We found 23406 price guide item(s) matching your search
There are 23406 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
23406 item(s)/page
Lot 487
Two trays of china: tray of Royal Albert ‘Blossomtime’ tea ware: six cups and saucers, six square tea plates, square sandwich plate, milk jug and sugar basin and a tray of Royal Albert china tea ware: four tea cups and six saucers, six tea plates, square sandwich plate, sugar basin and milk jug decorated with garden flowers. (2)(B.P. 21% + VAT)
Lot 369
Four trays of Royal Albert 'Old Country Roses' tea, coffee and dinner ware: Fifteen dinner plates, with two lidded vegetable dishes, cruet sets, gravy boat and stand. Coffee set: coffee pot, six cups with five saucers, six tea plates, sugar basin and milk jug. Tea set: teapot and stand, milk jug, sugar basin and eight cups and saucers. (4) (B.P. 21% + VAT)
Lot 859
GALLE EMILE: (1846-1904) French artist and designer who worked in glass, considered one of the major innovators in the French Art Nouveau movement. An excellent Autograph Manuscript Signed, Emile Galle (in the third person to the title page and also within the text), twenty pages (including the title page), 4to (and a few smaller), n.p. (Nancy), n.d. (1884), in French. The manuscript, largely penned to the versos of Galle's personal printed stationery, is the artist's working draft (containing numerous corrections) of his report to the jury of the Central Union of the Decorative Arts VIII Exposition on the production and manufacture of his glass, including various specimens, and featuring details of the technical procedures of decoration and the diverse new applications derived from it, in particular new glass colouration including double and triple marbled glass, precious stone imitations, the use of air bubbles, extension of the palette of opaque enamels on glass, the use of transparent and translucent enamels on glass (other than cobalt oxide enamel), rare and strange decorations and new engraving procedures etc., in part, 'The exhibitor presents this year some tones coloured from the block (chrome oxide, iron oxide and diverse combinations of iron oxide, cobalt, manganese); some free imitations of precious stones, transparent, translucent or marbled with opaque veins. These colourations are obtained by introduction of diverse oxides and metallic salts in the glass, of opal glasses, and glasses coloured with gold or copper oxide….He still presents glasses with the introduction of gold sheets, platinum, finally some doublets and triplets with marbled sheet. Some specimens offer absolutely new effects, unprecedented use of which, neither modern or antique, offer any example…..the exhibitor asks the jury to examine the following samples…..Octopus light cigar case….cylindrical pot and tray…..basin with glass stopper, sapphirine colour, or blue quartz colour (composition based on potash) with translucent enamels…..Emile Galle incidentally reminds that glass, coloured with a small quantity of cobalt oxide in a pretty sapphire tone, colour which was since vulgarised by some French and foreign glass manufacturers, was emitted by him in 1878…..(and)…..commercialised by him under the name Clair de Lune, it was produced successively in Germany under the name Mondschein and in England under that of Moonlight Glass. A sample of this shade can be seen in the Decorative Arts museum……Marbled glasses with purple and bluish colours disclose the presence of gold. These marbling are yellowish when seen by reflection and red or pink by refraction…..These colours, interesting from the point of view of techniques, are not less interesting as regards decoration for the resources they offer the artist. Unfortunately, in considering the industrial use only, this procedure does not seem very practical, its effect being too variable…..it still requires some spendings of imagination to create interesting subjects out of their strange shapes…..The exhibitor also presents some tinted glasses containing gold and platinum sheets introduced in the glass in order to serve as foreground to enamels…..all the exhibitors decorations are handmade……The vivid desire to create….enamels on glass, a production with a really modern and French character, has led the exhibitor to research the colours that neither the Damas or Venise enamellers, nor the German painters have used in their productions, some reds and blues for example, some blacks, yellows and greens, some purples, pinks and violets, and most of all half tones, fine and broken shades, greys, flesh and ivory tones. Their judicious use, without dashing the decoration of the glass, can add to it a certain piquant…..diverse appropriateness between the decoration and the objects' destination had led Galle to research other translucent enamels than the old and magnificent blue derived from cobalt. Some objects having to represent the decorations by refraction as well as by reflection, it became necessary to enlarge the enamel palette in a sense contrary to opacity…..Emile Galle pays the greatest attention to the composition of the drawings intended to be executed in touret engraving. He never uses the fluor hydric acid engraving. It can be no use to him in the artistic effects he is searching for…..' Within the draft Galle details over eighty glass objects that he is presenting at the exposition including vases, scent bottles, bowls, tankards, goblets, cornets, a clock (made for the Queen of Italy), jugs, wine glasses etc. A manuscript of fascinating content and accompanied by a vintage unsigned 5 x 8.5 cabinet photograph, the albumen print by Otto Wegener of Paris depicting Galle in a head and shoulders pose and with the photographer's imprint to the lower mount. Some light overall age wear and a few creases and small tears (most noticeable to the left edge of the title page). G to VG, 2
