An Iznik pottery dish, Ottoman Turkey, mid 17th century, Of typical form, the blue, green and bole red painted decoration consisting of a floral and foliated palmette flanked by large swaying tulips, the cavetto with two arching serrated saz leaves, the rim with simplified blue flowers interspersed with stylised floral sprigs, on white ground, the foot fritted, old identification label and an incomplete collection label to the reverse, 29.1cm. diam. The collection label is partially legible : Rouart Alexis above a coat of arms consisting of a pennant bearing a Maltese cross, flanked by roundels and rising serrated leaves.The identification label reads : Plat de Rhodes, 1583 - XVIIe.The collection label would suggest this dish may have been in the collection Alexis Hubert Rouart (1839-1911), a collector of paintings, lithographs, watercolours and drawings some of whcih are kept in the British Museum, notably the "Ballon Pendu" (accession number 2019. 7055.3). The British Museum entry card under his name notes he also had an interest in Far-Eastern art.
We found 640875 price guide item(s) matching your search
There are 640875 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
640875 item(s)/page
A Calligraphic Exercise (Siyah-Mashq), Qajar Iran, Signed MIr Husayn, dated AH1294/1877-1878 AD, black nasta'liq script on paper, the panel 21.4 x 11.7cm., folio 32.3 x 20cm., 41 x 31cm. framedProvenance: Adrienne Minassian, New York, 1955; Sotheby's, London, The Stuart Cary Welch Collection, 6 April 2011Exhibited: Islamic Art and the Written Word, Harvard Art Museums, 1983Condition Report: The calligraphic panel is in good condition overall. This lot has not been taken out of its mounts or frame to prepare this condition report.
Property from a Private Collection LondonKishore Roy (b. 1964), Untitled, portrait of a woman, 2006, watercolour on paper, signed and dated lower left, mounted, glazed and framed, 38 x 29.1cm. Provenance: Acquired directly from the artistKishore Roy was born in Kolkata, West Benga in 1964. He graduated with a 1st class BVA (GD) from the Government College of Art , Kolkata in 1990 and a BA from DumDum Motijheel College in 1983, His paintings are held in collections worldwide including the National Gallery of Modern Art, New Delhi; the Singapore High Commission, New Delhi; the MEC Art Gallery, New Delhi.
A turquoise blue glazed conical pottery bowl, Kashan, central Iran, 12th/13th century, on straight foot, the cavetto painted with black stylised leaves, the rim with painted hatched patterns, diam: 23.5 cmFootnotes: Exhibited: Columbia Museum of Art, South Carolina, 1980 (accompanied by copy of appraisal from 1980)Provenance:Previously in the Private Collection of Thomas English Cody (1889-1948), California and Alabama, from at least 1948Thence by descent to his daughter, Laurline C Byrd (1902-1993), 1948, Alabama (accompanied by copy of appraisal from either 1943 or 1948)Thence by descent to daughter of Mrs Byrd, 1993, Raleigh, North Carolina (accompanied by 1993 appraisal). ALR: S00228231.
Property from a Private Collection, LondonA Khorasan silver and copper inlaid bronze casket, Iran, 12th century, of rectangular form resting on four bracketed feet with projecting knops, the faceted lid with bird finial, the body engraved on four sides with large roundels containing interlaced split-palmettes and six-petalled flowers to the four corners, a band of pseudo-kufic panels to side of lid, the interior plain, finial possibly associated, 19.7cm. high x 16.3cm. diam. x 10cm. deepThis Lot is accompanied by the results of a metallurgy testProvenance: Islamic, Indian, and Armenian Art and Manuscripts, Christie’s, London, Tuesday 12th October 1999, Lot 314; Archeologie, Artcurial, Paris, 22 May 2018, Lot 105 Provenance: Acquired from Mr I.K. (New York) in 1999 and kept in London since. ALR: 5593.WW
