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Click here to subscribeA hand painted ceramic figure of the Shakespearean character in a white and lilac coat holding a sword and shield. Wood and Caldwell impressed on the base. Issued: c. 19th centuryDimensions: 5"L x 3.5"W x 4"HManufacturer: Wood and Caldwell PotteryCountry of Origin: EnglandProvenance: Collection of Edward Flower Condition: Age related wear.
A hand painted Art Deco ceramic vase adorned with lotus blossoms with bold, rich colors. Clarice Cliff for Newport Pottery backstamp. Artist: Clarice CliffIssued: c. 1929-1931Dimensions: 7.25"W x 12"HCountry of Origin: EnglandProvenance: Collection of Edward Flower Condition: Age related wear.
A hand painted Art Deco ceramic pitcher decorated with geometric abstract flowers. Clarice Cliff for Wilkinson backstamp. Artist: Clarice CliffIssued: c. 1929Dimensions: 6.5"L x 4"W x 6.5"HManufacturer: WilkinsonCountry of Origin: EnglandProvenance: Collection of Edward Flower Condition: Age related wear.
Four tennis related bisque figures and further tennis related memorabilia, comprising a female holding a tennis racquet and ball, 25cm. high; a blue and white female holding a ball, 18cm. high; a miniature joker holding a tennis racquet and ball, 5cm. high; a female in pink holding a tennis racquet, chip to front of hat, 15cm.; a female seated on a penny farthing, 22cm. high; sold with a Victorian ceramic plate featuring a man playing shuttlecock, 24cm. diameter; a silver-plated salver, engraved 'Happy Birthday 1989 to Bobby and Fred Perry Dallas Texas with love and affection Nancy and Frank Jeffertt, 26.5cm. diameter; a bakelite and silver-plate tennis plaque trophy, 9 x 7cm.; (8) Each bearing wear and some with minor chips, crazing.
Ca. 1368-1644 AD or later .A beautifully crafted green-glazed terracotta pig. The pig is depicted standing, with its tail curled over its hip. The facial details including the eyes, nostrils, and mouths are carefully modelled. The pig is the twelfth of the twelve animals in a zodiac cycle and represents diligence, compassion, and realism. Ceramic figures such as this item were important to a variety of cultures with afterlife beliefs that involved trials, travels, or an afterlife similar to that which was lived on Earth. These animals, which are included as funerary offerings reflect the belief that assistance, luck, and companionship would be helpful in overcoming the difficult environs of the afterlife. Size: L:100mm / W:125mm ; 375g Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Ca. 800-1000 AD.A ceramic hollow vessel, with a distinctive bi-conical body, raised mouth, and a ridge encircling the shoulder. Adorned with meticulously incised patterns around the mid and lower body, this vessel showcases intricate attention to detail. However, beyond its aesthetic appeal, this vessel also served a highly specialized and unique function as a hand grenade. "Greek fire" was a formidable incendiary weapon employed by the Byzantine Empire, particularly during naval warfare. The vessel would be filled with a volatile concoction, typically a mixture of flammable liquids, sulfur, and other combustible substances. It was then thrown at enemy ships or troops, where the impact would cause the vessel to shatter, dispersing the fiery contents and engulfing the target in flames. Size: L:75mm / W:110mm ; 380g Provenance: Private UK collection; formerly acquired on the European art market from pre-2000 collections.
Ca. 1368-1644 AD, or later.A pottery mingqi, depicting a captivating horse and a female rider gracefully positioned atop. The sculpture portrays the horse in an upright position, standing upon an integral and level base, which contributes to its overall stability and visual impact. Noteworthy attention to detail is evident in the horse's presentation, particularly in the meticulous arrangement of its black mane, which imparts a sense of refinement. Additionally, the hooves and tail are exquisitely rendered, further enhancing the sculpture's lifelike qualities. The head of the horse showcases a naturalistic approach. The eyes are notably large, accentuated by a skillful application of pigments, while the snout is prominently defined and the mouth slightly parted, suggesting a sense of vitality. The bridle and other embellishments adorning the horse are glazed in a striking green hue. The female rider, adorned in a long green glazed garment layered over a vibrant yellow robe, exudes elegance and sophistication. Delicate facial features are meticulously crafted, with carefully shaped eyes, arched eyebrows, rounded cheeks, and lips highlighted in a vibrant red pigment. She holds a bucket-shaped object in her hands, a detail that adds intrigue to the overall composition. This mingqi serves as a splendid representation of the artistic and technical prowess characteristic of Ming Dynasty pottery. Its impeccable craftsmanship, attention to anatomical details, and sophisticated use of glazes highlight the mastery of the artisans of that era. The mingqi not only provides insight into the aesthetic preferences and cultural practices of the period but also stands as a testament to the enduring allure of Chinese ceramic art. Size: L:340mm / W:265mm ; 2.25kg Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Ca. 450 BC.A black glazed cup with a well-proportioned, bulbous body, gradually tapers to a wide and flat base, while the short neck flares out into an everted rim, creating a pleasing aesthetic balance. The whole vessel, apart the base is adorned with a rich, glossy black glaze, creating a striking visual impact. A short vertical handle connects the shoulder with the mouth, allowing for a comfortable grip. As a testament to the functional versatility of Attic pottery, this cup could have served various purposes. It could have been used as a drinking cup for wine or water, or as a ladle for serving soups or stews. Its size and shape would also have made it an ideal measuring tool for dry or liquid ingredients. Attic pottery was highly regarded throughout the ancient world for its exceptional quality and craftsmanship. The Attic region, where Athens was located, was a major center of ceramic production in ancient Greece, and Attic pottery was exported widely throughout the Mediterranean. Attic black-glazed pottery, in particular, was highly prized for its glossy finish and durability, and was often used in important ceremonial and funerary contexts. Size: L:85mm / W:100mm ; 120g Provenance: Private London collection, B.A.; formerly in pre-2000 European collection.
