collection was sold at Kornfeld und Klipstein (today Galerie Kornfeld) in 1972, the year after his death – the auction included over 250 works, in... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
ÉDOUARD VUILLARD (1868-1940)Madame Vuillard en peignoir rouge stamped with the artist's signature 'E Vuillard' (lower right)oil on canvas66.7 x 55.8cm (26 1/4 x 21 15/16in).Painted circa 1911Footnotes:ProvenanceThe artist's studio. Charles-Auguste Girard Collection, Paris. Private collection, France. LiteratureA. Salomon & G. Cogeval, Vuillard, The Inexhaustible Glance, Critical Catalogue of Paintings and Pastels, Vol. II, Paris, 2003, no. IX-39 (illustrated p. 1049).Édouard Vuillard is celebrated for his Intimist paintings of domestic interiors inhabited by his family and those of his inner circle. In the present painting, Madame Vuillard en peignoir rouge, Vuillard returned to arguably his most favoured subject, that of his mother. Vuillard never married and remained close to his mother until her death in 1928. She was a figure to whom Vuillard returned to paint throughout his career and it was through her many portrayals that he was able to hone and develop his formal style, both during his allegiance to the ground-breaking Nabis group and beyond. Painted circa 1911, Madame Vuillard en peignoir rouge issues from Vuillard's mid-career, a moment when he was enjoying both critical and commercial success. Many contemporary commentators observed Vuillard's fortunate position in being able to select the work that he enjoyed without the necessity to take on onerous commissions. Indeed, fellow painter Walter Sickert even confided that he envied Vuillard's 'liberty'. In 1908 Vuillard had settled permanently with his mother in Clichy, northwestern Paris. It was a district that he knew well, and he was delighted with the airy apartment which offered him a bird's eye view of Place Vintimille (now Place Adolphe-Max). Unburdened by financial constraints, Vuillard was free to paint his preferred subjects and, as so often, he turned to those closest to him. The present painting continues the subject matter of his earlier Nabis paintings, where, in contrast to other members of the Nabis group who preferred esoteric subjects to communicate their Synthetist visions, Vuillard turned to domestic, even mundane observations to reveal latent mystery and sentiment. Writing in his journal in 1893, Vuillard posed the rhetorical question: 'Why is it in the familiar places that the mind and sensibility find the greatest degree of genuine novelty?' (E. Vuillard quoted in B. Thomson, Vuillard, Oxford, 1988, p. 44). Seated in a yellow and green armchair, Madame Vuillard is depicted here within the cluttered Clichy apartment, surrounded by the oriental rug, patterned textiles, and richly upholstered furniture so typical of the bourgeois salons of France's Third Republic. Despite her central positioning, little attention is given to Madame Vuillard's physiognomy, and she is depicted without detail by the same energized brushwork that Vuillard employs throughout the composition. This formal simplification was in accordance with the Nabis' philosophy, which sought to represent a symbolic distillation of experience. Consequently, a faithful representation of the subject was suppressed to heighten the emotional import of the composition. As Vuillard explained, 'a woman's head just produced in me a certain emotion, I must make use of this emotion alone and I must not try to remember the nose or the ear, they're of no importance' (E. Vuillard quoted in B. Thomson, ibid, p. 28). In Madame Vuillard en peignoir rouge, Vuillard subordinates the figure of his mother and foregrounds an emphasis on line, pattern and colour. The resulting effect serves to unify the disparate elements of the scene and pull them together into one plane, lending the whole composition a rich, tapestry-like texture. Famed as a colourist, Vuillard's palette in the present work is notable for its boldness and inventiveness. The carmine and hot pinks of Madame Vuillard's housecoat are echoed in the burgundy of the chest, as well as the swirling lilacs and mauves to the carpet and striped tablecloth. Meanwhile, Vuillard offsets these warm tones with flashes of cooler pigments. The citrus yellow of the armchair and emerald cushions of the chair next to the fireplace chime in the upholstery of the large square-backed chair to the foreground, whose jarring black contours are so reminiscent of Cloisonnism favoured by the Nabis. As contemporary critic André Gide observed '[Vuillard] never puts forward one colour without excusing it with subtle and precious repetition' (A. Gide quoted in B. Thomson, op. cit., p. 72).While disruption of the picture space and a deliberate blurring of the boundaries between background and foreground firmly looks back to Vuillard's involvement with the Nabis and their predilection for flat, two-dimensional art, Vuillard's embracing rather than reductive view of the subject marks a development from his more austere compositions of the 1890s. In the present work he takes care to denote small details of the room, from the herringbone diagonals of the parquet flooring to the fall of light on the cloth atop the nesting table or the satin lustre of the lemon armchair - considered observations which can be attributed to Vuillard's use of photography as an aide-mémoire to guide his later compositions.It is very likely that Vuillard acquired his first Kodak box in 1897. Thereafter, he became an avid champion of photography and used it enthusiastically to assist and influence his creative process. Vuillard had no interest in posed subjects or picturesque views but rather used the medium to make photographic records as tools to enable him to better understand his subject. In the present work, the documentation of detail alongside the abrupt cropping of the armchair to the lower right and alert posture of Madame Vuillard, poised as if to stand, suggests a moment of captured stasis and that Vuillard may have worked directly from a photographic source. Vuillard remained committed to genre subjects and particularly depictions of domesticity throughout his career, even at a time when the prevailing avant-garde, notably the Fauves, began to experiment with idyllic and Arcadian themes. Madame Vuillard en peignoir rouge is testament to the enduring fascination that Vuillard held for these quotidian, intimate spaces where, by returning to those most familiar to him, he was able to fully explore the formal potential of his compositions: 'In Vuillard's paintings the same models are featured again and again: children grow up and leave home, Lucy Hessel's hair turns grey, memories are evoked as one era succeeds another' (B. Thomson, op. cit., p. 110).For further information on this lot please visit Bonhams.com
