Jamini Prokash GANGOOLY (1876-1953) also known as J.P. GANGULY“Sunset Kanchenjunga”Oil on artist / student board (PREVIOUSLY DESCRIBED AS PANEL)Stamp to the back of the board: "PREPARED STUDENT ACADEMY BOARD WINSOR & NEWTON […] LONDON"Signed to the lower leftTitled and signed to the back22 x 29 cmNotes:1. J. P. Gangooly belonged to the extended Tagore family in Calcutta. Like many of his class of affluent gentlemen artists, Gangooly didn’t go to art school but was a product of private art training at home, initiated later into art by Abanindranath Tagore. Gangooly painted at the time of rise of new nationalist and modernist art movements. The skills he commanded in illusionist oil painting, realist portraiture and landscapes were all part of the essential training that marked the formation of the new professional artist in colonial India. Over the first decades of the 20th century, the artist demonstrated his flair in various genres, ranging from portraiture to neo-classical and mythological paintings. However, landscapes and riverscapes became his chosen genre where he developed his special style of densely mist-laden atmospheric effects of sunrise and sunsets on bathing ghats, river banks and mountain ranges. Gangooly especially surpassed himself in the picturesque views of the Himalayas, and in the village and river scenes of Bengal. He painted nearly a hundred oils of the sun setting on the river Padma, which earned him the sobriquet ‘Painter of Padma’. In 1905, he was elected the joint chairperson of the Bangiya Kala Samsad, Calcutta, and founded the Indian Society of Oriental Art, Calcutta, in 1907. In 1936, he was elected joint director of the Academy of Fine Arts, Calcutta. Gangooly became vice-principal of the Government College of Art & Craft, Calcutta, in 1916, a position he held till his retirement in 1928.2. Kangchenjunga, also spelled Kanchenjunga, is the third highest mountain in the world. It rises with an elevation of 8,586 m (28,169 ft) in a section of the Himalayas called Kangchenjunga Himaldelimited in the west by the Tamur River, in the north by the Lhonak Chu and Jongsang La, and in the east by the Teesta River. It lies between India and Nepal.3. Compare with a very close painting offered at Christie’s London, United Kingdom, 2016/06/25, lot 24, sold for €11.831 BP incl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- unframed to see how it is;- NEW DESCRIPTION: OIL ON STUDENT / ARTIST BOARD with a stamp to the back of the board: "PREPARED STUDENT ACADEMY BOARD WINSOR & NEWTON […] LONDON"- frictions and dust along the margins (not visible but when framed):- also few losses of painting along the margins (not visible when framed).
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ZAO WOU-KI (FRANCE AND CHINA, 1921-2013)Untitled, Abstract composition1959Print / Aquatint in colors on Rives BFK paperEpreuve d’artiste / Artist proofInscribed and numbered to the lower left margin: “G.E.” (?) “1/4”Signed and dated to the lower right, in the margin: “59”Dimensions (the sole print): 34 x 58,5 cm- PENCIL INSCRIPTION TO THE BACK: "122" and "LE SAGE ESSAI DU BRUN" (litt. "the wise brown essay or test or attempt").[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - original rolled up but can be flat with no damage;- dimensions (the sole print): 34 x 58,5 cm;- a short tear on the upper part of the margin, central one;- a few stains;- damaged during preview by a customer: a tear starting from the lower part, 95% in the margin and a little in the plate;- PRICED REDUCED ACCORDINGLY AT 800 EUROS RESERVE;- we have not found the AGERUP reference but it is dated 59 and it seems consistent with what was done by the artist in the 1950s;- PENCIL INSCRIPTION TO THE BACK: "122" and "LE SAGE ESSAI DU BRUN" (litt. "the wise brown essay or test or attempt").
