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明治 京山之造款 薩摩燒觀音羅漢龍紋瓶 the body decorated in two panels with a gathering of Kannon and rakans flanked with sinuous dragons, the neck adorned with two three-clawed dragons, the base signed with a four-character mark in gold in a double-square below a Shimazu family crest, with a wooden stand32cm highProvenance: Private collection from the Scottish Borders, comprising Asian Art collected over 50 years
comprising fourteen oban tate-e prints and one oban yoko-e print; including one entitled Sumo Unryu Kyukichi, published by Daikokuya Heikichi; two entitled Backstage at the Ichimura Theatre in Fukiya-cho, Where Hit Performances are Packing Them In (Fukiya-cho Ichimura-za o-iri atari furumai gakuya no zu); two entitled Backstage at a Theater in Dotonbori, Osaka (Osaka Dotonbori shibai gakuya no zu); one Backstage at the Season Opening Performance of the Morita Theater (Morita-za kaomise gakuya no zu, sanmai tsuzuki); one Backstage Celebrations of a Full-house Hit at the Ichimura Theater (Ichimura-za ôiri atari furumai gakuya no zu); one Fujin tashinami gusa from the series Fitting Accomplishments for Women etc.largest: 38.8cm x 26.5cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
comprising eight oban yoko-e prints; all from the series Fifty-three Stations of the Tokaido Road (Tokaido gojusan tsugi no uchi), including the 6th station: Totsuka, Motomachi Fork (Totsuka, Motomachi betsudo); two prints of the 10th station: Odawara, The Sakawa River (Odawara, Sakawagawa); 12th station: Mishima, Morning Mist (Mishima, asagiri); 14th station: Hara, Mount Fuji in the Morning (Hara, asa no Fuji); 30th station: Hamamatsu, Winter Scene (Hamamatsu, fuyugare no zu); 46th station: Shono, Driving Rain (Shono, hakuu); 55th station; Kyoto, The Great Bridge at Sanjo (Keishi, Sanjo ohashi)largest: 25.6 x 39.3Provenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
comprising six oban tate-e prints and two yotsugiri tate-e prints; including one entitled One of Seven Lucky Treasures (shichifuku no uchi) from the series Comparisons of the Artistic Pride of Precious Children (Gei-Jiman kodakara awase shichifuku no uchi), with date seal 1805-VI, censor's seal kiwame, published by Izumiya Ichibei; one entitled Carrying Sea Waters from the series Fine Plants and Splendid Landscapes (Masarigusa natori fukei), censor's seal kiwame, published by Yamaguchiya Tobei; all signed Utamaro hitsulargest: 29.2cm x 26.3cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
a hashira-e print, published by Nishinomiya Shinroku, signed Suzuki Harunobu hitsu 69cm x 10.4cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
comprising three oban yoko-e prints; including two from the same series The Storehouse of Loyal Retainers, a Primer (Kanadehon Chushingura), one entitled Act V (Godanme), the other Act VI (Rokudanme); together with one Whaling off the Gotô Islands (Goto kujira tsuki), from the series One Thousand Pictures of the Ocean (Chie no umi)largest: 23.2cm x 35.4cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
comprising six oban tate-e prints and one oban yoko-e print; including one depicting Sasaki Saburo Moritsuna strangling the fisherman Fujidayu, published by Kawaguchiya Uhei; one Kashiwade no Hanoshi wrestling a tiger in a cave, from the series Heroes Matched to Five Colours (Eiyu goshiki awase), published by Sanoya Kihei; one kabuki actor Iwai Hanshiro V in the role of Buddhist monk Seigen, in the play 'Sumidagawa hana no goshozome', published by Kawaguchiya Chozo; one Evening Glow at Awazu (Awazu yusho) from the series Military Brilliance of the Eight Views (Yobu hakkei), with scene Tomoe-gozen after the battle of Awazugahara, published by Enshuya Matabei; one of the triptych from the picture album Edo Fūzoku Azuma Nishiki-e, published by Tsujiya Yasubei etc.largest: 38cm x 27.8cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
明或以後 花鳥水墨畫 絹本設色（一組兩幅） ink and colour on silk, each attached to thin paper then to cardboard, unframed32cm x 27cm eachProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