PIERRE-AUGUSTE RENOIR (1841-1919)Paysage aux Collettes stamped 'Renoir' (lower right)oil on canvas18.6 x 41.1cm (7 5/16 x 16 3/16in).Painted in Cagnes circa 1905-1910Footnotes:This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.ProvenanceGalerie Bernheim-Jeune, Paris (acquired from the artist's estate after 1919).Galerie Adolphe Basler, Paris. Hammer Galleries, New York; their sale, Sotheby's Parke-Bernet, New York, 15 April 1959, lot 37. Blanche Swift Morris Collection, Miami Beach; her sale, Sotheby's, New York, 23 February 1984, lot 3. Galerie Klopfer, Zurich (1987).Private collection, South Africa.Private collection, Australia (acquired from the above circa 1998).ExhibitedCoral Gables, University of Miami, Joe & Emily Lowe Art Gallery, 18th, 19th and 20th Century Paintings, July - September 1962.LiteratureJ. & G. Bernheim-Jeune, Renoir's Atelier, San Francisco, 1989, no. 375 (illustrated pl. 121).G-P. & M. Dauberville, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, Vol. IV, 1903-1910, Paris, 2012, no. 2920 (illustrated p. 143; dated circa 1910).Painted circa 1905-1910, Paysage aux Collettes is a wonderful example of Renoir's renewed enjoyment of the landscape oeuvre, inspired by fresh surroundings. Prompted to move from Paris to the Mediterranean coast upon the advice of his doctor, the artist bought the five-acre hilltop farm of Les Collettes in 1907, having travelled repeatedly to the area before. Renoir was so enamoured by the original building's rural charm that he left the old structures intact and instead had a new home constructed for his family. Les Collettes and the surrounding views over medieval Cagnes-sur-Mer would provide a new and endless source of inspiration for the artist who sought to capture the gnarled olive trees, sun-drenched meadows and white-washed buildings on intimate, smaller-scale canvases such as the present work.In Paysage aux Collettes we see the characteristic rounded olive trees of Renoir's garden, their foliage realised with verdant greens and burnt yellows, the shadows formed in deep blues and russet tones. Punctuating the landscape are the billowing sheets of white linen hung out to dry, the evocation of a breeze created by fluid and loose brushstrokes. Continually seeking to capture the fleeting effects of nature, Renoir built a glass structure in the olive grove to serve as an outdoor studio to allow him to continue painting en plein air. His new focus on the surrounding landscape led him to comment in a 1918 interview with the art critic René Gimpel, 'The olive tree, what a brute! If you realise how much trouble it has caused me. A tree full of colours. Not great at all. Its little leaves, how they've made me sweat! A gust of wind, and my tree's tonality changes. The colours isn't on the leaves, but in the spaces between them. I know that I can't paint nature, but I enjoy struggling with it. A painter can't be great if he doesn't understand landscape' (Renoir quoted in J. House, Renoir, exh. cat., London, 1985, p. 277).The dancing arabesque shapes formed by trees in the present work are emphasised by their modelling in soft curlicue brushstrokes which appear to sway beneath our gaze. This movement is echoed in the sun-dappled grass and linen which blows in the summer breeze. Renoir's preference for fluid brushwork and layers of transparent colours may in part show the influence of his early training as a porcelain painter from 1854 to 1858.The strong Mediterranean sunlight encouraged Renoir to brighten his already vivid palette and led to an increasing use of red in all its nuances to capture the ruddy Provencal earth. Flecks of red appear throughout the trees and foreground, leading our eye around the work, while the piercing blue of the sky is echoed in the cool shadows in the laundry and grass below. Renoir's landscapes from this period were also typically painted on a smaller scale, but despite their intimate size are full works, densely painted and highly coloured, illustrating his belief that a painting should be attractive to look at, bringing pleasure to both the artist and the viewer. He told the younger artist Albert André, 'I like a painting which makes me want to stroll in it, if it is a landscape' (Renoir quoted in ibid, p. 14). In this aspect, Renoir stood aside from his Impressionist contemporaries who painted the modern world as they saw it, unembellished and un-idealised. Renoir's oeuvre maintained a distance from artistic doctrine, politics or the developments in photography and cinema which influenced so many others. His timeless compositions offered a refuge from the contemporary world and by the time the present work was painted, Renoir was increasingly looking back to eighteenth century classicism. Upon settling on the shores of the Mediterranean he rediscovered his love of classical antiquity, as well as his early interest in artists such as Watteau, Fragonard and Delacroix, whose works he had studied at the Louvre as a young student. Renoir found similarities in his idyllic surroundings with Watteau's landscapes in particular and referenced the tradition of French landscape painting through the use of trees as framing devices and a suffusion of light. Despite suffering from arthritis and being confined to a wheelchair in his later years, Renoir continued to paint every day apart from Sundays. Indeed Matisse, a visitor to the house in 1917, was astonished to see Renoir's mature work and declared these extemporaneous landscapes which celebrate the beauty of the warm Mediterranean coast, to be 'all his best work' (Matisse quoted in F. Harris, Contemporary Portraits, Fourth Series, New York, 1923, p. 125).Housed in a private Australian collection for over two decades, Paysage aux Collettes previously formed part of the prestigious collection of Blanche Swift Morris. Born in France, Blanche de Bilbao enjoyed early success in the theatre in Paris before marrying Colonel Nelson Swift Morris in 1933. The couple had homes in Chicago and Miami Beach and were known for their patronage of the arts and philanthropic contributions. The present work was sold in 1984 to benefit charity, alongside significant works by Henri Fantin-Latour, Eugène Boudin, Maurice de Vlaminck, Louis Valtat, Suzanne Valadon, Moïse Kisling and Camille Pissarro.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
GIORGIO MORANDI (1890-1964)Natura morta signed 'Morandi' (lower left); signed indistinctly 'Morandi' (on the reverse)oil on canvas43.8 x 50.4cm (17 1/4 x 19 13/16in).Painted in 1954Footnotes:ProvenanceDanilo Lebrecht (Lorenzo Montano) Collection, Verona (acquired directly from the artist circa 1954-1958).Thence by descent; their sale, Christie's, London, 30 November 1976, lot 67.Private collection, South Africa (acquired at the above sale).Thence by descent to the present owner.LiteratureL. Vitali, Morandi Catalogo generale, Vol. II, 1948-1964, Milan, 1977, no. 921 (illustrated).Giorgio Morandi occupies something of a unique position in the canon of Italian twentieth century art. His images of stillness act as a bridge between Metaphysical art's quest to capture the unsettling and enigmatic, and the elevation of the everyday found in Arte Povera. Despite living an extremely simple, inward-looking existence for the most part of his life, Morandi's renown extended far and wide in the Post-War period. Natura morta, painted in 1954, is a sublime example of the Bolognese painter's finest work from this crowning decade. When Alfred H. Barr Jr. (the pioneering American curator) travelled to Italy in 1948 sourcing works for his 1949 exhibition of Twentieth