ZAO WOU-KI (FRANCE AND CHINA, 1921-2013)Untitled, Abstract composition in blue 1978Print / Aquatint in colors on Rives BFK paperEpreuve d’artiste / Artist proofInscribed with E.A. (epreuve d'artiste) in the margin, to the lower leftSigned and dated to the lower right, in the margin: “78”Dimensions (the sole print): 49,5 x 42,5 cmDimensions (with the frame): 81 x 61 cmReference: AGERUP 299.Note: Compare with an identical print, edition 91/99, sold at public auction at Drouot, Tessier-Sarrou, in Paris, 2013/11/27, lot 34, for €5.500. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- framed with a glass, but may not be glued (we have not open the frame);- light folds to the lower part of the leaf (margins, not to the print);- fresh colours;- collectors researches glued to the back of the frame.
T'ANG HAYWEN 曾海文 (China and France, 1927-1991)Abstraction in black and whiteA diptych of inks on paperUnsignedFramed with a glassDimensions (the two leaves together): 19,3 x 38 cmNotes: - The correct spelling of the name of the artist is T'ang Haywen, though he is sometimes wrongly referred to as Tang Haywen;- The eventual buyer will be able to obtain from T’ANG HAYWEN ARCHIVES and Mr. Philippe Koutouzis the inscription of this work in the catalogue raisonné of T'ang Haywen, after filling in a form and paying an administrative fee of 100 euros. Contact: info@tanghaywenarchives.com[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
T'ANG HAYWEN 曾海文 (China and France, 1927-1991)Abstraction in coloursWatercolour on paperSigned on the lower right9.7 x 10 cmNotes: - The correct spelling of the name of the artist is T'ang Haywen, though he is sometimes wrongly referred to as Tang Haywen;- The eventual buyer will be able to obtain from T’ANG HAYWEN ARCHIVES and Mr. Philippe Koutouzis the inscription of this work in the catalogue raisonné of T'ang Haywen, after filling in a form and paying an administrative fee of 100 euros. Contact: info@tanghaywenarchives.com[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
PAJONYUT PUVIJARN (THAILAND, BORN IN 1973)LiliesOil on canvasSigned and dated to the lower part: 2021176,5 x 180,5 cmNotes:1. The paintings of Pajonyut Puvijarn are inspired from the landscapes and peoples of his daily life in Bangkok, Thailand. He likes to travel around the city with his polaroid and to capture either Buddhist monks in their activities or the nature itself, with a preference for lilies floating on the surface of rivers or lakes. He uses a knife to apply a large quantity of oil painting on the surface of the canvas. He also likes completing his paintings by the adjunction of a thin gold leaf.2. Some of his works are preserved in renowned collections such as the Magrez Foundation, Bordeaux, France. His work has been extensively displayed in no less than 30 exhibitions, including one at the David Gallery, Hong Kong, China, back in 2000.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
A MASSIVE JAPANESE IMARI CHARGERJapan, Edo to Meiji period, 19th centuryOf shallow circular form, decorated in red, blue and gilt against a white ground, centred with still life group and eight radiating panels, within a gilt edged rim.D: 54,7 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- scratches and wears, minor;- faded gilt decoration to some parts.
A PORCELAIN ‘TROMPE-L’OEIL’ TUREENJapan, Meiji to Taisho periodA trompe-l’oeil tureen mimicking a fish within a large ovate-shaped dish, the top one of a pile, the lid topped by a hermit crab shaped finial. Bears a mark inscribed to the inner part of the tureen and repeated to the inner part of the lid, interestingly, the below, which should not be visible, is also adorned with flower sprigs.H: 12,5 cm - L: 32 cm - w: 19 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
A SATSUMA EARTHENWARE ‘SHICHIFUKUJIN 七福神’ BALUSTER VASE Japan, Meiji period Richly adorned in polychromed and gilt enamels with the Japanese Seven Gods of Happiness, i.e. the Shichifukujin (七福神). The below inscribed with a mark reading "大日本上州山松月" as well as with a Shimazu crest. H: 22,3 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
A BALUSTER SATSUMA VASE POSSIBLY BY SEIKOZANJapan, Meiji periodResting on a short ring foot, with a compressed globular body a slightly garlic neck. Richly adorned in gilt and polychrome enamels with flowers, including peonies, and cloudy curves. Bears a seal signature to the below possibly reading Seikozan.H: 28,8 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- a crack to the ring foot;- a "stain" in the clouds to one side (maybe removable);- a very light hairline to one side.