清雍正 粉彩麻姑獻壽圖大盤 the interior delicately enamelled with Magu, the goddess of longevity, holding a lingzhi spray, beside a boy attendant carrying a basket of peaches over his shoulder, and a stag with a peach in its mouth, the mouth rim gilded, the base with a wheel engraved Johanneum Inventory mark 'N=183 I'43.5cm diameterProvenance:August II, 'August the Strong', Prince-Elector of Saxony (1670-1733), Dresden;Private English collection, Hampshire; the collection has been in the family for over four generations, since the 1920's.Footnote: Note: The scene on this dish depicts the Daoist Immortal, Magu, on her way to celebrate the famous peach banquet of the Queen Mother of the West, Xi Wang Mu, who rules over the garden of the peaches of longevity. The fine drawing of Magu's feminine face is in the traditional Chinese style without shading. The scene contains many symbols of long-life and immortality, especially the lingzhi fungus, the deer, and the peaches, while the blossoming prunus tree represents youth and new life.Augustus II (1670-1733) King of Poland and Elector of Saxony known as Augustus the Strong, whose passion for collecting created the basis of Dresden’s Art Collections, had a particular fondness for East Asian porcelain from the 17th and early 18th centuries. Obsessed with porcelain, he had the largest collection of Asian porcelain in Europe with over 29,000 pieces recorded on his death in 1733.This plate can be dated with some accuracy since no new pieces were added to the collection of Augustus the Strong (1670-1733) after his death in 1733, and the inventory books at Dresden reveal that dishes of this kind were acquired in 1727. After his death in 1733, the porcelain was packed away in the cellars of the unfinished "Japanische Palace". The term "Johanneum" was taken from the building in Dresden to which the royal collection was moved in 1875-76.One plate with the same number of the old Dresden inventory (N=183 I, inventory 1779) and almost identical decoration and size is in the Dresden collection.[1] Some other examples with the same inventory number entered the art trade presumably as a result of earlier sales, with examples found in the museum Boijmans Van Beuningen in Rotterdam[2] and in the former Collection Ignazio Vok.[3] Two smaller dishes (39cm diameter and 38.8cm) with the same design and inventory number were sold respectively at Christie's London, 30 April 2015, lot 111 and Sotheby's New York, 17 March 2021. [1] Eva Ströber, La maladie de porcelaine ..., East Asian Porcelain from the Collection of Augustus the Strong, Leipzig, 2001, no. 32[2] C.J.A. Jörg, Oriental Porcelain, A Choice from the Boymans-van Beuningen Museum Collection, Rotterdam, 1995, p. 61, and fig. 25[3] Ulrich Wiesner, Seladon Swatow Blauweiss. Chinesische Keramik aus der Sammlung Ignazio Vok, Köln, 1983, no. 153
an oban tate-e triptych print A Guide to the Good and Bad Urges of the heart (Zen'aku kokoro no annai), published by Hirookaya Kosuke, with censor's seal: Ox 7 aratame, signed Keisai Yoshiiku giga largest: 37cm x 25.4cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
comprising seven oban tate-e prints; six by Shunkosai Hokushu, including two diptych prints of Kabuki Actor Nakamura Utaemon III as Tabakoya Sankichi and Ichikawa Ebijuro as Saito Kuranosuke afraid of apparition of giant snake, published by Honya Seishichi; one Actors Bando Mitsugoro III as Lady Iwafuji and Nakamura Matsue III as Lady Onoe; one Actors Sawamura Kunitaro II as Ayame no Mae and Arashi Kitsusaburo II as Gen Sanmi Yorimasa; one Bando Jutaro; one Nakamura Karoku I as the Courtesan Hinazuru, actually Shokuro's wife Kocho, all signed Shunkosai Hokushu ga; together with one by Shunbaisai Hokuei, Actor Arashi Rikan II as Aburaya Yohei, signed Sekkaro Hokuei galargest: 38.1cm x 26.2cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
鄭木奎 無題 紙本設色 鏡框 mixed media on paper, framed, signed 'Bak Koi' lower-middle right59.5cm x 59.5cmProvenance: Private Scottish collection, by repute acquired from Singapore in the early 1980s Footnote: Note: A second-generation Singaporean artist, Tay Bak Koi is well known for paintings with Southeast Asian themes, this includes the portrayals of fishing villages, kampong scenes and buffalo. Over and beyond the quintessential realistic depiction of Southeast Asian lives, his distinctive style combined a mixture of realism and fantasy to create truly unique works of art. Predominantly using oil paint, watercolour was another favoured medium for Tay. In the example presented here, Tay employs watercolour as the base, oil, gouache or other mediums to detail the landscape, achieving a sense of tranquillity and modernity.