Century Italian Art at the Museum of Modern Art, New York, he was told by all that the greatest living painter in Italy was Morandi. His deceptively simple arrangements of bottles, dried flowers, cans and tins – the markings removed so as to further evoke a sense of timelessness – are synonymous with a contemplative minimalism that belies the agonising preparation that Morandi would undertake before completing each composition. Born in Bologna in 1890, Giorgio Morandi lost his father in 1909 and assumed the position as head of the family, living the rest of his life in their house in via Terrazza with his two sisters Dina and Maria Teresa. After attending the Belle Arti in Bologna, Morandi explored briefly the stylistic breakthroughs of Futurism, but the influence of Paul Cézanne and Jean-Baptiste-Siméon Chardin that he had explored at school continued to impact his work more keenly. Indeed, one cannot ignore the resonance of Cézanne's words when looking at Morandi's deliberately structured canvases: 'Treat nature by means of the cylinder, the cone, and the sphere... Lines parallel to the horizon give breadth... Lines perpendicular to the horizon give depth' (Paul Cézanne writing to Émile Bernard in 1904, in J. Rewald, (ed.), Paul Cézanne Letters, New York, 1976, p. 301). Morandi found in the still life genre the possibility to explore almost all that he wished to express about the human condition, collating over the years a cast of inanimate characters that would appear again and again in his canvases. The silk flowers, cigar tin and sugar bowl that gathered dust on the shelves of his studio on via Terrazza represented not liveliness but something more lasting: 'There is something in these still lifes that goes beyond, I will not say the subject, but the very fact of their being paintings, and quietly sings of humanity' (Cesare Brandi quoted in Exh. cat., Giorgio Morandi, London, 2009, p. 12). Morandi's stylistic development outwith the Academy in Bologna began with his discovery of his contemporaries in the Italian avant-garde. Having left Bologna briefly to serve in active duty in the First World War, Morandi suffered a breakdown in 1915 and was summarily discharged. This period of personal hardship and physical retreat saw the beginning of an interest in the developments made by Giorgio de Chirico and Carlo Carrà in Metaphysical painting, which Morandi explored through a series of still life paintings that display the same intense shadows and sense of disquiet that the one finds in de Chirico's piazze or Carrà's mannequins. Works from this period (1918-1922) very much sowed the seeds of what would come later, and represent Morandi's last great shift in style. From the mid-1920s onwards he retained this interest in the emotive and anthropomorphic power of the still life but began to develop an almost minimalist style and his famed approach to process. Initially displaying slivers of light and shade between the dust-covered objects, Morandi's compositions became more and more dense towards the beginning of the 1950s, with the familiar characters huddling ever-tighter together in a poetic defence. This is typified by the present work, Natura morta, where Morandi groups his bottles, tins and vessels in a close formation where almost no shadows fall between them, and the horizon line sits unbroken behind them. No clutter or hint of life beyond the studio exists in the scene: the composition is unabashedly a construct. The restrained palette of greens, greys and putties amplifies this sense of contemplative simplicity. Morandi placed the greatest importance in the process of selecting and assembling these groups of seemingly mundane objects to populate his still lifes. While the painting of the canvases themselves took comparatively little time, what occupied his mind was the process itself. He described his process to the painter Josef Herman in 1953, just a year before painting the present work: 'In a low voice, as though to no one in particular, he mused: 'What do people look for in my bottles?' I looked at him and he now looked at me. 'It is already forty years since I looked for some element of classical quiet and classical purity, a moral guidance perhaps more than an aesthetic one.' Then he changed the direction of his meditation. 'It takes me weeks to make up my mind which group of bottles will go well with a particular tablecloth. Then it takes me weeks of thinking about the bottles themselves, and yet often I still go wrong with the spaces. Perhaps I work too fast? Perhaps we all work too fast these days?'' (J. Herman, 'A Visit to Morandi', in L. Klepac, Giorgio Morandi, The dimension of inner space, exh. cat., Sydney, 1997, pp. 26-27). The present work not only exemplifies Morandi's Post-War refinement of the principles that he developed in the 1920s and '30s, but comes from a distinguished line of provenance. Natura morta was acquired from Morandi by the Italian writer and poet Danilo Lebrecht (better known as Lorenzo Montano, the pseudonym Lebrecht assumed in 1918) sometime in the late 1950s. Lebrecht had himself taken a role in the development of the Italian avant-garde, writing for the influential magazine Lacerba and founding publications such as Il Mese. Just as Morandi did, Lebrecht enjoyed his greatest acclaim during the late 1940s and 1950s. In 1958, around the time that he acquired this work, he was awarded the Premio Bagutta, one of Italy's highest literary accolades.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
A CHINESE LAVENDER-BLUE GLAZED WATERPOT 18TH CENTURY The slightly compressed globular body with an inverted rim, covered overall in a light-blue glaze, together with a wood stand, 7.4cm. (2) Provenance: from an English private collection, Somerset, acquired in the 1970s, and thence by descent.十八世紀 天藍釉水盂來源：英國賽默賽特郡私人收藏，購於1970年代，之後由家族繼承。
A PAIR OF CHINESE QINGBAI SMALL FOLIATE DISHES NORTHERN SONG DYNASTY 960-1127 Each potted as a flower, the six petals divided by crisp ridges in light relief extending towards the centre, the glaze with a clear blue tint, the flat bases unglazed, 11cm. (2) Provenance: from a British private collection, purchased from Priestley & Ferraro Chinese Art, 11th June 2003. A copy of the invoice is available. Illustrated: S Marsh, Brushpots: A Collector's View, p.170, where they are identified as from the Hutian kiln site in Jingdezhen, which later became the home of the Imperial porcelain factories.北宋 青白釉花口碟 一對來源：英國私人收藏，2003年6月11日Priestley & Ferraro（附發票複印件）。