Lot 184
An English blue printed earthenware jug and basin, c1840, with a piping shepherd in floral border, basin 30cm diam, a contemporary spout cup, an earlier pearlware blue and white chinoiserie footed bowl and a Copeland Spode's Italian pattern meat dish (5) Pearl ware bowl - chip on rim. The other items good
Lot 89
SMALL SILVER & WHITE METAL GROUP - 6 items to include a Chester 1920 cream jug having a shaped handle and spout, on a circular pedestal base, 7cms max H, indistinct maker's mark, Birmingham 1911 twin scroll handled sugar basin on a circular pedestal base, Maker Joseph Gloster Ltd, Birmingham 1902 oval pierced edge sweetmeat dish, Maker's stamp C & Co within three diamond shape, 15cms across, 5.5ozt gross, along with three Indian white metal napkin rings embossed with elephants and foliate scrolls, 2.3ozt
Lot 311
An Omagua pottery bowl,16th-18th century, Napo River, Amazon Basin, Ecuador, with painted black geometric decoration,25cm diameter19.5cm highBearing an Oxford Authentication thermoluminescence analysis report (sample no. N122a64), estimating that the date of the last firing was between 350 and 500 years ago.Provenance: Austin G Baillon OBE, acquired prior to 1975:thence by descent.Austin Gabriel Baillon OBE served during the Second World War as a Special Operations Executive in H Division in Gibraltar, after which he followed a career with Shell in Venezuela, where he also served as British Vice-Consul. During this time he spent time in Ecuador, which is where he acquired the two present Omagua pottery vessels.The Omagua culture inhabited the banks of the Napo River in the Amazon Basin during the second millennium AD and, as a people, gave great weight to spirituality in their ritual and daily life. Painted earthenware vessels such as the present example were used in the funerary process for this and other Amazonian cultures.
Lot 312
An Omagua figural pottery funerary vessel,16th-18th century, Napo River, Amazon Basin, Ecuador, decorated with black geometric patterns on a cream ground, 27cm wide 32cm deep48cm highBearing an Oxford Authentication thermoluminescence analysis report (sample no. N121q60), estimating that the date of the last firing was between 300 and 450 years ago.Provenance: Austin G Baillon OBE, acquired prior to 1975:thence by descent.Austin Gabriel Baillon OBE served during the Second World War as a Special Operations Executive in H Division in Gibraltar, after which he followed a career with Shell in Venezuela, where he also occupied a position as British Vice-Consul. During this period he spent time in Ecuador, which is where he acquired the two present Omagua pottery vessels.The Omagua culture inhabited the banks of the Napo River in the Amazon Basin during the second millennium AD, and as a people gave great weight to spirituality in their ritual and daily life. The present vessel, with its vibrant geometric paint, would have housed the remains of an important figure in the tribe as part of a 'secondary burial', which was a continuation of the same process in earlier Amazon cultures. As part of specific funeral rites, the bones of deceased elders were exhumed and placed in these specially crafted anthropomorphic urns. Little relevant or extensive archaeological work has been performed in the Amazonian Basin due to the climatic conditions. Nonetheless, there are pre-colonial archaeological sites that have a tradition of effigy urns distinguished by elaborately designed patterns, and we know the manufacture of such urns persisted into post-European times. For a similar, albeit earlier example, see: Napo (Ecuador) Phase Rocafuerte Urn, c. AD 1000-1200, Israel Museum, Arnold H Maremont collection.Condition ReportHands lacking. Breaks and repairs to both feet. Cracks to the body throughout. Rubbing, loss and wear to decoration throughout. Please see additional photos.
Lot 443
A small delft tin-glazed bowl, 18th century, of circular form, decorated with a building in a landscape,7.5cm diameter4cm highCondition ReportChips and losses to tin glaze around rim of bowl. Surface scratches and cracks to glaze throughout, particularly the basin. Losses around the rim. Overall in fair condition with signs of age and use.
Lot 534
Shelley Art Deco tea service decorated with trees pattern number 117191 jug - minor discolouration1 sugar basin - various hairline cracks11 cups - 7 with hairline cracks12 saucers - in good condition2 sandwich plates - 1 with minor discolouration10 small plates - 1 discoloured, 2 with hairline cracks
Lot 504
FOUR BOXES AND LOOSE CERAMICS AND SUNDRY KITCHEN WARES, to include a TG Green Cornish Ware flour shaker labelled 'FLOUR' (cracks), a yellow and cream Cornish Ware pudding basin, five cups and six saucers (sd), Aynsley tea wares in patterns including Versailles, Kenmore and 8219, four Paragon Regency Print cereal bowls, a Denby green and yellow straight sided jug, height 17cm, a Spode Delphi coffee pot, etc (4 boxes + loose) (sd)
Lot 486
Machang Phase, Ca. 2300-2000 BC. A stem bowl with a basin of flaring walls sitting on a trumpet-shaped foot with a short, hollow stem. The interior decorated with chevron pattern between arms of brown painted cross with black edges.Size: L:115mm / W:140mm ; 370gProvenance: Property of a London gallery; formely in High Wycombe Estate collection; formerly acquired on the UK Art market.