an oban tate-e triptych print A Children's Calligraphy Gathering (Yôdô sekigaki kai), published by Izumiya Ichibei, signed Ichiyusai Kuniyoshi galargest: 37.6cm x 26.6cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
comprising ten oban tate-e prints; including one entitled The Flowers of Edo (A Collection of Actors' Portraits): No. 33, Six Selected Flowers, Hardy Begonia; one Poem by Sanjôin Onna Kurodo Sakon: (Actor Ichikawa Danjuro VIII as) Tokijiro, from the series Comparisons for Thirty-six Selected Poems (Mitate sanjûrokkasen no uchi) etc.largest: 37.2cm x 25.3cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
comprising four oban tate-e prints; including one entitled Shaving the Nape of the Neck, from the series Elegant Five-Needled Pine (Furyu goyo no matsu); two from the series Comparing True Feelings — Sources of Love (Jitsu kurabe iro no minakami), one of them published by Nishimuraya Yohachi, depicting a pair of famous lovers from shinjû-mono (plays about double-suicide), the lovers' names, Keisei Umegawa and Hikyakuya Chubei, are inscribed above them; and one possibly from the series of Courtesan Yosooi from Matsuba House, censor's seal kiwame, published by Nishimuraya Yohachi; all signed Utamaro hitsulargest: 38cm x 26.6cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
comprising one surimono and two yotsugiri tate-e prints from the series of Procession of Women Carrying Palanquin; all signed Toyohiro galargest: 19.5cm x 18.3cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
comprising one oban yoko-e print and three chuban tate-e prints; including one painted with Two Dancers in Butterfly Costumes; three with a lady in court robeslargest: 24.5cm x 36.5cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
two otanzaku prints entitled Monkey Holding a Dragonfly and Monkey hanging from a thin bamboo twig observing a fly, published by Daikokuya, signed Shoson34.3cm x 18.8cm and 34.6cm x 19.4cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
on a splayed foot, with slightly flaring sides and upright rim, the external rim engraved with inscriptions in nasta’liq comprising the call on God to bless Muhammad and the twelve imams, the body decorated with an intricately detailed hunting scene depicting horsemen holding various weapons including spears, swords, and bows and arrows, a variety of prey and hunting dogs, all on a reserve of scrolling clouds, the body engraved with ‘Ja’far’ (owner’s or maker’s name), the base later inscribed with ‘The owner, Hasan bin Muhammad’8.2cm highFootnote: Note: The engraving of the hunting scene is of particularly high quality. For another similar-sized Safavid footed bowl, see Christie’s, Art and Textiles of the Islamic and Indian Worlds including works from the Collection of the late Simon Digby, 8 April 2011, lot 200 (sold for £3,000).