A PAIR OF SETO PORCELAIN BARREL-SHAPED GARDEN STOOLSJapan, Meiji periodOf barrel shape, with two dragon-shaped applied handles to the upper part, with open-worked coin / sapeques to the sides, adorned in blue, grisaille and pink enamels with chidori birds amidst sakura and kiku flowers.H: 47,5 cm - D: 22 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- a minor tiny chip to one of the bird tail (one of the top of the stool);- a chip with a small missing part to one handle;- scratches mostly located to the tops of the stools.
A NEAR PAIR OF SOFT METAL INLAYS ‘BIRDS’ BRONZE VASES BY MIYABE ATSUYOSHI 宮部篤良Japan, Meiji periodOf elongated ovate shape, with a narrow neck and a round rim. The grounds all covered with low-relief lozenge and flowers pattern with two reserved medallions on the bodies, the necks also reserved. Two of the medallions with Lake Biwa landscapes and Mount Fuji in the background, the two other medallions with birds, one with owls perched on leafy branches, a silver-patinated full moon in the sky, the other with a magpie and flying chidori birds around a lotus pond. The below engraved as follow: “一光堂宮部篤良” with a kao, lit. Ikkodo Miyabe Atsuyoshi.H: 23,5 cmNote: Miyabe Atsuyoshi is recorded in Wakayama Takeshi 若山猛, Kinko jiten 金工事典 (Dictionary of Metalworkers), Tokyo, Token Shunju Shinbunsha 刀剣春秋新聞社, 1999, p.1141, as a maker of sword-fittings and a pupil of Shinoyama Tokuoki (1813-1891), active in Kyoto during the late Edo period and early Meiji era.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a few minor shocks to the rim of one;- a few missing inlays.
A PAIR OF CLOISONNE ENAMEL VASES BY OTA JIN’NOE (1858-1907) Japan, Meiji period Of elongated ovate shapes, both adorned in vivid enamels with flowers against a light cream white ground. Both below are incised with the mark of the artist: “太田造”. H: 24,4 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- hairlines / cracks around the neck of one;- a "stain" / trace to the vase with the cracks to the side;- a small stain to the same vase around the foot.
AN AMETHYST EMBELLISHED BRONZE INKPOT SHAPED AS A CRAB, KANI カニJapan, Taisho to Showa periodNaturalistically casted as a crab, all covered with a dark brown patina, the top embellished with an amethyst cabochon and opening as a lid.H: 9,7 cm - L: 19,7 cmWeight: 3993 grams[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
A LARGE BRONZE JIZAI OKIMONO OF A LOBSTER / ROBUSUTA Japan, Taisho to Showa period Fully articulated jizai okimono with moving tail and legs. Brown patina. L: 33 cm Weight: 1000 grams[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: - A restored leg.
A LARGE CHICKEN BONE JADE CARVING OF A RECUMBENT DEERChina, Possibly Ming DynastyCarved as a recumbent deer or stag with curvy antlers and a coiled tail. Offered at auction together with a matching wooden stand.H: 5,5 cm – L: 9 cm – w: 4,4 cmWeight: 306 gramsProvenance: An important collection of jade carvings, mostly Ming libation cups, properties from a French private collector, assembled over 20 years, pieces either bought privately or at public auction.Note: The Chinese character for deer is “鹿” which is pronounced “lu”. Its homonym is the Chinese character “禄”, which refers to the salary a government official receives. A picture of a deer is therefore expressing a wish for a top government office with a high salary. The Chinese believe the deer lives to a very great age and, as a result, has become a symbol for long life.鸡骨玉雕“卧鹿”中国，可能为明代Provenance: PROPERTIES FROM A FRENCH PRIVATE COLLECTORA LARGE COLLECTION OF JADE CARVINGSASSEMBLED OVER 20 YEARS, PIECES BOUGHT EITHER AT PUBLIC AUCTION OR PRIVATELY[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Natural veins, cracks, infusions and inclusions in the stone.
