Tang Dynasty, 618-907 AD. A pair of life-size ceramic rabbit figures, one modelled in a crouching position, one seated with one leg raised, each with long ears, D-shaped tails and detailing to the face, muzzle and feet; remains of painted pigmentation.7 kg total, 33-35cm (13 - 13 3/4"). From a West Country collection, 1990s; accompanied by two positive thermoluminescence reports no.02CM180321, and no.01CM180321 issued by Laboratory Kotalla.The rabbit plays an important part in Chinese religion and was considered to be highly auspicious. It is one of the twelve animals that is represented in the Chinese zodiac and is more commonly associated with the moon. In this capacity it is known as the Jade Rabbit and lives on the moon with the goddess Chang'e. The goddess is the guardian of the elixir of life which the rabbit makes by pounding various herbs under an osmanthus tree; the goddess then gives the elixir to those that she favours. [2] Finely modelled.
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Tang Dynasty, 618-907 AD. A ceramic horse modelled standing on a rectangular base, flared saddlecloth with moulded saddle, rows of applied bells(?) to the rump, breast-band with row of pendant conch shells, detailed bridle with straps; remains of painted pigmentation.See The Victoria and Albert Museum, accession number C.1178-1917, for a similar example.2.6 kg, 36cm (14"). From the celebrated collection of art formed by the famous anthropologist, artist and television presenter Desmond Morris; sold by private treaty in 2018; 1980-1990s; accompanied by a positive thermoluminescence report no.03CM180321 issued by Laboratory Kotalla; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10632-173301.During the Tang Dynasty, funerary statues played a crucial role in burial practices, featuring in funerary processions, serving as tomb sculptures and broadcasting the status of the deceased, leading to restrictions on the numbers of figures permitted to be used in any one funeral procession. Figures such as this one were placed on carts which formed part of the funeral procession. Upon arrival at the burial location, they were set before the tomb in accordance with strict historical customs. Then, once the deceased had been interred within the burial chamber, the figures were moved inside the tomb. A video of this lot is available to view at TimeLine Auctions website. Finely modelled.
Tang Dynasty, 618-907 AD. A superb ceramic court horse standing on a rectangular pedestal, the head turned slightly to the left, raised tail, ears pricked, the mane dark grey in colour, with a small tuft behind the ears; expressive face with the eyes with prominent pupil, surrounded by red, the nostrils dilated; a double saddle superimposed on a padded saddle cloth, rich harnesses (xingye) in the form of apricot leaves decorate antilena and postilena trappings and the bridles of the muzzle; well-preserved colour on saddle, mane, mouth, eyes and hooves.See Prodan, M., The Art of The T'ang Potter, Thames and Hudson, 1960, for comparable examples in pls.I,VIII,XXIV and figs.26, 53, 54, 64.8.3 kg, 57cm (22 1/2"). From a West Country collection, 1990s; accompanied by a positive thermoluminescence report no.20CM110520 issued by Laboratory Kotalla; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10589-173310.The representations of horses and their harnesses are exceptionally detailed in the terracotta works of the Tang Dynasty. In our example, the craftsman aimed to pay homage to a purebred animal whose beauty and elegance the artist wanted to enhance. All muscles and tendons are visible, expressing the powerful musculature of the animal with an extremely proportionate body. It is indisputable that the intention was to represent a ceremonial horse belonging to a high dignitary. A video of this lot is available to view at TimeLine Auctions website. Finely modelled.
Tang Dynasty, 618-907 AD. A ceramic statuette of a horse standing on a rectangular base; the neck straight and extended, head flat with mouth open and teeth exposed; a textured saddlecloth decorated with red tufts on the back; bridle, breast-strap and crupper with pendant medallions; the body hollow to the underside, much pigment remaining.8.5 kg, 57cm (22 1/2"). From a West Country, UK, collection; formerly in a Hong Kong collection formed 1970-1990s; accompanied by a positive thermoluminescence report no.36CM180321 issued by Laboratory Kotalla; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10697-175203. A video of this lot is available to view at TimeLine Auctions website. Finley modelled.
Han Dynasty, 206 BC-220 AD. A ceramic figure comprising the upper body and head of a horse, the head held erect, flared nostrils facing forwards, open mouth to accept a bridle-bit, painted detailing including a head harness; head and torso formed in two hollow parts.See The Victoria and Albert Museum, accession numbers C.12-1929 and A.16-1935, for comparable equine figures, one in ceramic, the other in jade.4.7 kg, 47cm (18 1/2"). From a West Country collection, 1990s; formerly with a Hong Kong gallery.Believed to carry the deceased to the afterlife, many ceramic horse figures were made for inclusion in tombs. Horses from western Asia were particularly highly prized in China. [2, No Reserve] Finely modelled.