Property from a Private London CollectionRamkinkar Baij ( Indian 1910-1980), Landscape Series, 1940, watercolour on paper, signed and dated lower right in Bengali (2.12.40), mounted, glazed and framed, painting 18.5 x 27cm.Provenance: Acquired in Kolkata, 1998, auction house unknown, Lot 21; Private Collection, CalcuttaExhibited: "Landscape as Inspiration", Cymroza Gallery. Part of the The Intuitive-logic: A Festival of Indian Contemporary Painting, 1 March - 19 April 1997. Published: N. Tuli, The Flamed-mosaic: Indian Contemporary Painting, HEART in association with Mapin Publishers Pvt. Ltd., Ahmedabad, 1997, p. 101, pl. 40 (full colour illustration).Ramkinker Baij was born in 1910 in Bengal, India and trained at the Kala Bhavan in Santiniketan. Baij was renowned for his tendency towards abstraction at a time when the majority of British-founded art schools espoused academic realism. The present work on paper depicts an avenue of trees dappled with sunlight. The unusual attribution of sky blue and sunset yellow and amber to the trees, rather than to the sky, gives the impression of a landscape set alight by the glow of dusk. Baij adeptly creates a sense of depth and perspective with washes of darker colors, inviting the viewer to contemplate the last fleeting moments of twilight.Condition Report: Foxing to mount; paper slightly buckled
A Mamluk gilt-decorated glass beaker, Syria, 13th century, of cylindrical form widening to the vertical mouth, remains of a small gilt and enamel fish near the rim, and traces of further similar decoration, the glass cloudy and with bubbles, 13.2cm. highProvenance: Sothebys 29 April 1992, lot 10 (part lot)Footnotes: The form of this beaker is well-known and is an example of form C as defined by Summer Kenneson ('Islamic enamelled beakers, a new chronology', in Rachel Ward (ed.), Gilded and Enamelled Glass from the Middle East, London, 1998, p.46). There the type is dated between 1250 and 1310.The present beaker shows a highly unusual feature to find in a small drinking vessel. There is a band of white painted on the inside of the glass wall which can then serve as a background for the now presumably lost decoration on the exterior. Areas of colour painted on the interior walls to act as a backdrop for exterior decoration are known in a number of mosque lamps. One other beaker dated to the late 13th or early 14th century, now in the Islamic Art Museum, Berlin, has the same feature (Andrea Becker and Jens Kröger (eds), Vorsicht Glas, exhibition catalogue, Berlin, 2010, no.49, pp.160-161).Condition Report: The glass opaque; with traces of gilding; traces of enamel, no visible breaks
A small Egyptian Predynastic pottery jar, Naqada II, circa 3600-3200 B.C.Of ovoid form with everted rim and pierced lug handles, the body decorated in reddish brown, with two multi-oared boats, each with a palm frond at the bow and two cabins on deck, the Nile water indicated below, fan shapes and ‘s’ motifs under each handle, wavy lines around the rim and on the underside of the base, 10.4cm highProvenance:Private collection, Chatham, New York, 1946-2010 (Sotheby’s, New York, June 11th, 2010, no. 2, illus.) acquired by present owner from the above sale.Property from the collection of Peter Sharrer, US. Exhibited:Oliver Forge and Brendan Lynch, in collaboration with Claire Brown Art, London, 2022 “Yes, wonderful things”. Egyptian Art from 3000-100 B.C., cat. no. 14, illus.Compare W. Needler, Predynastic and Archaic Egypt in The Brooklyn Museum, Brooklyn, 1984, pp. 205-206, nos. 57 and 58, and J. Crowfoot Payne, Catalogue of the Predynastic Egyptian Collection on the Ashmolean Museum, Oxford, 1993, figs. 39 and 40.
An Egyptian white glazed faience fragment from a chalice, 3rd Intermediate Period, 1075-716 B.C.Moulded in shallow relief with part of a scene showing a man grasping a prisoner by the hair about to smite him, behind a male figure wearing a kilt and crown, standing behind an enthroned king or god holding a crook, aquatic birds in the register above, Nilotic flowers below, 5cm x 6cmProvenance:Private collection, Japan (Sotheby’s, New York, June 12th, 2001, no. 326, illus.) Acquired by the present owner at the above sale.Property from the collection of Peter Sharrer, US. Exhibited:Oliver Forge and Brendan Lynch, in collaboration with Claire Brown Art, London, 2022 “Yes, wonderful things”. Egyptian Art from 3000-100 B.C., cat. no. 20, illus. For related examples see F. D. Friedman, ed., Gifts of the Nile: Ancient Egyptian Faience, Providence, 1998, no. 116 (king smiting prisoner) and 117 (swamp scene). Also compare Egyptian Art at Eton College, Windsor, 1999, nos. 53 and 54.