A COLLECTION OF FIVE (5) COPPER INSECTS OKIMONOJapan, Taisho to Showa periodComposed of two rhinoceros beetles, a stag beetle, and a partially articulated locust and a wasp.L: from 5 to 13 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
AN EXTREMELY RARE JAPANESE MOUTH ORGAN SHOJapan, Edo periodThe circular air chamber is lacquered in gold hiramaki-e and nashiji style, shibuishi mouthpiece, bamboo tubes with shibuishi fittings.H: 43 cmNotes:1. The shō (笙) is a Japanese free reed musical instrument that was introduced from China during the Nara period (AD 710 to 794). It is descended from the Chinese sheng, of the Tang Dynasty era, although the shō tends to be smaller in size than its contemporary sheng relatives. It consists of 17 slender bamboo pipes, each of which is fitted in its base with a metal free reed. The instrument's sound is said to imitate the call of a phoenix, and it is for this reason that the two silent pipes of the shō are kept—as an aesthetic element, making two symmetrical "wings".2. Compare with two closely related shō, one preserved at the Metropolitan Museum of New York (The MET), The United States of America, under accession number 68.62.2, the other one preserved at the Museum of Fine Arts of Boston (MFA), The United States of America, under accession number 2002.136.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- fresh lacquer with vivid colours;- missing two tubes.
A MAKI-E AND NASHIJI LACQUER ‘STAG AND REISHI’ INCENSE BOX, KOGO 香合Japan, Edo period, 19th centuryA box shaped as a crouching stag, its back opening by a lid topped by a ‘longevity fungus’ finial unveiling a container for incense powder. The below bears two labels, the one with a missing part inscribed with a calligraphy. H: 5,5 cm - L: 10,5 cm - w: 7,1 cmNote: A kōgō (香合) is a small lidded container for the incense that is added to the charcoal fire during the charcoal-laying procedure. Usually, kōgō made of lacquer ware or plain wood would be used for the chips of incense wood (kōboku) used in a portable brazier (furo). Kōgō is one of the tea utensils (chadōgu - 茶道具) used in the chadō, i.e. the art of Japanese tea.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- the two antlers have been restored at the point of junction with the top of the head;- a few minor scratches to the face of the stag, minor;- tiny losses in the lacquer to the back leg hoof;- tiny chips losses of lacquer to the rim of the lid / cover.
§A COLLECTION SIX (6) KANZASHI KOGAI HAIRPIN SETSJapan, Edo to Meiji periodEach matching set is composed of a kushi (comb) and a kogai (pin), decorated with floral patterns lacquer in gold hiramaki-e and nashiji, some with mother-of-pearl inlays.§Bidders should be advised that importation regulations of several countries, including the US, prohibits the importation of ivory and that of coral, or any goods containing same. Therefore Adams advises prospective purchasers who intend to ship lots containing either ivory or other specimen that fall under CITES regulation, to another country to familiarise themselves with the relevant importation regulations prior to bidding. Adams will not be responsible for shipping items herein and the onus will be on the buyer to organise shipping at their own behest.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- overall good condition;- made of lacquer and mother of pearl;- a few faded gilt parts;- a few minor losses in the lacquer.