清 粉彩仕女教子圖茶壺 及 嘉慶款 粉彩仕女圖碟（兩件） a lidded teapot painted with ladies and boys in garden, reverse inscribed with poem, with two metal over-head handles; together with a saucer finely decorated with four ladies engaging with leisurely activities, the exterior painted with five bats, the base inscribed with a six-character Jiaqing mark in iron-redteapot: 20cm wide; saucer: 14.6cm diameterProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
清康熙 青花四季花卉圖菱花式鳳首壺（一對） each of quatrefoil baluster form, painted on the bulbous body in panels with various flowers issuing amongst rockwork above a frieze of lotus petals, the undulating spout terminating in a phoenix head joined to the tall neck flaring to a garlic-form head, with a floral form lidheights: 25cm and 26cmProvenance: Property of the late Hon. Elizabeth FairbairnFootnote: Note: Ewers of this form were originally inspired by Middle Eastern metal wares and were made for the export market. They were meant to exist in pairs. It is very rare to have their original lids still kept with the ewers. Compare a closely related ewer from the Avery Brundage collection now at the Asian Art Museum, San Francisco, acc. no. B60P249. A pair from the Grandidier collection, now at the Louvre museum, was paired with three blue and white bottle vases to form an ad hoc garniture set and is illustrated in La Ceramique Chinoise: De l’epoque de K’ang-Hi a nos jours, Paris, 1922, pl. 244. Two further comparable pairs were respectively sold at Christie's New York on 28 January 2013, lot 404 and Sotheby's New York on 20 March 2018, lot 452.
oil on canvas, framed, signed lower right; verso: 'by Ba Nyan', 'PAGODA RANGOON' '19.3.31' 'OIL PANTING'22cm x 30cmProvenance:Deceased estate of a Glasgow gentleman and collector of Asian Art, acquired in 1995.Tom Bell Fine Art, Troon, Scotland, purchased from John Green Fine Art, 182 Bath Street Glasgow in October 2017.Footnote: Note: John Green Fine Art Glasgow did not show the work in his gallery at any time and the current owner spotted it in his safe; the painting was then purchased upon Green's retirement in October 2017.U Ba Nyan was one of the most important artists in Myanmar during the twentieth century, most well-known for his western Academic style. Born in Pantanaw in 1897, Ba Nyan showed a proficiency in the arts at an early age and studied under Po Maung for four years before being noticed by local officials who supported him in studying at the Normal School.At the age of 24, Ba Nyan became the first Burmese artist to study at the Royal College of Art in London, with the support of the Burma Art Group, a prestigious institution that supported young Burmese artists with great promise. During his time in London, he developed his signature Academic style, which when he returned to Myanmar in 1925 awarded him great prestige and renown. Working in oil painting, Ba Nyan received many important commissions from notable clients such as Sir Paw Htun, Sir Ba Oo and Shan saophas. Though U Ba Nyan had drawn many paintings depicting the landscapes and lifestyles of Myanmar, most of them were bought by the British and lost during World War II. Few of his paintings can be found today.In 1939, he became principal of the Art School for Myanmar students; then in 1944 he led a group of artists that opened the Institute of Art, becoming the principal of the academy. His role was such that many younger Burmese artists were influenced by him: Thein Han and Ba Kyi were both prolific and important artists who studied under Ba Nyan. During this period, the war-time prime minister of Burma, U Ba Maw, presented two of Ba Nyan's paintings to the Japanese Prime Minister, and a third painting to Emperor Hirohito, illustrating the great international acclaim the artist had achieved.Paintings by Ba Nyan remain rare and highly collectable, with a watercolour of an elephant monument sold for £9,500 and one of the Shwedagon Pagoda sold for £5,500 in 2019 at Grand Auctions in Folkestone, England. His works remain in important international public and private collections such as A Buddhist Monastery in the National Museum of Myanmar, and At the Jetty in the Singapore Art Museum.