Lot 512
Ca. 600-800 AD. A rounded bottomed terracotta bowl with written incantations in Aramaic, radiating around the basin. The use of incantation bowls by Jewish communities living in the Middle East was a way to protect themselves and their families from supernatural forces and the dangers of daily life. The use of the bowls was also a way to bring spiritual protection and blessings to the households and communities in which they were buried. By burying the bowls underground, it was believed that they would bring good luck and divine protection to the area. Cf. The British Museum, Registration number 1908,1010.4.Size: L:70mm / W:165mm ; 270gProvenance: From the collection of a London gentleman; formerly acquired in Tokyo, Japan in 2003; formerly in old Japanese collection since the 1970s.
Lot 517
Ca. 200-300 AD. A schist head of a bodhisattva, with elaborate coiffure featuring a topknot (Ushnisha) and carefully-detailed hair, nice headband, heavy, lowered eyelids, elegant nose, neat moustache, closed mouth and strong chin. His identity as a bodhisattva is established by the presence of a well-defined urna on his forehead. Together, these details create a majestic impression of a bodhisattva or individual who is able to reach nirvana (enlightenment) but delays doing so through compassion for suffering beings. The back is rough and unfinished, suggesting this piece was originally placed in an architectural setting. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this head belongs, was the golden age of artistic production in the area. For further discussion on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition.Size: L:240mm / W:200mm ; 6.97kgProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Lot 101
Ca. 350 BC. An attractive salt cellar / small bowl covered in a glossy glaze. The vessel features a broad basin with an incurved wall, standing on a pedestal base. For a type, see The British Museum, Miscellaneous number: 1911.02.0015.Size: L:25mm / W:95mm ; 95gProvenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection.
Lot 110
Ca. 400 BC. A finely modelled Ancient Greco-Phoenician swivel ring featuring an onyx intaglio with winged horse Pegasus set in a solid gold bezel decorated with a incised decoration, the shoulders accompany granule decoration. The ring features a thick and plain loop, threaded through the ends of the bezel. The swivel ring is Phoenician in origin and was extremely popular across the Mediterranean basin in Antiquity, similar items having been found in Cyprus, Greece, Egypt and Etruria. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D: 17.35mm / US: 7 / UK: O; 9.5gProvenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.
Lot 192
Ca. 300-400 AD. A finely made wheel-thrown redware pottery dish, with a squat form that rests atop a low ring base. The dish includes broad walls, a shallow basin. The centre of the basin is decorated with a six-pointed star.Size: L:65mm / W:330mm ; 1.28kgProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s. Exhibited: Olympia Art & Antiques fair, London June 2022.
Lot 221
Ca. 300-400 AD. An ancient Roman wheel-thrown redware pottery dish of a squat form that rests atop a flat base. The vessel features broad walls, a shallow basin, and a groove between the rim and basin that was meant to accommodate a lid. The center of the basin is decorated with a four-pointed star surrounded by four stylised concentric bullseye patterns. For similar see: Forrer; Sigillata Pottery of Heiligenberg.Size: L:40mm / W:268mm ; 620gProvenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s.
Lot 351
A RARE PAIR OF BACTRIAN CAMELS, PAINTED GRAY POTTERY, TANG DYNASTYChina, 618-906. Each animal braying with its head raised, the back covered with a teardrop-shaped saddle between its humps, painted with large eyes, orange fur, and white saddle with lozenge pattern, one camel with upright standing hairs to the head. (2)Provenance: Sotheby's New York, 3 June 1992, lot 165, estimate USD 10,000 or approx. EUR 20,000 (converted and adjusted for inflation at the time of writing). Harold and Ruth Newman, Connecticut, acquired from the above in an after-sale transaction. Harold Newman (1931-2021) earned his undergraduate degree at the University of Oklahoma, where he first developed a lifelong interest in Asian studies. He served in the U.S. Army in Strategic Intelligence for two years before beginning an