A SUITE OF SIX (6) ‘RICE CULTURE’ ORNEMENTAL PANELS MADE IN THE OSHI-E (PADDED-SILK) TECHNIQUEThe painting possibly by Sekka, Meiji periodA series of six vertical painting, ink, colour and kirihaku on silk, depicting the methods of rice culture. The different panels show:1. Harvesting and threshing;2. Polishing rice and putting bales into storehouse;3. Winnowing;4. Planting rice;5. Flooding the rice paddies;6. Ploughing in spring (cherry blossom in flower).All the panels are signed and sealed at different places, possibly by an artist named Sekka. All the panels are framed with glass.Dimensions:- each single panel, frame excl.: 137 x 55,5 cm- each single panel, frame incl.: 143 x 61,5 cmIMPORTANT MODIFICATION: THERE ARE TWO DIFFERENT SIZES OF SILKS (AND ALSO OF FRAMES), 3 ARE OF THE SIZE ANNOUNCED IN THE CATALOG:- 3 are 136 x 51,5 cm (for the sole silk part without even the borders and without the frame);- 3 are 136 x 55 cm (for the sole silk part without even the borders and without the frame).Notes:1. Please note the interesting subject depicted with a peculiar attention to details including, in no. 2, a cat to keep mice away from the rice.2. Oshi-e, also referred to as kiritori zaiku, was a technique in which paper or silk wadding is covered with dyed and painted silk or paper to create padded relief designs. It is said that this technique probably dates back to the Muromachi Period. In the Meiji era, oshi-e was regarded as a feminine accomplishment alongside ikebana, tea ceremony and embroidery.3. Compare with a related work attributed to the same artist offered at auction at Bonham’s London, United Kingdom, 2017/05/11, lot 192, sold for GBP7.408 BP incl.Important note: there are two slightly different width, each for 3 panels.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- tears;- stains;- important note: there are two slightly different width, each for 3 panels.IMPORTANT MODIFICATION: THERE ARE TWO DIFFERENT SIZES OF SILKS (AND ALSO OF FRAMES), 3 ARE OF THE SIZE ANNOUNCED IN THE CATALOG:- 3 are 136 x 51,5 cm (for the sole silk part without even the borders and without the frame);- 3 are 136 x 55 cm (for the sole silk part without even the borders and without the frame).
A KYOGEN THEATER MASK OF BUAKUJapan, Taisho-Showa periodA lacquered wooden mask, the inner part with a seal mark reading “旭” (lit. “Asahi”?).H: 21 cm - w: 17 cmNote: The faintly comical demon mask of Buaku is the Kyogen version of the Noh theatre mask of Beshimi. Both the characterization and stylised carving of this mask reflect the original prototype. The mask is carved from a single piece of cypress, with the features in high relief. The eyeballs have had gold copper applied, with the edges emphasized by lines of ink accentuated by the rims. This follows the Noh theatre tradition of colouring the eyes of a demon red or gold.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a few minor scratches;- a few minor losses of lacquer, mostly to the inner part.
A PROBABLY KYOGEN THEATER MASK OF AN OLD MANJapan, Taisho to Showa periodA polychromed and lacquered wooden mask, with hairs to render the eyebrows and the mustaches.H: 21 cm - w: 16 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: - Faded parts.
A NOH THEATER MASK OF KO-OMOTE 小面Japan, Showa periodA lacquered wooden mask with a nice crackled surface, lacquered inner part with a seal mark reading "理" (lit. “Ri”?).H: 21,2 cm - w: 14 cmNote: The mask Ko-Omote is one of the first masks of Noh Theater. It represents a young girl with round cheeks in a calm and meditative posture. It is an ideal representation of the youth.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a few minor scratches;- a few hairlines / cracks in the lacquer;- frictions along the cord around the holes for hanging.
AN IMPRESSIVE NOH THEATER MASK OF SHISHIGUCHI 獅子口Japan, Taisho to Showa periodA gold lacquered wooden mask, lacquered brass eyes and teeth, the inner part with a seal mark reading "理" (lit. “Ri”?).H: 21,6 cm - w: 16,7 cmNote: A mask also known as “Lion’s mouth”, used for the second act of the play Shakkyō (Stone Bridge) for the role of the father lion who dances boisterously among the peony flowers in Monju Bodhisattva's paradise.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- minor scratches;- minor frictions;- minor losses of lacquer, two within the mouth;- two cracks, one to both sides of the mouth;- one crack to the top part to the back.
A NOH THEATER MASK OF KUROHIGE 黒髭Japan, Meiji-Taisho periodA lacquered wooden mask with brass eyes, black lacquered inner part.H: 21,1 cm - w: 14,1 cmNote: A mask also referred to as “Black beard”.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- minor frictions / scratches with minor losses of lacquer (notably around the holes for hanging);- the inner part with "stains";- the outer part with small dots;- faded lacquer to some points.