Ken Howard R.A. (British, born 1932)Afternoon Light, Oia, Santorini signed 'Ken Howard.' (lower right); titled and dated '29.06.10/Afternoon Light OIA/SANTORINI' (on Artist's label verso)oil on canvasboard24 x 30cm (9 7/16 x 11 13/16in).(unframed)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Formerly from the Collection of Her Royal Highness The Princess Margaret, Countess of Snowdon: An aquamarine and diamond brooch by Cartier, 1932, the oval hoop set with circular-cut aquamarines, each shoulder with hexagonal-cut aquamarine highlight set between twin scrolls of brilliant-cut diamonds, mounted in platinum, engraved with the ownership mark ‘M’ beneath The Princess Margaret’s coronet, numbered ‘9865’ and ‘6656’, width 51mm. £40,000-£50,000 --- Accompanied by the Certificate of Provenance from Kensington Palace, dated 13 June 2006, in original embossed leather folder. Provenance: Christie’s, Lot 12, Property from the Collection of her Royal Highness The Princess Margaret, Countess of Snowdon, sale 13 June 2006, London. The brooch was purchased by Her Majesty Queen Elizabeth the Queen Mother from Cartier on 23 January 1947 for £175. The brooch is unsigned however Cartier Geneva confirmed this brooch was made by Cartier London in 1932. This brooch was purchased a week before the Royal family set sail to South Africa on 1st February 1947. The major tour was both the first trip abroad for Princess Margaret and also the first time a reigning monarch had undertaken a tour with his whole family. The three month-long visit was not only an important display of imperial solidarity but an opportunity for the young Princesses to witness first hand the statecraft, duty and hard work required in order to fulfil their royal roles in public life. The tour was remembered for being the first occasion that Princess Margaret spent significant time with Captain Peter Townsend, equerry to King George VI. The Princess later confided how the time they spent together “in that wonderful country, in marvellous weather” was when “I really fell in love with him.” Later that year Townsend was to become the official charge on Princess Margaret’s first solo visits. Prior to the South African tour, it was agreed that the engagement between Princess Elizabeth and Lt. Philip Mountbatten would be formally announced upon the family’s return to England. The purchasing of the aquamarine brooch before departure perhaps foretold of the busy months ahead, with the engagement announced in July and the wedding planned for November. It was therefore decided that Princess Margaret would take on a greater role in public life. In August 1947 the Princess turned seventeen and it was widely reported at the time that this birthday would mark her official “coming out” and signal a turning point in her own independence. To celebrate the occasion, King George VI appointed the Princess to Colonel-in-Chief of the Highland Light Infantry and on her first official duty for the Regiment, in March 1948, Princess Margaret wore this aquamarine and diamond brooch to the reception at Glasgow City Chambers. It is likely that the brooch had been given to Princess Margaret the previous year on the occasion of her seventeenth birthday. In a letter to Queen Mary written in April 1944, Queen Elizabeth discusses the jewellery being given to Princess Elizabeth for her eighteenth birthday from her father, King George VI, and states: “It is almost impossible to buy anything good, but he may find something second hand.” This aquamarine and diamond brooch purchased from Cartier by Queen Elizabeth in 1947, yet manufactured in 1932, certainly reflects a similar perspective in regards to buying jewellery. Princess Margaret’s love of brooches was apparent throughout her lifetime and was highlighted by the jewellery auction in June 2006 at Christie’s which included over sixty brooches from her collection. This particular aquamarine and diamond brooch was one of the few Art Deco examples included in the sale and, more importantly, one of only a handful of jewels with Royal provenance extending back to previous generations. A large number of the brooches offered in the auction had been acquired directly by the Princess from the 1960s onwards. Unlike her sister, Queen Elizabeth II, who favours wearing brooches on the traditional left, Princess Margaret followed her grandmother’s style in regularly wearing them to the centre front of her neckline. One such photograph, taken in a garden during the official visit to The Caribbean in 1958, shows the Princess wearing this brooch at the centre of a floral dress. An earlier photograph, taken in 1950 at a dance at the Dorchester Hotel, shows the young Princess wearing the brooch on a strapless ballgown in ice blue brocade. Known for her sense of fashion and style, the Princess always coordinated her jewels to match her outfits. In 1959, when opening an exhibition, The Bulletin newspaper reported that Princess Margaret had pinned ‘a delicate ornament in aquamarines and diamonds’ to the side of her pale blue chiffon hat. The Princess was photographed wearing this brooch throughout her lifetime, seemingly always when dressed in blue. One such photograph shows Princess Margaret and Lord Snowdon introducing baby David Linley to his grandmother, The Queen Mother, in 1961. A more recent example from 1989 shows the Princess wearing the brooch on a striking blue suit at the Trooping the Colour ceremony. The photographs depict the whole Royal family with Princess Margaret standing beside Princess Diana and her two young sons, Princes William and Harry, on the balcony of Buckingham Palace. During the 1930s and following on from the Art Deco, Cartier displayed a progressive attitude towards design, materials and palette choices. The rigidity of geometry was gradually lost to a flexibility of form that, as seen with this brooch, featured curves, volutes and loops, combined with unusual six-pointed cuts that livened up the usual sequence of stones. The introduction of semi-precious materials saw a preference for colour overtake the monochromatic palette of the previous decade. Black and white jewels set with diamonds, rock crystal, onyx or enamel gradually evolved to feature aquamarines, topaz and amethysts. This brooch made in 1932 is an early example of the evolution seen in design over the course of the coming decade and showcases the originality and foresight of Cartier at the time.
A Victorian gold and emerald set serpent necklace, circa 1860, the snake-link chain terminating in a serpent head clasp, with embossed foliate decoration, inset with three emeralds in collet mounts, with cabochon garnet eyes, suspending an emerald set heart-shaped pendant of conforming design, glazed locket compartment verso, contained in shaped fitted case, length 41cm. £2,800-£3,500 --- Serpent Jewellery The Ancient Egyptian culture was probably the first to heavily adopt the use of snakes in jewellery, seen as symbolising deity, status and loyalty. In Greek and Roman mythology, the snake continued to be a recurring theme, regarded by many as guardians of the underworld and later said to represent protection and healing. By Renaissance times, snakes was seen in a less positive light, the biblical story of Adam and Eve and the serpent in the Garden of Eden leading to more negative associations of evil or imminent danger. During the Victorian era, serpent inspired jewellery enjoyed a huge revival after Prince Albert in 1840 had designed an engagement ring for his bride, Queen Victoria, modelled as two serpents in an eternal circle and inset with an emerald (her birthstone). (At this time, it was popular to include birthstones in engagement rings, rather than diamonds). During the mid 19th century, when nature and symbolism had a powerful influence on jewellery design, serpents became synonymous with eternal love and became a popular motif, fashioned into necklaces, pendants, bracelets and rings.