Tang Dynasty, 618-907 AD. A ceramic Bactrian camel shown kneeling on an integral rhomboidal base, hindlegs in standing position, tail erect, forelegs tucked beneath body, neck resting at ground level with head held aloft, head turned slightly to the left, luggage contained in panniers on its back, detailing to head, face, mane, body, legs, feet and baggage, with painted pigmentation surviving; accompanied by a custom-made display stand.See Prodan, M., The Tang Potter, London, 1960, for comparable ceramic camels; see a comparable Tang camel excavated from a tomb in 1957 from the tomb of Xianyu Tinghui, general of Yunhui, held in the National Museum of China, Beijing.8.2 kg total, 37cm long including base (14 1/2"). Property of a Kensington lady; acquired on the London art market in the 2000s; accompanied by a positive thermoluminescence report no.04CM180321 issued by Laboratory Kotalla; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no. 10644-173452.Bactrian camels were a popular mode of transportation in Ancient China, where they were put to service carrying goods along the Silk Road. Terracotta statuettes of camels are usually stacked with bolts of silk, the principal commodity exported by China. A video of this lot is available to view at TimeLine Auctions website. Finely modelled, repaired and saddle chipped.
Tang Dynasty, 618-907 AD or later. A ceramic standing Bactrian camel figure, wearing saddle cloth and carrying baggage, neck held erect, head held at an upwards angle, with painted detailing to the head, face, mane, body and harness.See The Victorian and Albert Museum, accession number C.1183-1917, for a similar example.3.5 kg, 39cm (15 1/4"). From a West Country collection, 1990s; formerly with a Hong Kong gallery. Finely modelled.
Tang Dynasty, 618-907 AD. A substantial ceramic bull figure modelled standing on a rectangular base, head raised and held forwards, detailing to the head, muzzle and harness, decorated with domed bosses and tasselled pendants; two separately formed horns; remains of painted pigmentation.2.9 kg, 37cm (14 1/2"). From a West Country collection, 1990s. A video of this lot is available to view at TimeLine Auctions website. Finely modelled.
Tang Dynasty, 618-907 AD. A substantial ceramic guardian or warrior figure modelled standing, trampling an animal lying on a polygonal base; wearing military armour and holding his arms bent at the elbows, hands in fists, with fierce facial expression and robust stance; remains of orange, black, green and other painted pigmentation.See Prodan, M., The Art of the Tang Potter, London, 1960, fig. 29 and 40, for comparable elements; see The Metropolitan Museum, accession number 10.221.7, for a similar figure.5.1 kg, 55.5cm (22"). From a West Country collection, 1990s; formerly with a Hong Kong gallery. Finely modelled.
Han Dynasty, 206 BC-220 AD. A substantial ceramic attendant figure modelled standing with hands held within voluminous sleeves at waist, dressed in floor-length robes, footwear emerging beneath, the face with diminutive eyes and mouth, dressed centrally-parted hair; traces of painted pigmentation remaining.See Caroselli, S.L. edn., The Quest For Eternity Chinese Ceramic Sculptures From The People's Republic Of China, London, 1987, cat. no.19, for similar example; see The Metropolitan Museum, accession number 2000.662.1a, b, for a comparable example.6 kg, 67cm (26 1/2"). From a West Country collection, 1990s. Finely modelled.
Late Ming Dynasty, 1368-1644 AD. A substantial hollow-formed ceramic statue formed as a seated figure holding an oval disk against the torso, resting one hand on a knee, and wearing a floor-length layered robe and ribbed headdress; face with thin eyes, raised brows, pursed lips and ears with elongated robes; blue, red, yellow and green painted pigment survives.See Lili, F., Chinese Ceramics, Cambridge, 2010, for discussion.64.2 kg total, 74cm (29"). From the important collection of Chinese art formed in Japan. [No Reserve] Fair condition, repaired.
Tang Dynasty, 618-907 AD or later. A ceramic figure modelled as a court official in headdress and robes adopting the prostrate 'kowtow' posture of respect; painted pigment to headdress and face and possibly later painted floral motifs and pseudo(?) characters around the body.1.60 kg, 31cm (12 1/4"). From a West Country collection, 1990s; formerly with a Hong Kong gallery. [No Reserve] Fine condition.