A KYOGEN THEATER MASK OF OKAMEJapan, Showa periodA lacquered wooden mask, the inner part with a seal mark.H: 21 cm - w: 17 cmNote: Okame, also known as Uzume or Otafuku is the name for the female half of a traditional Japanese Kyogen theatre pair. She is considered to be the Goddess of mirth and is frequently seen in Japanese art.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Cracks / hairlines in the lacquer, notably next to the cheeks.
A IMPORTANT NOH THEATER MASK OF FUKAIJapan, Edo periodA lacquered wooden mask, the inner part shows a deep dark patina with an old label, the 2 characters “Fu kai” and the hiragana character "Ka" written which is a catalogue reference used by the samurai Satake daimyo clan.H: 20,8 cm - w: 13 cmReferences: MARVIN Stephen E., “Heaven Has a Face; So Does Hell : The Art of the Noh”, Floating World Editions, 2010. See image no. 69 page 373 of volume 1. Also see an example page 125 of volume 2.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- wears;- restoration to the back top of the face;- a missing part;- scratches;- a few losses of lacquer;- a crack to one side to the back of the face near the cheek.
AN IMPRESSIVE NOH THEATER MASK OF HANNYA 般若Japan, Taisho-Showa periodA lacquered wooden mask with gild brass eyes.H: 23,5 cm - w: 20,5 cmNote: The hannya mask is a mask used in Japanese Noh theater, representing a jealous female demon. It is characterized by two sharp bull-like horns, metallic eyes, and a leering mouth.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Minor wears, scratches and frictions.
A NOH THEATER MASK OF SHISHIGUCHI 獅子口 Japan, Showa period A lacquered wooden mask with brass eyes, carved Japanese inscription to the inner part, likely the maker's name, possibly reading "藤之作" (lit. “Fuji no saku”?). H: 21,6 cm - w: 15,5 cm Note: A mask also known as “Lion’s mouth”, used for the second act of the play Shakkyō (Stone Bridge) for the role of the father lion who dances boisterously among the peony flowers in Monju Bodhisattva's paradise.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: A few frictions, wears and minor losses of lacquer.
A WHITE AND RUSSET JADE CARVING OF A BOY WITH A LOTUS SPRIG China, Attributed to Ming Dynasty, 16th-17th century Skilfully rendered to depict a boy reclining on his left side with the right leg propped over the left, the cherubic figure rendered with well-defined facial features and adorned in clothing skilfully detailed with incised patterns, portrayed holding a long lotus pad with the left hand and a long lotus stalk bearing a large bloom with the right. The stone of white colour with russet inclusions. L: 7,3 cm - w: 4,8 cm Weight: 90 grams Provenance: An important collection of jade carvings, mostly Ming libation cups, properties from a French private collector, assembled over 20 years, pieces either bought privately or at public auction.Note: A boy together with a lotus sprig conveys the wish tongzi lianzi 童子莲子 tanding for a continuous and harmonious descent. This boy figure is interesting in the sense that its position is similar to that of an apsara. 白赤玉雕“荷花童子”中国，明代，16-17世纪Provenance: PROPERTIES FROM A FRENCH PRIVATE COLLECTORA LARGE COLLECTION OF JADE CARVINGSASSEMBLED OVER 20 YEARS, PIECES BOUGHT EITHER AT PUBLIC AUCTION OR PRIVATELY[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Natural veins and inclusions in the stone.
A KYOGEN THEATER MASK OF AN ANGRY TENGU 天狗Japan, Showa periodA lacquered wooden mask with brass eyes.H: 21 cm - w: 16,5 cmNote: Tengu are a type of legendary creature found in Japanese folk religion. They are considered a type of yokai (supernatural beings) or Shinto kami (gods). The tengu were originally thought to take the forms of birds of prey and monkey deity, they are traditionally depicted with human, monkey and avian characteristics.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Minor wears, frictions and some tiny dots / "stains".