A mid 19th century gold necklace and bracelet suite, circa 1840, composed of ornate repoussé work, the broad collar with central detachable brooch suspending three pear-shaped detachable drops ‘en girandole’ below, with bracelet en suite, necklace length 43.0cm, bracelet length 18.0cm, brooch width 6.0cm (lacking pin fitting to reverse), contained in fitted case. £4,000-£6,000 --- Jewellery design between 1820-40 closely followed the evolution of fashion and technical innovation. The generous décolletages of ball and evening gowns of the 1830s, with low sweeping necklaces and bare shoulders, plus large oversized puffed sleeves, favoured the wearing of substantial necklaces, brooches and long pendent earrings. Towards 1840, parures of elaborate scrollwork, stamped out of sheet gold, began to be the choice of the fashionable elite. Although manufactured out of thin gauge gold, these suites had the appearance of great substance. “This impression is however, somewhat deceptive, as the pieces are usually very light, cleverly achieving an opulent effect with the minimum amount of gold”. (Clare Phillips) See: Jewels & Jewellery by Clare Phillips, Thames & Hudson, V & A, pub. 2019, page 84.
A LARGE CAMEO AGATE ‘EAGLE AND BEAR’ SNUFFBOTTLE China, Qing Dynasty, 19th century Carved out of a semi-translucent light brown stone, the skin of the stone partially preserved to the front part and both carved and engraved to resemble an eagle and a bear. Very well hollowed. H: 6 cm Weight: 92,4 grams Notes: 1. The bear (xiong 熊) is not often depicted on Chinese charms and amulets but it is a powerful animal that the Chinese believe can invoke fear in evil spirits just as well as humans. It is sometimes shown, like on our snuffbottle, with an eagle because eagle or hawk (ying 鹰) and bear (xiong 熊) together sound just like the word "hero" (yingxiong 英雄). 2. See a related snuffbottle preserved at the Metropolitan Museum of New York (The Met), The United States of America, under accession number 14.40.448a, b, bequest of Benjamin Altman, 1913.“鹰与熊”玛瑙鼻烟壶中国，清代，19世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- natural veins and inclusions in the stone;- the below might have been polished down.
A SLIP DECORATED TERRACOTTA MODEL OF A HORSEChina, Tang DynastyThe horse naturalistically depicted standing four squares, on its back a removable saddle.H: 43,2 cmProvenance (according to seller): Dragon Culture Curio, Hollywood Road, Hong Kong, 2001.Note: The successful bidder will be provided with an Oxford Thermoluminescence analysis report with a result consistent with the suggested period of manufacture, dated 2002/01/21, smaple no. C102a7.陶俑 - 马中国，唐代[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- the left foreleg broken and re-glued;- desirable patina and colours;- the saddle removable;- three drilled holes for the Oxford test matching the description on the certificate (inner saddle, one below the neck, one below the back);- UV / black light checked.
*A SANCAI GLAZED TERRACOTTA / POTTERY GROOMChina, Tang Dynasty (618-907 AD)The standing groom with folded arms might have been originally pulling the reins of a horse. Its body all covered in three glazed, i.e. yellow, green and cream. Both its face and its boots left unglazed and rather slip decorated. Offered at auction together with a modern plexiglass stand. Provenance (according to the seller): Bought in January 2006 from Lam & Co Ltd.H (the sole sculpture): 22 cmNote: The successful bidder will be provided with an Oxford TL test, sample no. C205h55 dated 2005/11/11.三彩釉面赤陶俑中国，唐代（618-907）*This lot is under temporary importation. An extra VAT will be applied to the final invoice. Please contact our office (yuchen@adams.ie) for further information. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a long crack to its right side;- a broken and then glued part of the arm to the left arm;- two holes for TL test, one to the back of the head, one other under the back of the skirt (matching the Oxford certificate description);- UV / black light checked.
*A LONGQUAN CELADON ‘TWIN FISH’ DISHAttributed to Southern Song Dynasty, 13th centuryThe dish is potted with deep fluted sides carved with upright lotus petals on the exterior, rising to a flat everted rim. The interior is decorated with a pair of sprig-moulded fish. The dish is covered overall with an even glaze of bluish-green tone, with the exception of the foot ring which is burnt orange in the firing.H: 3,7 cm – D: 13,2 cmNotes:1. For related dishes see Sen Shu Tey, The Collection of Chinese Art, Tokyo, 2006, p. 59, no. 70, Nezu Museum, Heavenly Blue: Southern Song Celadons, Tokyo, 2010, p. 71, fig. 44 as well as Christie's, The Classical Age of Chinese Ceramics: An Exhibition of Song Treasures from the Linyushanren Collection, Hong Kong, 2012, pp. 166-167, no. 68. Also see a related dish preserved at the Metropolitan Museum of Art of New York (The MET), The United States of America, under accession number 65.82.4.2. Please also see a related dish at Christie’s Hong Kong, China, 2015/12/02, lot 2806 sold for HKD2.260.000 BP incl.龙泉青瓷双鱼盘南宋，13世纪*This lot is under temporary importation. An extra VAT will be applied to the final invoice. Please contact our office (yuchen@adams.ie) for further information. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - hairlines in the glaze;- minor chips to the footrim;- UV / black light checked;- wears.
*A BLANC DE CHINE / DEHUA MOLDED STANDING FIGURE OF THE SACRED HEART OF JESUSChina, Fujian, Dehua, Qing Dynasty, 18th to 19th centuryH: 35,7 cmProvenance (according to the seller): Bought in 1995/09/16 from Wan Feng, an antique shop located in Cat Street, Hollywood Road, Hong Kong, China.Notes: 1. The devotion to the Sacred Heart (also known as Sacratissimum Cor Iesu in Latin) is one of the most widely practised and well-known Catholic devotions, wherein the heart of Jesus is viewed as a symbol of "God's boundless and passionate love for mankind". This devotion is predominantly used in the Catholic Church.2. Compare with a related Dehua figure of Jesus preserved at The Victoria and Albert Museum (V&A), London, United Kingdom, under accession number C. 105-1963.德化白瓷圣心耶稣像中国，福建，德化，清代，18-19世纪*This lot is under temporary importation. An extra VAT will be applied to the final invoice. Please contact our office (yuchen@adams.ie) for further information. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- a few firing cracks (notably on the top of the right arm, on the below of the left arm, on the robe, to the below inner part);- a few original imperfections in the glaze;- one old chip to the back of the stand;- maybe a filled crack to the lower part of the robe to the back?