investment career with Goldman Sachs. In addition to his career in finance, Newman was a trustee of the Asia Society in New York City, a board member of The Hertz Foundation and MCC Theater, and a producer of well-known plays In the Heights and Hamilton, among others. Newman established the University of Oklahoma Institute for US-China Issues and the Newman Prize, the first American award for Chinese literature. Together with his wife Ruth, they also supported the Asia Society Museum with a significant gift including works from famous East Asian artists. Condition: Some repairs and touch-ups as generally expected from Tang dynasty excavations. Extensive wear, minor losses, chips, cracks, remnants of ancient pigments, and soil encrustations.Weight: 1.9 kg and 1.8 kg Dimensions: Height 20.8 cm and 21.4 cm, Length circa 31.5 cm (each)From the 6th century onwards and throughout the entire Tang dynasty, the Bactrian camel frequently appears among the tomb figures of China. Imported from the Tarim Basin, eastern Turkestan, and Mongolia, it was an essential means of transporting merchants and cargo along the Silk Road into China. The species was highly regarded by the Tang emperors who established dedicated offices to oversee the imperial camel herd. Referred to as the ships of the desert, camels endured hot temperatures and were the essential method of transport for merchants wishing to conduct trade with the oasis cities of Central Asia, such as Samarkand, Bukhara and Isfahan, along the trading routes of the ancient Silk Road.Expert's note: This pair of camels is highly unusual as each camel has four holes to the underside, probably for the insertion of wooden legs for support inside the tomb.Literature comparison:Compare a related figure of a recumbent camel, Tang dynasty, in the collection of the Asian Civilization Museum, accession number 1997-01942.Auction result comparison:Type: RelatedAuction: Bonhams London, 11 May 2021, lot 72Price: GBP 4,845 or approx. EUR 6,300 converted and adjusted for inflation at the time of writingDescription: A fine painted pottery model of a camel, Tang DynastyExpert remark: Compare the related pose and pigments. Note the similar size (35 cm).唐代一對罕見彩繪駱駝俑中國，618-906年。端臥駱駝，似在仰頭嗥叫，駝峰間覆馬鞍，大眼，橘色皮毛。 來源：紐約蘇富比，1992年6月 3日，估價 USD 10,000 或相當於 EUR 20,000 (根據通貨膨脹率)。Harold 與 Ruth Newman，康乃狄克州，購於上述拍賣。Harold Newman (1931-2021年) 在俄克拉荷馬大學獲得了本科學位，在那裡他第一次對亞洲研究產生了興趣。在高盛 (Goldman Sachs) 開始投資生涯之前，他在美國陸軍的戰略情報部門服役了兩年。 除了他在金融領域的經歷，Newman還是紐約市亞洲協會的受託人、赫茲基金會和 MCC 劇院的董事會成員，以及著名戲劇 In the Highs 和 Hamilton 等的製作人。Newman創立了俄克拉荷馬大學美中問題研究所和Newman獎，這是美國第一個中國文學獎。他還與他的妻子Ruth一起，為亞洲協會博物館提供了重要的禮物，其中包括著名東亞藝術家的作品。 品相：一些修復和潤色，嚴重磨損、碎片、裂縫、顏料殘留和土壤結殼。 重量：分別爲1.9 公斤與1.8 公斤 尺寸：高分別爲 20.8 厘米 與21.4 厘米，長分別爲31.5 厘米 公元六世紀起，貫穿整個唐代，雙峰駝頻繁出現在墓葬中。它從塔里木盆地、東突厥斯坦和蒙古進口，是絲綢之路沿線商人帶著貨物進入中國的重要交通工具，受到唐朝皇帝的高度重視，他們設立了專門的署衙來監管皇家駱駝群。專家注釋：這對駱駝非常不尋常，因為每隻駱駝的底部都有四個孔，可能是為了插入木架以用來墓葬。 文獻比較： 比較一件相近的唐代臥駱駝俑，收藏於Asian Civilization Museum，館藏編號1997-01942。
Lot 69
A MASSIVE PAINTED POTTERY FIGURE OF A BACTRIAN CAMEL AND SOGDIAN RIDER, TANG DYNASTYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 3 February 2005, based on sample number C105a47, sets the firing date of three samples taken between 900 and 1500 years ago (one further sample contained restoration material and could not be dated). A copy of the report, signed by Doreen Stoneham for Oxford Authentication, accompanies this lot.China, 618-907. The large camel is modeled with its head slightly turned to the left, protruding eyes, flaring nostrils and ears lying against its neck, its mouth held wide open with the tongue in the center. A detachable saddle bag hangs between its humps and is surmounted by a bearded Turk or Sogdian rider, wearing a distinctively pointed hat, with one arm raised to hold the reins.Provenance: From the collection of Joseph Rondina (1927-2022), who was born into a first-generation Florentine-American family in Auburn, upstate New York. Returning to the U.S. after being stationed in Berlin at the end of the Second World War, he studied at the Whitman School of Design before opening Joseph Rondina Antiques on Madison Avenue in Manhattan's Upper East Side in 1957. In the beginning, his interests focused primarily on European 18th-century decorative arts and furniture, over time developing to include Chinese, Korean, Indian, Thai, Cambodian, Persian and Japanese art, bringing a more esoteric and exotic style to the market. His clientele