Abdul Qader Al-Rais (Emirati, b. 1951), Untitled, watercolour on paper, signed in Arabic and dated 2008, stamped with the artist's fingerprint (lower right), glazed and framed, 151 x 101cm. Painted in 2008.Provenance: Private UK Collection; Leila Heller GalleryAbdul Qader Al Rais (b.1951, United Arab Emirates) received a Bachelor of Sharia Law from the United Arab Emirates University in 1982 and is a self-taught artist. He was born twenty years before Dubai (and the United Arab Emirates) was formed and is considered one of the most iconic painters of the country.A founding member of the Emirates Fine Arts Society, Al Rais’ practice was truly self-driven and resourced. He began painting in 1964, at a time of limited cultural infrastructure, where sourcing paint posed difficulties. Being cut off from traditional international art markets and western artistic dialogues, his practice was deeply informed by Gulf traditions; of representations of the divine, culture and community – all grounded in humility. He spent time during his youth in Kuwait in the 60’s and 70’s, while the country experienced an artistic and literary renaissance, where he encountered key figures in the Gulf modern art movement, including Sami Mohammed, and Khalifa and Lidia Qattan. Al Rais’ early works were representational and rooted in realism. He mostly depicted traditional Emirati landscapes and architecture. After a hiatus between 1974 and the 1980s, his work began to take on political themes (particularly responsive to the first Palestinian Intifada, seen as the artist’s second period). In the 90s, Al Rais increasingly turned to abstraction and calligraphy (his third period) recognizing their shared meditative and spiritual qualities.Al Rais has held several solo exhibitions both locally and internationally. Notably, he was featured in the UAE Pavilion at the 56th Venice Biennale, Venice (2015). Al Rais’ work has also been displayed at the European headquarters of the United Nations in Geneva and his public murals can be found in the Dubai Airport and the Dubai Metro. Retrospectives of Rais' extensive artistic career have been held at the Sharjah Art Museum and the Institut du Monde Arabe.Among his numerous awards are the Sheikh Khalifa Prize for Art and Literature, Abu Dhabi (2006); Golden Palm Award, Gulf Cooperation Council Art Exhibition, Doha (1999); first prize at The UAE in the Eyes of Its Artists, Abu Dhabi Cultural Foundation, Abu Dhabi (1999); Sultan Al Owais Award for Scientific Studies and Creativity, Dubai (1992, 1994, 1996) and first prize at the UAE Exhibition in China (1991).Al Rais’ work is held in the collections of the British Museum, London; Louvre, Paris; Northwest Museum of Culture and Arts, Spokane, Washington; Museum of Contemporary Art Shanghai, Shanghai and the Museum of Modern Art, New Delhi. Al Rais lives and works in Abu Dhabi.
F.N. Souza (Indian 1824-2002), Still Life (skull, cross, oil lamp), 1986, oil on canvas, 120 x 60cm. (47.2in. x 23.6in.)Provenance: The property of Dr. Premlata Goel, widow of the distinguished art critic, K.B. Goel; Gifted by Souza to his close friend, the art critic, K.B. Goel (1930 - 2018).The genre of still life painting provides a glimpse into Souza’s psyche; questions of religion and morality tormented him throughout his life.In this still life by Souza, as in others by him, there is a compositional quality which is his hallmark. The assemblage of objects reveal the precision of his mental processes and remarkable draftsmanship. In the work, on the table religious symbols are interspersed with other objects reflecting Souza’s Catholic upbringing and the influence of the Church on his adolescent mind.“The Roman Catholic Church had a tremendous influence over me, not its dogmas but its grand architecture and the splendour of its services." (Edwin Mullins, Souza, Anthony Blond Ltd. London 1962, p. 42). In another instance, Souza describes dining at a priest’s home in Goa, “Sunday evenings, the vicar invited me to dine with him […] A laundered tablecloth was spread only when he [the Vicar] had guests, a luxury he permitted himself with touching simplicity.” ('Nirvana of a Maggot', F. N. Souza: Words and Lines, Villiers London 1959, pp.17-18).Writing on Souza’s still life compositions, the distinguished critic Geeta Kapur notes that ‘they are mostly ornate vessels and sacred objects. These objects retain their ritual aspect both on account of the visual description and composition... They are moreover, clustered formally as if on the shelf of the sacristy…’. (G. Kapur, Contemporary Indian Artists, Vikas Publishing New Delhi 1978, pp. 29-30)This work is predominantly painted in tones of yellow. The skull makes its presence felt in one corner - a striking reminder of the certainty of death. This symbol dating from antiquity is known as a Memento Mori, Latin for “Remember that you will die”. In the opposite corner, juxtaposed to the skull, is the large vase full of flowers symbolising the blossoming of new life. It occupies much of the space in the foreground with the bright red flowers. The thick wooden cross stands firm next to this vase. The oil lamp beside the skull illumines the entire scene. There is a more restricted yet judicious use of colours for a work of this period. Here, it is a subtle yellow shade that fills the entire background, dominating the painting. This seems to signify the dispelling of darkness and dark thoughts. Souza must have been in a happy state of mind while painting this work.This juxtaposition of ideas, hope and despair, light and dark, life and death is expressed with effortless ease and clarity. Souza signs off the work in his inimitable style; thick black outlines the foreground forms effectively enveloping them. They are remarkable for their energy and geometric visual harmony.(ARR)Condition Report: Held in a wooden frame, minor scuff marks. Slight undulation to the canvas, most noticeably in the top third of the painting and top right corner. Dent to the painted surface top right above yellow flower. Spots of surface residue across bottom third; some some possibly paper residue. vertical scuffs to the painted surface from the left of the flowers to the bottom; does not detract from image. Some pigments fluoresce under UV light, but appears original to the process of making (see video). Staining in two square patches visible to the reverse.