*A NEAR PAIR OF BLUE AND WHITE ‘FOUR GENTLEMEN’ PORCELAIN OVOID JARS China, Transitional period, 17th century Painted to their bodies with scattered sprays of lotus, orchid, bamboo, prunus, peony, chrysanthemum and insects. H (the biggest): 26,8 cm Notes: 1. The orchid, bamboo, plum and chrysanthemum are know as “The Four Gentlemen” (四君子, sìjūnzǐ). Each of them represents one of the seasons. All together, they represent a year. The plum and bamboo together signify friendship. A vase (瓶, píng) with flowers from all four seasons ( 四季, sìjì ) conveys the hidden meaning of peace for all the year (四 季平 安, sìjì píng'ān). 2. Compare with a single related vase at Christie’s London, United Kingdom, 2017/11/30 to 2017/12/07, lot 11, sold for USD4.375.近一对“四君子”瓷罐中国，过渡时期，17世纪*This lot is under temporary importation. An extra VAT will be applied to the final invoice. Please contact our office (yuchen@adams.ie) for further information. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - the first one (the biggest), with one chip and a crack to the rim, as well as numerous firing cracks to the bottom going up to the lowest part of the vase;- the second (the smallest), with short firing cracks to the below, two minor chips to the below, one with a glued part, a crack and a chip to the rim;- UV / black light check;- a few short firing cracks in the glaze.
A SMALL INCISED WHITE-GLAZED `DEER' VASE, HUChina, 17th to 18th centuryThe small vase has twin stag-head handles and is incised with a spotted deer resting by lingzhi, and the reverse with a pine tree growing beside a rocky outcrop.H: 7,1 cmNote: Compare with an identical vase offered at Christie’s London, United Kingdom, 2018/12/05-13, lot 44, sold for GBP6.250 BP incl.白釉“鹿”花瓶、壶中国，17-18世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- broken then restorations;- also restorations in the stag horns and hears;- two minor chips to foot rim;- UV / black light checked.
A NEAR PAIR OF 'ICE CRACKING' PATTERN BLUE AND WHITE PORCELAIN JARSChina, Qing Dynasty, Kangxi periodBoth offered at auction with later wooden stands and lids, the lids not being identical.H (the biggest one, excl. stand and lid): 22 cm近一对冰裂蓝白瓷罐中国，清康熙年间[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- one with a hairline starting from the rim visible both sides (inner and outer);- the other one with a tiny minor chip to the rim and with a few dark points (imperfections from the time of firing) within the glaze to the outer;- both lids with minor chips and cracks;- wooden lids are later replacements of original porcelain ones.
A GROUP OF TWO (2) BLUE AND WHITE PORCELAIN LIDDED TEAPOTSChina, Qing Dynasty, Kangxi periodBoth facetted, a bigger one and a smaller one, the biggest adorned with a floral spray while the smallest is adorned with ladies, their lids with lotus bud finials.H (the biggest one): 11,3 cm一组（2）个带盖青花茶壶中国，清康熙年间[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:UV / Black light checked THE BIG TEAPOT:- tiny chip to spout;- 2 firing cracks to spout;- few chips to the lid (mostly inner part);- one chip to rim of the lid with a crack going both to the inner and the outer part;- minor lacks of glaze;- the inner part of the lid partly repainted (restoration? but does not pop up under black light)THS SMALL TEAPOT:- tiny chips to inner lid and inner rim of teapot;- a minor chip to the end of the spout as well as to its side.
A ‘THREE FRIENDS OF WINTER’ BLUE AND WHITE PORCELAIN BOWLChina, Qing Dynasty, Kangxi periodResting on a ring foot, with an everted rim, adorned with plum, bamboo and pine, also referred to as “The Three Friends of Winter”. A flower to the inner part. A square blue mark to the below, possibly that of a shop.H: 9 cm - D: 18,1 cmNote: Because they all can flourish during the winter, the pine, plum tree and bamboo are known as the Three Friends in Winter.“岁寒三友”青花瓷碗中国，清康熙年间[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- imperfections in the glaze below;- tiny minor chips to rim;- UV / black light checked.
A GILT AND POWDER BLUE ‘HORSE RIDERS’ PHOENIX TAIL PORCELAIN VASE, FENGWEIZUN China, Qing Dynasty, Kangxi period Bears two antique dealers labels to the below. Offered at auction together with a matching wooden stand. H: 45 cm Provenance: - Pietro Accorsi Antichita, Torino, Italy;- La Chimera Antiquario, Italy.鎏金粉蓝“骑马者”凤尾尊中国，清康熙年间[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- traces and remains of tape / adhesive next to the rim;- faded gilt design, vanished to some points;- see provenance labels to below;- a tiny minor "chip" / "point" to the rim;- maybe a restoration to the inner part of the rim (visible under eyes but not popping up with black light?).
A LARGE PALACE SIZED IRON RED DECORATED POWDER BLUE LIDDED VASEChina, Qing Dynasty, Presumably Kangxi periodOf baluster shape, topped by a lid with lotus bud shaped finial, covered all over with a powder blue glaze but for reserved medallions painted with iron red auspicious vases as well as various flowers. The below bears a cobalt blue hare mark within a double circle. Bears an old collector's label to the below reading "54".H: 60 cm粉蓝带盖大花瓶中国，清代，推测为康熙年间[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light cheked;- some imperfections and bubbles in the glaze.
A PAIR OF FAMILLE VERTE ‘MAGPIE AND WILLOW TREE’ PORCELAIN PLATESChina, Qing Dynasty, Kangxi periodAdorned in famille verte enamels with a magpie perched on a willow tree and surrounded by flowers, including prunus. On the wing, four reserved medallions with fish. The reverse of the wing with a geometrical pattern as well as with flower sprig. Each with a cobalt blue double circle to the below.D: 23,5 cmNote: One can say “There is a happy magpie on the tip of the plum branch”, lit. “Xi Shang Mei Shao” (喜上梅稍) which sound exactly like “Xi Shang Mei Shao” (喜上眉稍), lit. happiness up to one's eyebrows". 一对“喜上眉梢”瓷盘中国，清康熙年间[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- both with minor chips to the footrim;- one with a hairline to the rim, visible both sides.