Ming Dynasty, 1368-1644 AD. A group of ten ceramic figures, each modelled in the round wearing a priest's or dignitary's headdress and long robes, presenting a zodiacal animal and standing on an integral base; extensive remains of painted pigmentation.See Prodan, M., The Art of the Tang Potter, London, 1960, pp.96-97, for a figure with comparable stance, headdress and style of robes.2.3 kg total, 17cm each (6 3/4"). Property of a London gentleman; formerly with the Mahboubian Gallery, London, UK; acquired before 1972.The earliest known pictorial representation of the twelve-year cycle is in a Northern Wei tomb in Shandong Province; by the time of the Tang Dynasty the calendrical animals were frequently used on epitaphs and engraved on funerary steles. The Chinese term shengxiao means both birth and resemblance, as it came to be believed that a person's character was influenced by the animal symbolising their year of birth. The belief developed into believing that it was possible to gain insights into relationships and the universe and therefore into one's fate. Each of the animals also represent a specific hour, day, month of the cycle, and all these details are taken into consideration when investigating the almanac for divination purposes. There are a number of stories about the origin of the order in which the animals are placed. The most popular ones include those relating to how the Jade Emperor asked to see earth's twelve most interesting animals on the first day of the first lunar month, in which the rat gained the first position by deception, becoming the sworn enemy of the cat. [10] Fine condition.
Han Dynasty, 206 BC-220 AD. A ceramic burnished black ware jar with scooped and carinated profile to the neck, two broad strap handles with roundel detailing, hatched panels to the neck, spiral 'eye' panels to the lower body, incised scrolls to the underside.Cf. similar jar in the British Museum illustrated in S. J. Vainker, Chinese Pottery and Porcelain, New York, 1991, p. 43, fig.30.1.6 kg, 24cm wide (9 1/2"). From a Cambridgeshire collection; previously in the collection of Roger Moss (OBE) in Hong Kong during the period 1980-2003; accompanied by a copy of a previous catalogue description.This type of jar is sometimes known as Lifan, named from the area of Sichuan province in which they were produced. Fine condition.
Han Dynasty, 206 BC-220 AD. A broad ceramic greyware vessel with an ovoid body, collared neck, broad chamfered rim and flared foot, the body decorated with pairs of incised parallel lines.3.1 kg, 36cm wide (14 1/4"). From the collection of the late C. Roger Moss OBE (1936-2020); former president of the Oriental Ceramics Society; acquired whilst resident in Hong Kong, 1980-2003. Fine condition.
Kangxi Period, late 17th century AD. A blue and white glazed ceramic lotus platter with central dense chrysanthemum and tendril pattern, radiating panels with blossoming trees; the outer rim with three foliate branches and the base with a leaf within a concentric circle; collection sticker to base.1.67 kg, 39cm (15 1/4"). Property of a North London gentleman; From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014.Analysis of survey material and cargo samples from the wreck site together indicate that the ship was engaged in exporting very high-quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millennia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight into range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. Fine condition.
5th-8th century AD. A ceramic votive figure of a saint with cylindrical body, triangular headdress, pinched face and arms held parallel to the body towards the head; with surviving painted facial and ornamental detail; pierced for attachment.132 grams, 14cm (5 1/2"). From an important collection, London, UK, 1970-1999; thence by descent. Fine condition. Very rare in this condition.
2nd millennium BC. A ceramic jar with straight walls, three bands of painted geometric decoration to the outer face with separating borders, everted rim and convex base.810 grams, 17cm (6 3/4"). Property of a London gentleman; formerly with the Mahboubian Gallery, London, UK; acquired before 1972. Fine condition, some usage wear.
11th-12th century AD. A ceramic stylised standing lion figure with a curled tail and discoid head and mane, humanoid nose, applied circular eyes; painted with geometric patterns.570 grams, 15cm (6"). From an important London W1, gallery; previously acquired 1970s-1980s. [No Reserve] Fine condition.
Late 13th-14th century AD. A rectangular ceramic floor tile with white crowned lion rampant; from St Etheldreda's Church, West Quantoxhead, Somerset, England.930 grams, 14 x 14cm (5 1/2 x 5 1/2"). Ex central London gallery; previously with Rosebery's, 10 September 2013, lot 255 (part"). [No Reserve] Fair condition.
Late 13th-14th century AD. A rectangular ceramic floor tile with white eagle motif; from St Etheldreda's Church, West Quantoxhead, Somerset, England.1 kg, 14 x 14cm (5 1/2 x 5 1/2"). Ex central London gallery; previously with Rosebery's, 10 September 2013, lot 255 (part"). [No Reserve] Fine condition.
14th-15th century AD. A rectangular ceramic tile with white geometric fleur-de-lys motif to two quadrants, an arc with smaller similar motifs to the others, English workmanship.471 grams, 11 x 11cm (4 1/4 X 4 1/4"). Ex central London gallery; previously with Sworders, 4 March 2014, lot 15. [No Reserve] Fine condition.