Rabindranath Tagore (Indian, 1861-1941), Untitled, portrait of a woman, print on paper, France 1930's, 53cm. x 19cm. (82 x 46.6cm framed)Exhibited:Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11Published:Exhibition Catalogue of Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11
Rabindranath Tagore (Indian, 1861-1941), Untitled, portrait of a woman, print on paper, France 1930s, 64x42 cm (94x70 cm framed)Exhibited:Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11Published:Exhibition Catalogue of Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11Provenance: Chintamoni Kar collection
A Qur’an, Ethiopia, signed Muhammad ibn ‘Umar ibn Hassan, dated 13 Rabi’ I AH 1256 AH / 1840 AD, Arabic manuscript on paper, 219ff., 5fl.,15ll of black harari script per page, vocalised throughout, the opening bifolio with bold circular motifs paired with chequerboard patterns extending to the margins, verse markers and sura headings in red, numerous marginal notes, bound in slightly later goatskin, contemporary, with numerous repairs, text block slightly trimmed, 33 x 24cm.Footnotes: Provenance : United Kingdom art market
A Letter of Introduction to a Noble, Qajar Iran, 19th century, black shikasteh script on paper, against a dense polychromic floral field, from an unnamed person recommending Abbas Quli Khan, Aslan Beg and Mirza Muhammad Muhsin, mounted, framed and glazed, folio11 x 18.30cm., the letter 9.2x x16.8cm, 28.5 x 36.5cm. with frameProvenance: Adrienne Minassian, New York, 1955; The Stuart Cary Welch Collection, Sotheby's, London, The Stuart Cary Welch Collection, 6 April 2011Exhibited:Islamic Art and the Written Word, Harvard Art Museums, 1983 Condition Report: The calligraphic panel is in very good condition.This lot has not been taken out of its mount and frame to prepare the condition report.
A Qajar grisaille painting of a bear, Zand or Qajar Iran, late 18th century, pen and ink on lacquered paper, a bear, his tongue lolling from his mouth, props himself up against a leafless branch, slight staining, laid down between various gold and polychrome borders on a wide green card margin with polychrome gul-o-bulbul illumination, mounted, painting 17.2 x 12cm.; folio 33.1 x 20.6cm.Provenance: Christie’s, Art of the Islamic and Indian Worlds, 10th April 2014, Lot 22
Property from a Private London CollectionA Safavid double frontispiece from a Qur'an, Herat, 15th century, ink, gold and polychrome on paper, with five lines of nasta'liq arranged within cloudbands, per page, with cartouches above and below decorated with interlace and polychrome flowers on a blue ground, within a border of flowers on a black ground and wider border containing similar interlace and floral decoration in gold and lobed cartouches, bifolio 27 x 31cm. A very similar frontispiece dated to the 1500's and to Herat is in The Cleveland Museum of Art (1924.746.2a and 1924.746.1b)
A Calligraphic exercise, Qajar Iran, dated Ramadan AH1235/1820AD, commissioned by a certain Haji Muhammad Amin (?) and written by ...(?) Khan, black and red shikasteh script within clouds on illuminated paper, within light pink borders and gold rules, mounted, framed and glazed, folio 17.5 x 12.5, panel 14.5 x 12.5cm., 36.5 x 31cm. framedProvenance: Adrienne Minassian, New York, 1955, Sotheby's, London, The Stuart Cary Welch Collection, 6 April 2011Exhibited: Islamic Art and the Written Word, Harvard Art Museums, 1983 Condition Report: Slight rubbing and orange hue tot he illuminated area. Strong black and red ink. Fold or glue mark visible across the panel (1/4 height).This lot has not been taken out of its mounts and frame to prepare this condition report.