A KYOGEN THEATER MASK OF SUSANOO NO MIKOTO 建速須佐之男命Japan, Meiji-Taisho periodA lacquered wooden mask with horsehair, nice patinated inner part with two Japanese characters, likely the maker's mark, possibly reading "钟旭" (lit. “Asahi”?).H: 20 cm - w: 15,5 cmNote: Susanoo is a kami in Japanese mythology. The younger brother of Amaterasu, goddess of the sun and mythical ancestress of the Japanese imperial line, he is a multifaceted deity with contradictory characteristics (both good and bad), being portrayed in various stories either as a wild, impetuous god associated with the sea and storms, as a heroic figure who killed a monstrous serpent, or as a local deity linked with the harvest and agriculture.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Frictions, wears, minor losses of lacquer.
KITAGAWA UTAMARO 喜多川歌麿 (Japan, 1752-1806) Neko no yume (猫の夢) / The dream of the cat, caught by a fisherman while stealing a fish Oban tata-e / woodblock print Signed within the plate to the lower left Old collector's inscriptions written with pencil to the back of the leaf: "Utamaro" and "no 110"39,3 x 25,6 cmNote: Kitagawa Utamaro was a Japanese artist. He is one of the most highly regarded designers of ukiyo-e woodblock prints and paintings, and is best known for his bijin ōkubi-e "large-headed pictures of beautiful women" of the 1790s. He also produced nature studies, particularly illustrated books of insects.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- would have been originally enhanced with natural pigments;- a few worm holes;- stains;- russets.
After UTAGAWA HIROSHIGE 歌川広重 (1797-1858)Far view of an island by a full moon nightUkiyo-e / woodblock print Mounted as a kakejiku / scrollDimensions (the sole print): 35 x 15,3 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
After UTAGAWA HIROSHIGE 歌川広重 (Japan, 1797-1858) Totsuka, Motomachi warakaremichi / Totsuka, Motomachi warakaremichi Shōno Hakuu / White Rain at Shōno Two (2) woodblock prints / Oban Yoko-e Stations 6 and 46 from the series of The Fifty-Three Stations of the Tōkaidō (東海道五十三次, Tōkaidō Gojūsan-tsugi) Dimensions (the sole print, the biggest): 22,1 x 34,5 cm Also included is a print after TOYOHARA YOSHU CHINAKOBU 豊原 周延 (1838-1912). Dimensions (the sole print as visible within the frame): 29,5 x 21,7 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - tape to the margins on the back; - partially insolated; - russets in the margins;- frame not open / the print may be laid on; - cut margins; - insolation; - russets.
A JADE CARVING OF A FISHERMANChina, Qing Dynasty, 19th centuryOffered at auction together with a matching wooden stand.H (stand excl.): 6 cmWeight: 34 gramsProvenance: An important collection of jade carvings, mostly Ming libation cups, properties from a French private collector, assembled over 20 years, pieces either bought privately or at public auction.玉雕“渔夫”中国，清代，19世纪Provenance: PROPERTIES FROM A FRENCH PRIVATE COLLECTORA LARGE COLLECTION OF JADE CARVINGSASSEMBLED OVER 20 YEARS, PIECES BOUGHT EITHER AT PUBLIC AUCTION OR PRIVATELY[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Natural veins and inclusions in the stone.