comprising four surimono; including one depicting Mirror Stand and Towel Rack, from the series New Year of the Rat: Bridal Furnishings (Ne no haru, yomeiri dogu); one depicting Turtle-shaped Bag; one depicting a table screen; and one depicting two female figures picking up plants; all signed Shinsailargest: 21.2cm x 18.7cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
清 雍正款 青花釉裏紅海獸紋、清風款 青花團龍紋、青花綠彩道教仙人圖 鼻煙壺（一組三件） comprising: a blue and white with underglaze red ovoid bottle decorated with various sea monsters, topped with an orangey hardstone stopper, the base inscribed with a six-character Yongzheng mark in underglaze blue, 6cm high; a tapered cylindrical bottle painted with two coiling dragons on the sides, the base inscribed with a two-character 'Qing Feng' mark in underglaze blue, 8.5cm high; and a blue and white with famille verte bottle in flattened form painted with Daoist immortals Li Tieguai and Liuhai to each side, 5.5cm highlargest: 8.5cm highProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
清康熙 青花褐彩加歐洲雕飾紋碟 the exterior has a rich brown ground (Batavia ware) which has wheel engraved decoration of stylised flowering foliage11.5cm diameterProvenance: Private collection from the Scottish Borders, comprising Asian Art collected over 50 yearsFootnote: Note: The current owner met Dr Barbara Harrisson (1922-2015), Director and Chief of Ceramicist at the Princessehof Museum in Leeuwarden, in the early 1980s in person and acquired the following information:It was a Dutch custom during the 17th-18th centuries for husbands to mark birthdays etc. and anniversaries by presenting their wives with a piece of blue-and-white porcelain or glassware. The porcelain was imported via Batavia, the Dutch name for what became Jakarta and was often partially glazed with favoured tea-coloured slip and known as ‘Batavian Ware’.It was known historically that a travelling Bohemian glasscutter had been in Holland around 1790 and had been embellishing glassware and also Batavian ware with incised artwork. The purpose was to enhance the traditional family gifts. The Princessehof had five examples of his work on porcelain.
comprising four oban yoko-e prints and two oban tate-e prints; including one entitled Snow in the Precincts of the Tenman Shrine at Kameido (Kameido Tenmangu keidai yuki), from the series Famous Places in the Eastern Capital (Toto meisho), published by Sanoya Kihei; one Yanagibashi Bridge in Ryôgoku: The Umegawa Restaurant (Ryogoku Yanagibashi, Umegawa), from the series Famous Restaurants of Edo (Edo komei kaitei zukushi), published by Fujiokaya Hikotaro ; one Shinmei Shrine in Shiba (Shiba Shinmeigu), from the series Famous Places in Edo (Edo meisho), published by Yamadaya Shojiro; one Visiting the Fudo Temple in Megoro (Meguro Fudô môde), from the series Famous Places in Edo (Koto meisho), published by Sanoya Kihei; one Bikuni Bridge in Snow (Bikunibashi setchu), from the series One Hundred Famous Views of Edo (Meisho Edo hyakkei), published by Uoya Eikichi; and one Tsukudajima Gyoshoi, published by Aibokulargest: 25.3cm x 37.9cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
a oban tate-e triptych print showing Prince Genji in a boat with attendant page and a lady watching female awabi (abalone) divers called ama; Prince Genji was the protagonist of Murasaki Shikibu’s Heian-era novel The Tale of Genji, he was the second son of the emperor, and relegated to civilian life; published by Maruya Kyushiro, with a date mark 1865-V, signed Kunisada hitsu largest: 37cm x 25cmProvenance: From the collection of Arthur Halcrow VerstageNote: Arthur Halcrow Verstage (1875-1969) was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection was a reflection of his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
Richard Attenborough signed commemorative cover from the 80th Anniversary of the First Aeroplane Flight in Britain. This flown cover comes complete with double postmark, 16th October 1988 and was flown by Group Captain W.S.O Randle copy number 179 of 1000 English actor, filmmaker, and entrepreneur. He was the president of the Royal Academy of Dramatic Art (RADA) and the British Academy of Film and Television Arts (BAFTA), as well as the life president of Chelsea FC. He joined the Royal Air Force during the Second World War and served in the film unit, going on several bombing raids over Europe and filming the action from the rear gunner's position. Good condition Est.
Joan Collins vintage signed and dedicated 8x10 colour photograph, printed on card. Collins (b. 1933) British Actress, author and columnist. She made her stage debut aged nine, trained at RADA (Royal Academy of Dramatic Art), made her British film debut as a beauty contestant in Lady Godiva rides Again (1951) and went to Hollywood in 1955 under contract to Twentieth Century Fox. She became an international superstar in 1981 when she played Alexis Colby in the soap opera Dynasty a role which won her a Golden Globe award in 1982. In 2015, she was made Dame Joan Collins DBE by Queen Elizabeth II for her services to charity. Good condition Est.