*A PAIR OF CHINESE FAMILLE VERTE GARLIC-NECK BOTTLE VASESChina, Qing Dynasty, Kangxi periodEach brightly enamelled with tear-shaped floral panels alternating with pairs of floral sprays below bands of lappets and scrolls, and green cracked-ice-pattern on the garlic necks. One bears three labels to the below reading as follow: “S. Marchant & Son”, “K’ang His 1662-1722” and “SF86”.H: 21,3 cmProvenance (according to the owner and the labels):- Wing Tai Curios Center, Macao, 1986/06/06;- S. Marchant & Son, London, United Kingdom.Notes:1. It is said that those vases may have been down for the Islamic market.2. For a related pair of vases at public auction, please refers to Christie’s London South Kensington, 2013/07/02, lot 336, sold for GBD5.000 incl. BP.一对彩绘蒜颈瓶中国，清康熙年间*This lot is under temporary importation. An extra VAT will be applied to the final invoice. Please contact our office (yuchen@adams.ie) for further information. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV black light checked;- the first one with 2 original imperfections in the glaze to the rim (firing time) and minor firing cracks to below as well as MARCHANT label;- the second one with a light star hairline to the below and a few faded enamel points.
A DOUCAI ‘WANG XIZHI’ PORCELAIN CUP China, Qing Dynasty, Kangxi period Delicately potted with deep rounded sides resting on a countersunk base, the exterior brilliantly enamelled with a continuous scene depicting Wang Xizhi dressed in a red robe and seated on a willow tree trunk, gazing at a wild geese frolicking on a pond. The below inscribed with an apocryphal six-character Chenghua mark in underglaze blue within a double circle. H: 3,5c m- D: 6,6 cmProvenance (according to the seller): Bought in Canada by the seller (Canadian based) from a renown Estate: Lt. Colonel Alec Reid M.D. DSO, OBE, (1880-1960), ex chief medical officer for the British army in the early 1900’s to the late1940’s. His father started the collection in the 1800’s and he continued acquiring until the late 1940’s.Notes:1. Cups painted with this elegant design include one from the collection of Peter Boode, sold twice at Sotheby’s London, United Kingdom, 1974/12/2-3, lot 191, and 1977/07/05, lot 259, and another one sold at Sotheby’s New York, 2012/09/11, lot 42, for USD68.500 BP incl.2. For the prototype of this motif, see a pair of Chenghua mark and period cups, in the Palace Museum, Beijing, illustrated in Sekai toji zenshu/ Ceramic Art of the World, vol. 14, Tokyo, 1976, pl. 56.3. Wang Xizhi (王羲之, 303–361) was a Chinese calligrapher, politician, general and writer during the Jin dynasty, best known for his mastery of Chinese calligraphy and particularly remembered for one of his hobbies, that of rearing geese. Legend has it that he learned that the key to how to turn his wrist whilst writing was to observe how geese moved their necks.*斗彩“王羲之”瓷杯中国，清康熙年间[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- a tiny hairline to the inner rim of the cup.Provenance (according to the seller): Bought in Canada by the seller (Canadian based) from a renown Estate: Lt. Colonel Alec Reid M.D. DSO, OBE, (1880-1960), ex chief medical officer for the British army in the early 1900’s to the late1940’s. His father started the collection in the 1800’s and he continued acquiring until the late 1940’s.
*A COPPER RED ‘MYTHICAL BEASTS’ BOTTLE VASE China, Qing Dynasty, Kangxi period With a flat unglazed foot, a globular body and an elongated tubular neck. Painted around the pear-shaped body with a lion, a pixiu and a bixie, the eyes picked out in underglaze blue. Label to the below: “Martindale Chinese Art 2018, #17”. H: 15,4 cm Provenance: Martindale Chinese Art 2018, #17 Note: Compare with a related vase sold at Christie’s New York, ‘Chinese Art from The Art Institute of Chicago’, 2019/09/10-17, lot 2, sold for USD32.500.*This lot is under temporary importation. An extra VAT will be applied to the final invoice. Please contact our office (yuchen@adams.ie) for further information. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- the tubular neck might have been restored (but this is not popping up under UV light?);- look at the eyes of the beasts which have been picked up with cobalt blue;- provenance label to the below.
A DELICATELY AND FINELY PAINTED ‘MAGPIES AND MAGNOLIA’ PORCELAIN WINE CUP China, Qing Dynasty, Probably 17th to 18th century Resting on a short ring foot, with an verted rim, the outer delicately painted in light blue with a couple of flying magpies as well as with flowers, the inner part also with flowers, the below inscribed with an underglaze blue four-character kaishu mark within a double square starting by ‘奂若XX’ (Huàn rue XX).H: 3,6 cm - D: 6,4 cmProvenance (according to the seller): Bought in Canada by the seller (Canadian based) from a renown Estate: Lt. Colonel Alec Reid M.D. DSO, OBE, (1880-1960), ex chief medical officer for the British army in the early 1900’s to the late1940’s. His father started the collection in the 1800’s and he continued acquiring until the late 1940’s.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- faded cobalt blue double ring to the inner part;- a tiny dot in the glaze to the outer of the cup.Provenance (according to the seller):- Bought in Canada by the seller (Canadian based) from a renown Estate:Lt. Colonel Alec Reid M.D. DSO, OBE, (1880-1960), ex chief medical officer for the British army in the early 1900’s to the late1940’s. His father started the collection in the 1800’s and he continued acquiring until the late 1940’s.
A SMALL APPLE-GREEN- CRACKLED-GLAZED MEIPING VASEChina, Qing Dynasty, Presumably Kangxi periodThe miniature vase resting on a short unglazed ring foot, the piece all covered with an apple-green-crackled-glaze.H: 10,6 cmNote: Compare with a related meiping vase at Freeman’s Philadelphia, 2017/09/09, lot 276, sold for USD3.900 BP incl.*开片苹果绿小梅瓶中国，清康熙年间[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked.
A GREEN GLAZED PEACH SHAPED ‘CADOGAN’ BISCUIT TEAPOTChina, Qing Dynasty, Kangxi periodNaturalistically shaped as a peach of longevity, resting on a short ring foot, the lower part of the front side with molded leaves. H: 10,5 cm*绿釉桃形茶壶中国，清康熙年间[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- tiny chips to the point of the spout;- tiny chips to the rim of the conical piece up to the handle;- a tiny chip to the ring foot as well as maybe a tiny chip re-glued to the foot ring;- black "stains" around the conical piece and the top of the handle (does not pop up under UV light so maybe original).