A CHINESE CANTON FAMILLE ROSE BOTTLE VASE AND COVER, having four painted panels of flowers, birds and insects, unmarked, total height approximately 37cm, (chips to lid), together with a Beswick sow ch. Champion Wall Queen 40th, No1452A, a Poole pottery shell vase, Wedgwood urn approximately 19cm high, assorted continental ceramic vases, epns cake forks, dessert knives, sugar nips, etc (one box and loose)
A GROUP OF CONTINENTAL CERAMIC FIGURES, including a pedestal twin handled pot pourri vase and cover, hand painted decoration to the raised flowers and putti, height 20cm (chips to some of the flowers), a pair of Rudolf Kammer porcelain figures of grape sellers, heights 16.5cm (jug handle reglued), a Tiche porcelain pierced oval vase with central bow, on four scroll feet, length 24cm, a figure group of girl and boy with farm cart and poultry (horse has broken fore leg) and another figurine (chips to flowers, sleeves and finger missing) (6) Condition report: as description)
SIX JAPANESE PORCELAIN ITEMS EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Comprising: a pair of foliate dishes, each decorated with a small butterfly fluttering by a cluster of grapes and vines; a pair of rectangular dishes with the Three Friends of Winter, the pine, prunus and bamboo issuing from rockwork, both with a mark to the base reading Da Ming Chenghua nian zhi; and a pair of circular bowls decorated in Kakiemon-style polychrome enamels with sprays of flowers and paulownia mon, 21cm max. (6) Cf. The Kyushu Ceramic Museum, Complete Catalogue of Shibata Collection, no.3681 for a related dish with vines and butterfly. The authors date it as c.1780-1810.
A JAPANESE INLAID LACQUER BOX AND COVER IN THE STYLE OF RITSUO MEIJI PERIOD, 19TH CENTURY The rectangular body and lid decorated in relief with a variety of fish and seashells in polychrome ceramic, the animals swimming amongst seaweed rendered in gold lacquer, all on a dense ground of mother of pearl inlays, 7cm x 9.6cm x 12.2cm. (2)
A Victorian walnut Sutherland table, c1880, conventional form on ring turned legs joined by conforming stretcher, ceramic castors, 60cm w, a George III mahogany night cupboard, c1800, with three quarter gallery, the front with oval inlaid door on square string inlaid legs, 37cm w, 84cm h and an Edwardian mahogany shield back bedroom chair, early 20th c, the back with waisted splat centred on a shaded oval patera, stuffed over seat in green damask on square tapered legs with spade feet joined by stretchers (3) Sutherland table with scratches, abrasions, general wear. Night cupboard with cracks, fault to lock, general wear and abrasions. Bedroom chair with some stringing absent and cracks to back.
An Edwardian Sheraton revival two tier occasional table, satinwood, boxwood and ebony strung, the top with pair of cantered rectangular leaves, fitted frieze drawer on splayed square tapered legs joined by a platform undertier, ceramic castors, 61cm w Scratches, abrasions, top loose, other general wear
A Victorian mahogany whatnot base, on turned legs fitted ceramic castors, a child's rail back chair, a Victorian folding towel rail, a mahogany framed stool on splayed legs, a tripod table and a miniature oak bedstead with heart pierced and railed foot and headboard (6) Items with faults and losses
A live steam horizontal beam engine, the painted and turned central column supporting the beam, single wooden lagged cylinder, 9" diameter six spoke flywheel painted in red, mounted on a rectangular wooden plinth partially covered in small white ceramic tiles, 34cm high, 44.5cm wide, 22cm deep
A collection of glassware and ceramics to include a set of five coloured hock glasses; a Herend Hungary ceramic urn; two Meissen oversized cups and saucers; a pair of blue and white painted ceramic candlesticks; a Richard Ginori ceramic planter decorated with pastoral scenesCondition report: Candlesticks with chips to edges, slight losses to gilt paint on Ginori planter
A white ceramic anti-slavery jug stamped to the bottom 'published by E Ridgway and Abington Hanley January 1 1688', decorated all over with scenes of a slave auction and a master mistreating a slave, 18cm high Condition report: A crack running down one side of the jug, some small darker inclusions in the white ceramic
A gilt and gesso oval wall mirror, the frame with rope style design border, 33cm wide x 43cm high, together with a ceramic wall clock decorated with blue and white pastoral scenes, 25cm wide x 25cm high, two oak candle boxes, a further lift top box with fitted drawers and two table lamps, one formed as an urn, 37cm high, the other as a Classical column, 43cm high (8)Condition report: Clock not currently working, paintwork on column lamp dirty, boxes with surface dents, marks and scratches
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