included stars of the stage and screen, royalty, notables, dignitaries, and denizens of the social register from the United States and abroad.Condition: Some old repairs and touchups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Drilled holes from sample-taking. Overall very good condition.Dimensions: Height 84.3 cmThe Tang dynasty is undoubtedly one of the most artistically exciting periods in China's long history. The arts are characterized by their diversity, the cosmopolitan nature of their design and the high technical skill employed in their manufacture as this pottery example amply demonstrates. In the first half of this dynasty, up to the An Lushan rebellion of 756, the level of luxury enjoyed by the court and the Tang elite ensured the production of a wide range of goods of the highest quality. As China prospered as a result of trade with the west along the famous Silk Road, camels became increasingly important for the transport of wares, since these impressive animals could carry heavy loads over long distances, surviving several days without water. As their large and broad feet did not sink easily into the sand, they became known as 'the ships of the desert'. Many camels were imported from the states of the Tarim basin, Eastern Turkmenistan and Mongolia and are known as Bactrian camels. The Tang civil servants created a special office to supervise their breeding and services. It seems that no pottery examples showing Chinese riders have been excavated. Perhaps only the Central Asian foreigners were able to tame and guide the camels.Literature comparison:A related large painted pottery group of camel and foreign rider, dressed in a fur coat and wearing a large pointed hat, excavated from the tomb of Wang Chen (buried 679), Changzhi, Shaanxi province in 1954 and now in the Museum of Chinese History, Beijing, is illustrated by Li Jian (ed.), The Glory of the Silk Road, Art from Ancient China, The Dayton Art Institute, 2003, p. 170, pl. 85.Auction result comparison: Type: Closely related Auction: Christie's London, 5 November 2019, lot 4 Price: GBP 75,000 or approx. EUR 99,000 converted and adjusted for inflation at the time of writing Description: A massive painted pottery figure of a camel and rider, Tang dynasty Expert remark: Compare the closely related pose, detachable saddle bag (albeit with a slightly different Sogdian rider), and painted details. Note the slightly smaller size (78.1 cm).唐代彩繪胡人騎駱駝陶俑中國，618-907年。駱駝背上的胡人深目、高鼻、絡腮鬍，雙眼緊盯前方，頭戴氈帽，身穿翻領棉毛襖，袒胸露乳，雙袖捲起，雙手持韁繩狀，腳踏棉鞋。駝囊上掛有一隻扁壺，是胡人平常飲水的水壺。駱駝體型高大、粗壯，張嘴作嘶鳴狀，四肢挺拔剛健，闊步向前。 科學檢測報告：隨附牛津檢測所Doreen Stoneham 2005年2月3日出局的熱釋光檢測複印本，樣本號 C105a47，確認陶俑為900至1500 年前所造 (另外一個修復材料樣本無法確認時間)。 來源：美國紐約Joseph Rondina收藏。Joseph Rondina (1927-2022年) 出生於紐約州北部奧本的第一代佛羅倫薩美國人家庭。第二次世界大戰結束後駐紮在柏林，後回到美國。之後他在惠特曼設計學院學習，於 1957 年在曼哈頓上東區的麥迪遜大街開設了 Joseph Rondina 古董店。一開始，他的興趣主要集中在歐洲十八世紀的裝飾藝術和家具。隨著時間的推移，他開始收集印度、中國、韓國和日本的藝術。他的客戶包括來自美國和國外的銀幕明星、皇室成員、名人、政要和社會名流。 品相：有修復、缺損、裂縫和結殼，取樣鑽孔，總體狀況非常好。 尺寸：高84.3 厘米
Lot 114
A SMALL ROBIN'S EGG GLAZED 'ARCHAISTIC' BASIN, 18TH CENTURYChina. The vessel of flattened circular form, the exterior finely molded with mask handles suspending mock rings, framed by recessed bands below an incurved rim and short foot, covered overall with an opaque turquoise glaze densely mottled in bright and dark blue save for the broad unglazed foot rim encircling the countersunk base.Provenance: From a noted private collection in Geneva, Switzerland, assembled since the 1960s, and thence by descent. An important part of this collection was on permanent loan and exhibited over several decades at the Asia-Africa Museum in Geneva. The base lacquered with an old inventory number, 'AMA-3081', and further with two old labels, '3081' and 'Art Ancien de Chine & Extrême-Orient Geneve. 