Dated 1502 AD. A rectangular ceramic maiolica armorial floor tile, depicting the arms of a cardinal(?) on a white field comprising a rococo armorial shield beneath a fiocchi broad-brimmed hat with lateral pendant tassels; taken from the Piccolomini Library, Siena.See 'Ecclesiastical Heraldry in Neubecker, O., Heraldry: Sources, Symbols and Meaning, London, 1976, p.237ff.446 grams, 12 x 12cm (4 3/4 x 4 3/4"). Ex central London gallery; previously with Christie's, South Kensington, 1 October 2013, lot 315, with old Christie's label to the reverse.Beside the cathedral of Siena is the Piccolomini Library which contains many treasures including illuminated books and frescoes by Bernardino di Betto, also called Pinturicchio, using designs based on the work of Raphael, depicting scenes from the life of Enea Silvio Piccolomini who became Pope Pius II from 1458. Construction of the building began in 1492; the floor is believed to have been tiled in 1502. [No Reserve] Fine condition, some restoration.
Early 16th century AD. A ceramic maiolica bowl with dimpled centre and broad raised rim; pattern of concentric scales surrounding a wreath enclosing a landscape with advancing armed horseman wearing a helmet and gorget, shield in the left hand and raised sword in the right; underside with vessica motifs on a hatched field, central florid 'P' motif surrounded by dots and crescents; from Faenza, Italy.753 grams, 27.5cm (10 3/4"). Ex central London gallery; previously with Hampel Kunstauktion, 25 March 2015, lot 181. [No Reserve] Fine condition, with some old fine cracking.
15th-16th century AD. A ceramic maiolica bowl with carination and ribbing to the underside, broad flange rim with radiating painted segments of brown and green surrounding a central panel depicting a flat-fish with profile human head on a hatched field with vegetation; probably made in Orvieto, Italy.903 grams, 27cm (10 1/2"). Ex central London gallery; previously with Hampel Kunstauktion, 25 March 2015, lot 177. [No Reserve] Fine condition, repaired.
17th century AD. A ceramic maiolica dish with lustrous glaze, low flared foot, depicting the bust of a woman on a blue field wearing a yellow cap; after the 'In Castel Durante' painter.Cf. maiolica dish attributed the 'In Castel Durante' painter in the Metropolitan Museum of Art, accession number: 1975.1.1084.503 grams, 24cm (9 1/2"). Ex central London gallery; previously with Carl D. Lobell, circa 2000. [No Reserve] Fine condition, repaired.
3rd-1st century BC. A substantial ceramic bull's head from a rhyton with naturalistic features; modelled with short horns, ears, frowning face, eyes, snout and fleshy muzzle; accompanied by a custom-made display stand.See Ebbinghaus, S., Animal Shaped Vessels of the Ancient World, Feasting with Gods, Heroes and Kings, Harvard Art Museums, 2018, p.314, for a sketch of similar.707 grams total, 18.5cm including stand (7 1/4"). From an important London W1, gallery; previously acquired 1970s-1980s. [No Reserve] A video of this lot is available to view at TimeLine Auctions website. Fine condition.
3rd-1st century BC. A grey ceramic token (symbolon) with a roughly oval-shaped face bearing four lines of Greek text: 'for the servants...and of Emonios...for the servants...akr..'; possible remains of maker or servant's fingerprints in the clay.Cf. Lang, M., Crosby, N., The Athenian Agora, weights, measures and tokens, Princeton, 1964, fig.SW17.5.52 grams, 25mm (1"). From the collection of a deceased London, UK, gentleman; 1970-1999.The exact use of a particular token in classical Greece is often impossible to determine. The tokens from the Roman world are more often inscribed and also more often mentioned as tesserae and symbola in the Latin and Greek literature of the period. Many, thus, can be and have been assigned to specific uses, both public and private. They were used in the various distributions, to be exchanged later for money or a present; others were intended for admission to imperial games or festivals, as tickets for baths, as vouchers for inns, or as small change used by individual merchants or shops. Our symbolon seems to be reserved to the servants or slaves of two persons, a certain Emonios and another unidentified name. The inscription reads: 'AN??A?O??N = of the servants of... KAI EMONIO? = and of Emonios AN??A?O??N = of the servants of ...AK?...' The piece could be related to their right to have access to a specific place or to get some food. [No Reserve] Fine condition.
A small armchair, late 19th century, with a deep seat and buttoned back, upholstered in red floral fabric, raised on turned ebonised supports, terminating in ceramic castors, 73cm wide, 84cm deep, 82cm highCondition report: Some dirt and dust to upholstery which would benefit from a light clean. Joints relatively soldic. Castors a little loose. Evidence of glue to front right leg. General knocks and wear to supports.
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163691 item(s)/page