A SMALL FAMILLE ROSE PALETTE ‘LOTUS POND’ PORCELAIN VASEChina, Qing Dynasty, Yongzheng periodResting on a spread foot, with an elongated globular body and a trumpet neck. Adorned in famille rose enamels with a lotus pond.H: 18.6 cm”莲池“瓷花瓶中国，清雍正时期[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- two lines going around the body;- an old chip to the exterior of the foot;- one old chip to the body;- a few losses of enamels;- UV / black light checked;- imperfections in the glaze, notably inner neck.
A ‘LOTUS POND’ FAMILLE ROSE PORCELAIN BRUSHPOT, BITONGChina, Qing Dynasty, Yongzheng periodAdorned in vivid green, blue, yellow and pink enamels with lotus flowers and nenuphars in a pond.H: 12,4 cm - D: 10 cm粉彩“莲池”笔洗，笔筒中国，清雍正年间[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- a few losses of enamels.
A FAMILLE ROSE PALETTE ‘EIGHTEEN LUOHANS’ PORCELAIN ROULEAU VASE, BANGCHUIPINGChina, Qing Dynasty, 18th centuryResting on a ring foot, with an elongated rouleau shaped body and a trumpet neck. Adorned in Famille Rose enamels with eighteen luohans in various positions and with various symbols, one handling a globular vase from which emanates clouds amidst which is a flying dragon. On the neck, a budai with plating boys. A double underglaze cobalt blue circle to the below.H: 50,3 cm"十八罗汉"花瓶中国，清代，18世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- broken and very well restored;- see pictures of the inner part with visible cracks as well as the few visible cracks from the outer to assess restoration.
A FAMILLE ROSE PALETTE ‘LADIES AND BOYS’ PORCELAIN VASEThe porcelain: China, Qing Dynasty, 18th century, Qianlong periodThe mount: of gilt copper, France, 19th centuryThe vase resting on a ring foot, with a globular body, a garlic neck. Adorned with Famille Rose enamels with ladies and boys on the body, with birds and flowers on the neck. With a European gilt copper mount.H (the sole vase, approx.): 24 cm粉彩“女子和童子”瓷瓶瓷器部分：中国，清乾隆年间，18世纪镶嵌部分：铜制，法国，19世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- three probably stains and not restorations (?) popping up under UV light (see pictures);- possibly drilled, but we have not been able to remove the mount;- stains around the body;- faded enamels to some points.
A MONOCHROME FLAMBE / TRANSMUTATION GLAZED PORCELAIN BALUSTER TWO-HANLDED VASEChina, Qing Dynasty, Qianlong incised mark and possibly of the periodOf urn form and raised on a spreading foot, with a bow-string border below the shoulder and a pair of trailing scroll handles flanking the neck, the exterior covered with a glaze of crushed red color streaked in purple and milky blue and thinning to mushroom on the handles.H: 23 cmNotes:1. Flambé glazes derive from the Jun wares of the Song Dynasty (960-1279), a glaze that was first revived during the Yongzheng period and remained popular throughout the Qing Dynasty.2. Compare a closely related flambé-glazed vase, also with an incised six character Qianlong mark and of the period, at Sotheby’s New York, The United States of America, in Important Chinese Art on 2018/03/21, lot 538, sold for USD162.500 BP incl., and another, also described as Imperial, at Christie’s New York in The Marie Theresa L. Virata Collection of Asian Art: A Family Legacy on 2017/03/16, lot 614, sold for USD223.500 BP incl.双柄瓷花瓶中国，清朝，乾隆款识Provenance: PROPERTIES FROM AN IRISH COLLECTORA COLLECTION OF FLAMBE / TRANSMUTATION WARE PORCELAIN VASES[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- chips to the footrim and to the glaze near the footrim.
A MONOCHROME FLAMBE / TRANSMUTATION GLAZED PORCELAIN PEAR-SHAPED VASE, YUHUCHUPINGChina, Qing Dynasty, 18th to 19th centuryAll covered, but the foot rim, with a dark purple glaze with lavender splashes.H: 23,5 cmNote: Flambé glazes derive from the Jun wares of the Song Dynasty (960-1279), a glaze that was first revived during the Yongzheng period and remained popular throughout the Qing Dynasty.玉壶瓷瓶中国，清代，18-19世纪Provenance: PROPERTIES FROM AN IRISH COLLECTORA COLLECTION OF FLAMBE / TRANSMUTATION WARE PORCELAIN VASES[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- nothing noticed but look near the foot and the footrim for imperfections in the glaze.
A MONOCHROME FLAMBE / TRANSMUTATION GLAZED PORCELAIN BOTTLE VASEChina, Qing Dynasty, 18th to 19th centuryResting on a high ring foot, with a globular body and a tubular neck. All covered, but the foot rim, with a red glaze with lavender splashes.H: 22,4 cmNote: Flambé glazes derive from the Jun wares of the Song Dynasty (960-1279), a glaze that was first revived during the Yongzheng period and remained popular throughout the Qing Dynasty.釉面瓷花瓶中国，清代，18-19世纪Provenance: PROPERTIES FROM AN IRISH COLLECTORA COLLECTION OF FLAMBE / TRANSMUTATION WARE PORCELAIN VASES[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- chips to the unglazed foot;- missing enamel parts to the outer part of the foot;- UV / black light checked.
A MONOCHROME FLAMBE / TRANSMUTATION GLAZED PORCELAIN ROULEAU VASE, BANGCHUIPINGChina, Qing Dynasty, 18th to 19th centuryAll covered, but the foot rim, with a red glaze with lavender splashes.H: 20,8 cmNote: Flambé glazes derive from the Jun wares of the Song Dynasty (960-1279), a glaze that was first revived during the Yongzheng period and remained popular throughout the Qing Dynasty.釉面瓷花瓶中国，清代，18-19世纪Provenance: PROPERTIES FROM AN IRISH COLLECTORA COLLECTION OF FLAMBE / TRANSMUTATION WARE PORCELAIN VASES[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- chips to the unglazed foot;- missing enamel parts to the outer part of the foot;- cracks in the thick cover near the foot.
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