4237/2. K. Lung 1736' Condition: Good condition with some wear and expected traces of use, the interior with light surface scratches, tiny glaze recesses. One side with a thin, barely visible hairline.Weight: 170.4 g Dimensions: Width 10 cm (at the widest points)As early as the Song dynasty, the Imperial court was fascinated with archaic objects and many wares were produced in imitation of ancient forms. The shape of the present censer, although flattened, is reminiscent of bronze containers known as lian, which were among the ritual implements aimed to present food and drink offerings to the ancestors during the Han dynasty. As such, the present censer may not only be emulating the bronze prototype, but also the ceramic form of the Northern Song dynasty, as exemplified by a Ruyao tripod incense burner from the Qing Court collection, illustrated in Porcelain of the Song Dynasty (I): The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1996, p. 2, no. 1.The 'Robin's egg' glaze represents a significant technical innovation of the Yongzheng period (1723-35) attributable to Tang Ying (1682-1756), the greatest porcelain superintendent in Chinese history. The Yongzheng Emperor, who initiated many revivals of earlier ceramic techniques, was particularly enamored with the variegated Jun glazes of the Song (960-1279) and Ming (1368-1644) dynasties. In order to have the glazes recreated or imitated, Tang Ying sent his trusted assistant from the imperial kilns in Jingdezhen, Jiangxi province, on study trips to the Jun region in Henan province to learn from the local potters and even went as far as having ceramic raw materials mined in the Jun area transported over thousands of kilometers to Jingdezhen. Among the many types of glazes derived from those efforts are mottled purple ones such as the flambe variety, and mottled turquoise ones such as 'robin's egg', which Tang Ying termed Lu Jun or Oven Jun, i.e., a Jun glaze fired in low-temperature ovens instead of high-temperature kilns (see Jingdezhen Institute of Ceramic Archaeology et al, The Cultures of Porcelain Superintendents and Jingdezhen, conference volume, Nanchang, 2011). The 'robin's egg' glaze is mentioned on a stele in Jingdezhen, inscribed by Tang Ying, as one of the major types of ceramics that he succeeded in firing and proposed as suitable for regular delivery to the Imperial court. Its color is described as intermediate between the glazes of the Shiwan kilns of Foshan, Guangdong, and those used by the Yixing kilns in Jiangsu for their zisha tea pots, but having a better and more beautiful flow.Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 24 November 2013, lot 234 Price: HKD 600,000 or approx. EUR 91,000 converted and adjusted for inflation at the time of writing Description: An archaistic robin's-egg glazed vase, cong, 18th centuryExpert remark: Compare the related glaze and archaistic design. Note the size (height 14.4 cm). Auction result comparison: Type: Related Auction: Sotheby's London, 3 November 2021, lot 9 Price: GBP 5,292 or approx. EUR 7,000 converted and adjusted for inflation at the time of writing Description: A 'robin's egg'-glazed 'double-peach' washer, Qing dynasty, 18th/19th centuryExpert remark: Compare the related glaze. Note the similar size (length 9.6 cm).十八世紀爐鈞釉仿古小盆中國。扁平圓形器皿，外壁中央環紋，兩側饕餮輔首啣環，弧形邊沿，底足未上釉，内凹處有釉，通體施不透明綠松石色爐鈞釉。 來源：瑞士日内瓦私人收藏，建立於上世紀六十年代，保存至今。這個收藏重要的一部分長期在日内瓦亞非博物館展出。底部有收藏編號AMA-3081，以及另外兩個標籤 '3081'與 'Art Ancien de Chine & Extrême-Orient Geneve. 4237/2. K. Lung 1736' 。 品相：品相良好，有一些磨損和使用痕跡，內部有輕微的劃痕，微小的釉面凹陷。一側有細的、幾乎看不見的裂紋。 重量：170.4 克 尺寸：寬 10 厘米 (最寬處)
Lot 13
A LARGE 'BIRDS WORSHIPPING THE PHOENIX' CLOISONNE BASIN, MING DYNASTYChina, 16th to early 17th century. The interior exquisitely decorated in bright enamels with a majestic phoenix standing proudly on one leg, surrounded by adoring birds including a crane beside a tree, a peacock in flight amid colorful clouds, mandarin ducks in a pond, and pheasants perched on bamboo stalks, all encircled by red-ground foliate and white-ground lappet bands. The cavetto with a band of alternating lotus blossoms and the Eight Treasures (babao) below a diapered floral band, the everted rim with a band of chrysanthemum flowerheads and scrolling vines above a ruyi-head border, all against a dark blue ground.Provenance: London trade. Condition: Good condition with some old wear and expected manufacturing irregularities, including pitting to the enamel, the cavetto with small losses to enamel and associated old fills, minute dents, light wear to gilt. Weight: 1,960 g Dimensions: Diameter 37.5 cmPhoenixes surrounded by various birds, including cranes, mandarin ducks, and pheasants, are a common motif in Chinese culture. Phoenixes are regarded as the king of the birds, as they represent power, virtue, and grace. The present lot is a rare example of such a depiction on a cloisonne basin. Literature comparison: Compare a related cloisonne phoenix basin, dated to the late Ming dynasty, illustrated in the Compendium of Collections in the Palace Museum: Enamels 1, Beijing, 