Rabindranath Tagore (Indian, 1861-1941), Untitled, portrait of a woman, print on paper, France 1930's, 57x45 cm (89x74 cm framed)Exhibited:Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11Published:Exhibition Catalogue of Rabindranath Tagore’s Influence on Modern Indian Art, Nehru Centre, London 07/10/11; Resurgence magazine, special issue on Tagore Festival at Dartington, May/June 2011, p.32
A Calligraphic Exercise (Siyah-Mashq), Qajar Iran, 19th century, Black nastal'iq script against a field of minute swaying leaves in gold on paper, seal impression, possibly that of Mirza Mahsi Khan Astarabadi, mounted, framed and glazed, 14.5 x 23.5cm., 42.5 x 33cm. framedProvenance: Adrienne Minassian, New York, 1955; Sotheby's, London, The Stuart Cary Welch Collection, 6 April 2011Exhibited: Islamic Art and the Written Word, Harvard Art Museums, 1983
Property from a Private Collection, LondonTo Be Sold with No ReserveA Safavid calligraphic composition, Iran, early 18th century, ink and opaque pigments on paper heightened with gold, with 4ll. of large bold black nasta'liq each arranged within a cloudband on blue paper, on a gold ground with vermillion interlace, within each panel horizontal panels, the upper with two smaller panels each containing a single line of black nasta'liq on a red hatched ground, and two panels below each with 2ll. of fine black nasta'liq text arranged in two vertical columns, the outer margins with large gold flowers on a plain ground, 35.5 x 22.5cm. Provenance: Acquired UK art market 2015.
Property from a Private CollectionTo Be Sold with No ReserveA large Nishapur or Samarqand calligraphic pottery bowl, Eastern Persia or Transoxiana, 10th century, of deep, conical form with wide flaring edges on a short foot, black and brown slip decoration on a cream slip ground, with a long inscription running from rim to rim across the interior, 26.5cm. diam; 9.6cm. high Provenance: London art market, prior to 1998.
A BOXED PAUL CUMMINS ORIGINAL CERAMIC POPPY MADE FOR THE ART INSTALLATION 'BLOOD SWEPT LANDS AND SEAS OF RED', one of 888,246 placed outside the Tower of London in 2014 to mark the centenary of the First World War, in original box with paperwork (1) (Condition Report: poppy head slightly loose, dusty) and an unidentifiable autograph book
THREE TEA SETS BY NORITAKE, ROYAL DOULTON AND BELL CHINA, the Noritake being a tea for two set decorated with floral sprays, comprising tea pot and cover, milk jug, sugar bowl and two cups and saucers, the Royal Doulton in pink and gilt, bears pattern numbers BB3444 H4375, comprising tea pot and cover, oval sugar bowl and milk jug, two bread and butter plates and a tea plate, the Bell China Art Deco green banded tea set, comprising bread and butter plate, milk jug, sugar bowl, six conical tea cups and angular handles, six saucers and six shaped square tea plates (34) (Condition Report: Noritake good condition, Royal Doulton in generally good condition with a couple of areas of wear to the glaze, Bell China has four cracked cups, three have stained cracks, wear to the gilding on the bread and butter plate)
A COLLECTION OF DECORATIVE GLASSWARES, to include a red and amber Murano sommerso figure eight bowl, a green and amber Murano sommerso zigzag bowl (both with fleabites), three possibly Chinese art glass cockerels/hens, an art glass horse figure bearing a partial Murano foil sticker (tail broken), an amber bowl in the form of a swan, a Bohemia Crystal vase height 30cm, an over-sized turquoise and clear glass, a crystal fruit bowl, etc (15) (Condition Report: most pieces appear in good condition, sd and as stated)
EDWARD BAWDEN (1903-1989) 'CAERHAYS CASTLE', CORNWALL: ENTRANCE TO THE STABLE YARD', a view of the castle from an unusual perspective, signed bottom right, Fine Art Society label dated 1984 verso, watercolour on paper, approximate size 50cm x 65cm, Condition Report: paper marked top and bottom right corners, possibly where the paper was clipped to a drawing board, frame marked in places (artist resale rights apply)
Loading...-
640875 item(s)/page