Gemma Arterton and Tom Courtenay signed FDC celebrating The Royal Shakespeare Company, with an Offical stamp and postmark dating12th April 2011, Edinburgh. Courtenay is an English actor of stage and screen. After studying at the Royal Academy of Dramatic Art, Courtenay achieved prominence in the 1960s with a series of acclaimed film roles, including The Loneliness of the Long Distance Runner (1962)?, for which he received the BAFTA Award for Most Promising Newcomer to Leading Film Roles?, and Doctor Zhivago (1965), for which he received an Academy Award nomination for Best Supporting Actor. Arterton (born 2 February 1986) is an English actress and film producer. She made her professional stage debut playing Rosaline in Shakespeare's Love's Labour's Lost at the Globe Theatre (2007), and first professionally appeared on film in the comedy St Trinian's (2007). She played Bond Girl Strawberry Fields in the James Bond film Quantum of Solace the following year, a performance which won her an Empire Award for Best Newcomer. Good condition Est.
The Rape of the Lock by Alexander Pope - a limited edition run of 1000 copies on art paper published by Leonard Smithers along with a collection of various other books including a quantity of vintage children's literature and a set of six Dorset town plans from John Hutchins "History and Antiquities of the County of Dorset" published by Dorset County Library 1979.
Fang Xiang (Chinese, b.1967),Streams of Clarity,signed with artist's seal, ink and colour on paper,95 x 34cm, framed and glazedProvenance: Purchased from HaKaren Art Gallery, Singapore, on 29 December 2007.方向 丽江水巷 设色纸本 镜框Condition report: Paper a bit cockled. Did not examine outside of frame.
Fang Xiang (Chinese, b.1967),The Faraway Jade Dragon Mountain,signed with artist's seal, ink and colour on paper,67 x 136.5cm, framed and glazedProvenance: Purchased from HaKaren Art Gallery, Singapore, on 25 September 2010.方向 仰望玉龙山 设色纸本 镜框Condition report: Paper a bit cockled. Did not examine outside of frame.
A Japanese aubergine and turquoise-glazed vase,19th century, of baluster form rising to a flared rim, decorated in relief with shou roundels among lotus between ruyi-shaped borders, all glazed in turquoise and aubergine, the base unglazed written with Kairakuen sei, 37cm highKairakuen was the official kiln of the Daimyo (provincial lord) of Kii (modern-day Wakayama prefecture), who was a member of the ruling Tokugawa family. In response to the revival of interest in Chinese art during the late 18th and early 19th centuries, many of the kiln's wares imitated Chinese ceramics - in this example, the Fahua ware of the Ming dynasty.For a similar item, but Japanese Edo period, c.1800-1850 with impressed mark, see Victoria and Albert Museum, Accession Number 289-1877. Condition report: Cracked and restored to rim and neck. Firing cracks to body.
A Chinese Xing ware white-glazed jar,Tang dynasty (618-907), of ovoid form on a flared circular foot, with four lug handles to the short neck, applied to the exterior with a crackled glaze of a pale ivory tone, stopping irregularly to the middle revealing the fine stoneware body, with a 'Spink & Son, London, G. de Menasce Collection 19' label,18.5cm highProvenance: G de Menasce Collection, Spink & Son, London. G de Menasce Collection Sale, item 19.Baron Georges Ferdinand Joseph Behar de Menasce OBE (1890-1967), whose collection was sold by Spinks in 1971-1972: 'Catalogue of the Collection of Chinese Porcelain and Works of Art formed by the late G de Menace OBE', Spink, 10 May-26 May 1972.For a similar item, see British Museum, museum number 1968,0422.23. 唐 邢窑白釉四系罐Condition report: Glaze flakes throughout. Surface scratches, small chips to foot.
Loading...