2011, no. 170. Two Ming dynasty cloisonne enamel basins decorated with phoenixes from the 15th and 16th centuries are illustrated by H. Brinker and A. Lutz in Chinese Cloisonne: The Pierre Uldry Collection, The Asia Society Galleries, USA, 1989, pls. 19 and 63.Auction result comparison: Type: Closely related Auction: Christie's Paris, 9 June 2021, lot 166 Price: EUR 17,500 or approx. EUR 19,000 adjusted for inflation at the time of writing Description: A cloisonne enamel 'phoenix' basin, China, Ming dynasty, 16th-17th centuryExpert remark: Compare the closely related form, enamels, decorative bands, and phoenixes. Note the slightly smaller size (35 cm). Auction result comparison: Type: Related Auction: Sotheby's Hong Kong, 30 May 2018, lot 653 Price: HKD 175,000 or approx. EUR 22,500 converted and adjusted for inflation at the time of writing Description: A cloisonne enamel 'carp' basin, Ming dynasty, Wanli periodExpert remark: Compare the closely related form, enamels, and decorative bands. Note the slightly smaller size (35.5 cm) and different subject. Auction result comparison: Type: Related Auction: Christie's Paris, 10 December 2020, lot 6 Price: EUR 56,250 or approx. EUR 61,500 adjusted for inflation at the time of writing Description: A large cloisonne enamel basin, China, 17th centuryExpert remark: Compare the closely related form, enamels, and decorative bands. Note the significantly larger size (53.5 cm) and different subject.明代大型《百鳥朝鳳》掐絲琺瑯盆中國，十六至十七世紀初。盆折沿，弧腹，平足。明豔精美的琺瑯，盆中開光描繪一隻威風凜凜的鳳凰單腿站立，周圍環繞著可愛的鳥兒，包括樹旁的鶴，彩雲中飛翔的孔雀，池塘中的鴛鴦，竹上的雉鷄；盆内壁可見纏枝蓮紋帶與八寶紋帶。 來源：倫敦古玩交易。 品相：狀況良好，有一些磨損和製造不規則，包括琺瑯點蝕和凹陷、鎏金有些缺損和相對應的修補、鎏金輕微磨損。 重量：1,960 克 尺寸：直徑37.5 厘米 《百鳥朝鳳》這個題材在繪畫和刺繡中經常出現。鳳凰被視為百鳥之王，至高至上，美好吉祥。文獻比較： 比較一件相近的明代銅胎掐絲琺瑯鳳凰盆 ，見《故宮博物院藏品大系．琺瑯器編1》，北京，2011年，編號170。兩件十五至十六世紀明代銅胎掐絲琺瑯鳳凰盆，見H. Brinker和A. Lutz《Chinese Cloisonne: The Pierre Uldry Collection》，The Asia Society Galleries，美國，1989年，頁19和63。 拍賣結果比較： 形制：非常相近 拍賣：巴黎佳士得，2021年6月9日，lot 166 價格：EUR 17,500（相當於今日EUR 19,000） 描述：明十六/十七世紀掐絲琺瑯鳳紋折沿盆 專家評論：比較非常相近的外形、琺瑯、裝飾花邊和鳳凰。請注意尺寸(35 厘米)稍小。
Lot 299
A DUAN STONE 'LOTUS POND' BRUSH WASHER, QING DYNASTYChina, 19th century. The stone is naturalistically carved as a lotus pond with veined and furled leaves borne on stippled stems as well as pods and flowers, interspersed with roughly textured rockwork creating a striking contrast to the smoothly polished leaves and flowers, further carved in relief with small aquatic animals including three frogs, a cicada, and a fish.Provenance: French trade. Condition: Fine condition with expected old wear and traces of use, minuscule chips to exposed areas, minor old repair to one frog and the fish. The stone with natural fissures, some of which may have developed into thin hairlines.Weight: 727.4 g Dimensions: Length 17.5 cmAuction result comparison:Type: RelatedAuction: Galerie Zacke, Vienna, 15 October 2021, lot 46Price: EUR 8,848 or approx. EUR 9,700 adjusted for inflation at the time of writingDescription: A large duan stone 'lotus pond' basin, Qing dynastyExpert remark: Compare the closely related form, color of the stone, and motif. Note the size (27 cm).清代端石雕刻蓮池筆洗中國，十九世紀。端石本身帶有天然石紋，外部雕工和内部掏膛十分講究。荷葉形，葉邊內卷，形成內凹的洗心。底部和葉邊四周浮雕水草、荷花、小荷葉及蟹、小魚、蛙等物相配。 來源：法國古玩交易。 品相：狀況良好，有磨損和使用痕跡，局部有微小磕損，一隻青蛙和魚有輕微的修復。具有天然裂隙的石料，其中一些可能已經發展成細細的髮紋。 重量：727.4 克 尺寸：長17.5 厘米 拍賣結果比較： 形制：相近 拍賣：維也納Galerie Zacke，2021年10月15日，lot 46 價格：EUR 8,848（相當於今日EUR 9,700） 描述：清代大型端石“魚戲荷花”盆 專家評論：比較非常相近的外型、石色和主題。請注意尺寸 (27厘米)。
Lot 692
AN 'ACANTHUS LEAF' MARBLE BASIN, INDIA, 17TH-18TH CENTURYOf square shape with a stepped base, the shallow sides neatly carved with upward turning acanthus leaves to the exterior walls. The marble of a creamy white tone with distinct gray veins.Provenance: British trade. Condition: Few losses and cracks, small chips, minor old repairs, soil encrustations, and signs of weathering and erosion. Displaying very well, the general condition commensurate with age. Good patina with a subtle luster and an unctuous feel overall.Weight: 46.7 kg Dimensions: Size 52.5 x 52.5 cmThe acanthus leaves design on this basin recalls monuments commissioned by the Emperor Jahangir (reigned 1605-1627) and his son Shah Jahan (reigned 1628-1658), whose floral style was popular throughout northern India, in both the Mughal and Rajput realms.Literature comparison:Compare a closely related marble basin, 51 cm wide, dated to the 17th century, in the Metropolitan Museum of Art, accession number 1984.213.