Ca. 500-425 BC.A ceramic krater that embodies the beauty and functionality of pottery in the ancient world. This large krater features a funnel-shaped neck, twin loop handles on the shoulder, and a pair of zoomorphic protomes, all crafted with remarkable precision and attention to detail. The body is adorned with intricate brown painted lines that run along the exterior and interior of the funnel, adding a touch of artistry to its functionality. The krater was a staple of ancient Greek and Italian pottery and was primarily used for mixing wine and water. For a similar, see The Museum of Fine Arts, Budapest, Inventory number T.687. Size: L:240mm / W:250mm ; 2.12kg Provenance: 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.
Ca. 800-1000 AD.An acorn-shaped ceramic vessel with a tapered base and broad top with a small spout that probably would have been filled with explosive liquid. The body of the vessel is adorned with vertical grooves and engraved circles, creating an aesthetically pleasing appearance. These vessels were designed to be thrown by hand or launched via catapult, and their main purpose was to ignite and spread fire on enemy ships. The precise design of the vessel allowed it to be thrown accurately and to maximize the spread of fire upon impact. The use of these vessels was a critical component of Byzantine naval tactics and played a significant role in their military successes. Size: L:70mm / W:110mm ; 390g Provenance: Private UK collection; formerly acquired on the European art market from pre-2000 collections.
Ca. 1100-1200 AD.A pottery fish-shaped vessel, with its distinct tail-like base and a spout resembling the mouth of a fish, presents an intriguing example of ceramic artistry within the cultural milieu of the Seljuk Empire. Characterized by a slender body, this vessel is adorned on both sides with applied flounced decorations, showcasing the dexterity and skill of Seljuk potters. The entire surface of the vessel is covered in a lustrous green glaze, which not only enhances its visual appeal but also serves as a protective layer. The Seljuks were a prominent Turkic dynasty that originated from the steppes of Central Asia and rose to power during the 11th to 14th centuries. They established a vast empire encompassing regions across the Middle East and Central Asia. The Seljuks played a significant role in shaping the political, cultural, and artistic landscape of the medieval Islamic world. Size: L:250mm / W:85mm ; 350g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Ca. 1368-1644 AD or later .A beautifully crafted ochre-coloured glazed terracotta ceramic figure of a ram. The rams wool is detailed by a series of elliptical impressions meant to imitate the curls in natural wool, whilst the horns are gently spiralled and painted green. The facial features including the eyes, nostrils and mouth are carefully molded. The cloven hooves are similarly detailed and coloured with black pigment. The sheep or ram is the eighth of the twelve animals in a zodiac cycle and is regarded as an auspicious animal which is peace-loving, kind, helpful, and trusting, but of a nature resistant to change. Ceramic figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth. These animals, which are included as funerary offerings reflect the belief that assistance, luck and companionship would be helpful in overcoming the difficult environs of the afterlife. Size: L:115mm / W:135mm ; 370g Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Ca. 1100-1200 AD.A pottery bowl with a truncated conical form, elevated foot, and flaring sides combine to create an aesthetically pleasing silhouette that reflects the artistic sensibilities of the region. Most of the surface is adorned with a captivating turquoise glaze, which exhibits delightful cracks that further enhance its aesthetic appeal. The Kashan turquoise glaze is renowned for its distinctive qualities and holds a significant place in the realm of ceramic production. The city of Kashan has a rich history of ceramic craftsmanship dating back to the 12th century. The production of turquoise glazes became a hallmark of Kashan ceramics, showcasing the technical mastery and artistic sophistication of the region's potters. Cf. Christie's, Lice Auction 2385, Christie's Interiors, 4 October 2011, Lot 14. Size: L:70mm / W:150mm ; 225g Provenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.
Ca. 1368-1644 AD or later .An ochre-coloured glazed terracotta dog depicted sitting on its haunches, with its tail curled over its back. Head held high with its mouth slightly open as if smiling. The dog's tail is painted green and lightly textured to imitate long hair. The dog's ears are likewise painted green. The facial details including the eyes, nostrils, and mouths are carefully modelled. The dog is the eleventh of the twelve animals in a zodiac cycle and represents loyalty, kindness, and courage. Dogs also served as protectors of the household and livestock and would have been valuable companions in the afterlife. Ceramic figures such as this item were important to a variety of cultures with afterlife beliefs that involved trials, travels, or an afterlife similar to that which was lived on Earth. These animals, which are included as funerary offerings reflect the belief that assistance, luck, and companionship would be helpful in overcoming the difficult environs of the afterlife. Size: L:110mm / W:100mm ; 340g Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Ca. 1368-1644 AD or later .A beautifully crafted, multi-coloured glazed terracotta ceramic rooster. The tail feathers of the rooster are carefully detailed and coloured in an alternating pattern of green and yellow. The primary feathers of the wings are likewise yellow and green coloured, whilst the more delicate neck, chest and wing feathers are picked out in black. The legs and leg feathers are green, whilst the rooster’s comb, beak, eyes and nostrils are highlighted with red and black pigments. The rooster is the tenth of the twelve animals in a zodiac cycle and represents fidelity, protection from evil spirits and punctuality for its role in announcing the dawn. Size: L:120mm / W:125mm ; 245g Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
Ca. 1100-1200 AD (or later).A glazed ceramic two-floored model, adorned with a stunning turquoise glaze. The model is composed of a rectangular base that supports an upper surface designed to resemble a courtyard, meticulously divided into four equal sections by looped fencing. Within each section, quadrupedal animals, possibly oxen, are gathered and elegantly rendered and arranged in a harmonious manner. The sides of the model exhibit a similar pattern to the fencing, featuring open roundels and rectangular openings that enhance the visual appeal of the piece. Notably, the lower floor lacks divisions, presenting an open space. Moreover, the number of animals on the lower floor is relatively fewer than those found on the upper level, highlighting a deliberate design choice and potentially indicating varying symbolic or functional purposes for the two floors. Margaret S. Graves, "Ceramic House Models from Medieval Persia: Domestic Architecture and Concealed Activities", in IRAN: Journal of the British Institute of Persian Studies, vol. 46 (2008), pp.227-251. For a similar, please see Sotheby's, L13223, London, 9 October 2013, Lot 19. Size: L:95mm / W:230mm ; 1.73kg Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 1368-1644 AD, or later.A pottery mingqi, portraying a horse with a female rider perched atop. The animal is standing upon an integral and flat base, ensuring stability and harmonious visual composition. Of particular note is the horse's meticulously crafted mane, arranged with precision and painted using black pigment, effectively evoking a sense of elegance. The hooves and tail of the horse, meticulously detailed, are also highlighted in black. The head of the horse, rendered in a naturalistic manner, captivates the viewer with its discerning features. The notable size of the eyes, complemented by expertly applied pigments, serves to emphasize the sculpture's lifelikeness, while the pronounced snout and subtly parted mouth imbue it with a sense of dynamic vitality. The bridle and accompanying trappings, glazed in a captivating green hue, not only enhance the visual appeal but also exemplify the ceramic artist's dexterity and attention to detail. The female rider, adorned in an enchanting long green glazed buttoned garment layered over a vibrant yellow robe, exudes sophistication and refinement. The delicate facial features, including exquisitely crafted eyes, arched brows, rounded cheeks, and lips highlighted with a vibrant red pigment, contribute to the overall elegance of the piece. The lady's hair is meticulously styled into an elaborate coiffure. The female rider holds a vessel positioned to her right side, adding a touch of intrigue and engaging the viewer in the narrative depicted. Mingqi refers to a unique category of Chinese burial goods that were traditionally placed in tombs to accompany and serve the deceased in the afterlife. These objects, crafted with great care and attention to detail, ranged from pottery figurines to model representations of everyday items, animals, or even entire scenes. Mingqi not only reflected the material wealth and social status of the deceased but also held symbolic significance, embodying cultural beliefs and practices surrounding death and the afterlife in ancient China. Size: L:370mm / W:270mm ; 2.29kg Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.
Late Victorian rosewood stretcher table, the rectangular top with curved canted cornice and moulded edge, on quadruple turned pillar supports carved with foliage, joined by collar turned stretcher, on splayed moulded supports with brass and ceramic castorsDimensions: Height: 75cm Length/Width: 93cm Depth/Diameter: 48cm
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