Lot 620
A PAINTED TERRACOTTA FIGURE OF A ZEBU, MATURE HARAPPAN PERIODIndus Valley Civilization, ca. 2600-1900 BC. The humped bull standing foursquare, its head with large eyes, a short muzzle, and long curved horns, the animal further modeled with a tail. The eyes, horns, neck, and back encircled by brown-painted stripes.Provenance: From the collection of Paolo Bertuzzi (1943-2022), who was a fashion stylist from Bologna, Italy. He was the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom. Condition: Good condition, commensurate with age. Extensive wear, minuscule nicks, minor smoothened losses, expected old fills and repairs, signs of weathering and erosion, and encrustations.Weight: 651.4 gDimensions: Length 16 cmThe Indus Valley Civilization was a Bronze Age culture in the northwestern regions of South Asia, lasting from 3300 BCE to 1300 BCE, and in its mature form from 2600 BCE to 1900 BCE. Together with ancient Egypt and Mesopotamia, it was one of three early civilizations of the Near East and South Asia, and of the three, the most widespread. Its sites spanned an area from northeast Afghanistan and much of Pakistan to western and northwestern India. The civilization flourished both in the alluvial plain of the Indus River, which flows through the length of Pakistan and along a system of perennial monsoon-fed rivers that once coursed in the vicinity of the Ghaggar-Hakra, a seasonal river in northwest India and eastern Pakistan. The cities of the ancient Indus were noted for their urban planning, baked brick houses, elaborate drainage systems, water supply systems, clusters of large non-residential buildings, and techniques of handicraft and metallurgy. Both Mohenjo-Daro and Harappa likely grew to a size of 30,000 and 60,000 individuals, and the civilization may have contained between one and five million total population during its florescence. It is also known as the Harappan civilization, after its type site Harappa, the first to be excavated early in the 20th century in what was then the Punjab province of British India and is now Punjab, Pakistan. The discovery of Harappa and soon afterwards Mohenjo-Daro was the culmination of work that had begun after the founding of the Archaeological Survey of India in the British Raj in 1861. There were earlier and later cultures called Early Harappan and Late Harappan in the same area. The early Harappan cultures were populated by Neolithic civilizations, the earliest and best-known of which is Mehrgarh in Balochistan, Pakistan. Harappan civilization is sometimes called Mature Harappan to distinguish it from the earlier cultures.Terracotta figures such as the present lot have been unearthed at Mohenjo-daro and Harappa, suggesting a commonality of style and purpose throughout the Indus Valley during the mature Harappan period (ca. 2600-1900 BC). In one excavated example from Chanu-daro a hole was poked in the belly, indicating that it would have been attached to a stick for use as a puppet or a small standard of the kind carried in the processions depicted on some seals. In others, the hole was indeed placed on the back of the animal, thus suggesting an alternative function, perhaps as part of a larger ensemble.Zebu cattle are thought to be derived from the Indian bos primigenius namadicus, a subspecies of the aurochs. Wild Asian aurochs disappeared during the time of the Indus Valley Civilization from their range in the Indus River basin and other parts of the South Asian region possibly due to interbreeding with domestic zebu and the resultant fragmentation of wild populations due to loss of habitat. Believed to have first been bred in northwestern South Asia, between 7000 and 6000 BC, they are understood to have been dispersed by 4000 BC and spread across much of South Asia by 2000 BC.Literature comparison: Compare a related painted terracotta figure of a unicorn, also dated ca. 2600-1900 BC, illustrated by Jonathan Mark Kenoyer, Cities of the Indus Valley, in Joan Aruz (ed.), Art of the First Cities: The Third Millennium B.C. from the Mediterranean to the Indus, 2003, no. 276, p. 390. Compare a related serpentine figure of a bull, 14.7 cm long, also dated ca. 2600-1900 BC, in the Metropolitan Museum of Art, accession number 1986.280. Compare two related terracotta models of a humped ox, 9 cm long, dated ca. 2500 BC, used to draw a toy chariot, in the Brooklyn Museum, accession numbers 37.96 and 37.97.
Lot 538
Late George III mahogany dressing cabinet and washstand, the hinged rectangular top enclosing an arrangement of lidded and other compartments and central mirror with ratchet, over brushing slide and two drawers arranged as three, the larger fitted for wash basin and accoutrements with lead lining, over further drawers the lowermost with fitting for a chamber pot, all with lion mask handles, with brass carrying handles to the sides, raised on square section supports with brass caps and castors, 71cm x 50cm x 93cm high
Lot 80
AN EARLY MEISSEN CHINOISERIE ARCHITECTURAL STAND circa 1728-30, the centre painted by J.G. Herold, of shaped concave section, with winged masks spouting water into a basin supported by grotesque figures above a fountain figure in a yellow ground cartouche, 27cm wide Provenance: Ex. Maurice de Rothschild Collection October 17th 1977, lot 27. Bt. Christie's 10th February 1979, lot 272 for £1,003.
Lot 85
A George V three-piece tea service William Hutton & Sons Ltd, Sheffield 1918, comprising teapot, twin handled sugar basin and milk jug, all of oval bulbous form, Gothic M engraved to body, scalloped border, raised on four shell clasped feet; together with a similar plated water potDimensions:Height of teapot: 15cm, weight (all in): 44.5oz
Lot 73
A 1930s three-piece tea service Frank Cobb & Co Ltd, Sheffield 1932, comprising a teapot, twin handled sugar basin and a milk jug, all of panelled oval outline, C-scroll handles, raised on a short stem foot; together with a waterpot, Thomas Bradbury & Sons, London 1900, of baluster outline with a demi-fluted lower body, cast acanthus waist, and border to lid, raised on four paw feet and another silver plated waterpotDimensions:Height of teapot: 14.5cm, weighable silver: 59oz
Lot 146
A George III swing handled sugar basin Hester Bateman, London 1786, of oval outline with threaded border, raised on a short stem and oval foot; together with a card tray, Peter & Anne Bateman, London 1794, of circular outline with a beaded border, raised on three fluted bracket feet Dimensions:Height of sugar basin: 12cm, diameter of card tray: 18cm, combined weight: 13oz
Loading...-
23406 item(s)/page