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Lot 1284
A 1930's New Hall, Hanley, Staffordshire Art Deco ceramic dinner service. With floral spray design and green foliate patterned rims. Comprising: 2 lidded tureens, 6 x 10" dinner plates, 6 x 9" plates, cake plate, serving bowl, 4 x 8" side plates, 7 x 7" cake plates, 6 fruit bowls, sugar bowl and gravy/sauce jug.
Lot 595
Pablo Picasso, 1881 Málaga – 1973 MouginsService visage noir – Schwarzer Faun, 1948Original Madoura-Fayence-Keramikteller, bemalt und glasiert.22,3 x 22,3 x 2,5 cm.Unterseitig gestempelt und bezeichnet, Auflage 100 Exemplare.In Galerierahmung mit Museumsglas.Provenienz:Sammlung Nina Miller, London.Literatur: vgl. Alain Ramie, Picasso: Catalogue of the Edited Ceramic Works 1947 - 1971, New York, 1989. (1340539) (18))
Lot 194
David Shrigley (British 1968-), 'I Cannot Change My Sports', 2022, limited edition ceramic multiple, numbered from an edition of 75 to the underside of the figure, accompanied by the original wooden box and signed and numbered certificate of authenticity, published by AllRightsReserved; sculpture: 19 x 12 x 11cmARRsculpture: 19 x 12 x 11cm
Lot 272
Invader (French 1969-), 'Invasion Kit #6 (The Runner)', 2007, 90 ceramic tiles, signed, dated and numbered from an edition of 50 recto, signed and dated to the Invasion Kit user guide verso, published by Space Shop; 18 x 20cmARR18 x 20cmIn Excellent Condition No apparent chips, cracks, or scratches to the mosaic This work is sealed and unopened The invasion kit user guide is un-torn and in good condition Residue to the upper left corner of the packaging, this does not affect the Invasion Kit and could be removed The work is accompanied by it's original shipping packaging, Invader tape, and shipping documents In Excellent Condition
Lot 56
David Teniers the Younger (Antwerp 1610-1690 Brussels)Interior of a laboratory with an Alchemist at work and a stuffed alligator hanging from a ceiling beam oil on canvassigned 'D. TENIERS. FC' (lower right) 71.8 x 88.2cm (28 1/4 x 34 3/4in).Footnotes:ProvenanceMr Stanley, by whom imported from Spain and sold in 1824 for 95 guineasLord Radstock, before 1826Sale, Christie's, London, 13 May 1826, lot 28 (as 'This noble cabinet picture was formerly in the Collection of the King of Spain', sold for 320 guineas to Lord Northwick) Lord Northwick, Thirlestane House, CheltenhamHis sale, Thirlestane House, 23 August 1859, (17th day) lot 1690 (sold for 675 guineas to Agnew)With Charles Sedelmeyer, Paris, 1897, no. 42Edward R. Bacon Esq., New York, and by descent to his sister-in-lawMrs Virginia Pirdy Bacon, Netherdale House, Turiff, Aberdeenshire, by whom offered Sale, Christie's, London, 12 December 1919, lot 103 (sold for 560 guineas to Campbell)Campbell Family and thence by descent until offeredSale, Christie's, London, 6 April 1984, lot 60 (as Property of a Gentleman)The Linda and Gerald Guterman Collection, Their sale, Sotheby's, New York, 14 January 1988, lot 37Spectrum Inc.Roy T. Eddleman TrustExhibitedOn loan to the Chemical Heritage Foundation, Philadelphia (later the Science History Institute).LiteratureJ. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, London, 1831, vol. III, p. 398, no. 520J. Smith, Supplement to the Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, 1842, vol. IX, p. 452, no. 139A. Moore (et al), The Paston Treasure: microcosm of the known world, New Haven and London, 2018, pp. 458-9, ill. pl. 252 Like The Alchemist of 1649 in the Philadelphia Museum of Art and An Alchemist in his Workshop (which sold for a hammer price of £443,360, Christie's, 29 October 2019, lot 629) the present impressive sized canvas is among the finest examples of approximately a dozen known depictions of this subject by Teniers. According to the theories of the time, it was thought possible that a base metal could be purified and turned into gold from the discovery of an elusive substance known as the 'philosopher's stone.' Thus, the alchemist is depicted here on the right of the composition holding a pair of bellows which would be used to assist in the heating process that was believed to be necessary in the transmutation of elements. This scene, set in a spacious workshop strewn with books, glassware, ceramic pots, vials and a stuffed alligator hung from the ceiling, offered this accomplished artist the opportunity to demonstrate his skills in still life painting. The artist probably first treated the subject in the late 1640s, when it gained great popularity with Dutch and Flemish painters. On account of the lighter palette with more complex and subtle tonal harmonies, the present picture most likely dates to the early 1650s, making it one of his earliest treatments of the subject. An important source of inspiration for Teniers and his contemporaries would undoubtedly have been a drawing by Pieter Brueghel the Elder of an Alchemist's Workshop of circa 1558 (Kupferstichkabinett, Staatliche Museen, Berlin), which was widely known shortly after that date through a print made by Philips Galle (fig.1). Indeed, Teniers would have most likely been only too well acquainted with Brueghel's design, having married his granddaughter, Anna, in 1637. The approaches of the two artists, however, reveal very different takes on the subject. In Brueghel's equally detailed image the alchemist is shown sitting at the hearth of a dilapidated kitchen, placing the family's last coin in a crucible to be melted in the alchemical process. This point is further underscored by his wife, who is seated hunched behind him emptying the contents of an already empty purse. While the alchemist's shabby attire signified the family's desperate poverty, the absurdity of the situation is comparable to the modern stereotype of the mad scientist. The message is that the alchemist neglects himself as much as his family in the single-minded pursuit of his occupation. The Latin verse appended to Florentius Schoonhovius's Emblemata (Gouda, 1618), in which an alchemist similarly stokes a fire with a pair of bellows, states: 'While I pursue uncertainly with certain means, I convert everything into smoke and worthless ash'. Judging from the number of alchemical treatises published through much of Europe in the seventeenth century, interest in the subject was then at an all-time high. However, it was only in the Netherlands that the idea of the alchemist in his laboratory became a popular subject for artists and by the time Teniers created this scene, the rising merchant classes were trying alchemy too and we do not find the previous moralizing associations with witchcraft and charlatanry in this artist's compositions. Although the practice of alchemy was still controversial, its techniques — such as distillation and metallurgy — were in fact contributing significantly to science and industry. It should be remembered that no lesser a scientist than Isaac Newton was a practitioner of alchemy, motivated by the search for the 'philosopher's stone' in the hope of turning base metals into gold. Indeed, as many artists' pigments and glazes used in the seventeenth century were prepared by alchemical methods, Teniers would have likely visited laboratories to acquire pigments and so may have felt a special affinity with the practice. This may well be attested to by a picture entitled The Young Teniers in his Studio (offered Hôtel Drouot, Paris, 9 June 1909) which shows a similar young man, possibly Teniers himself, seated preparing his pigments in a bowl at a window. And it was undoubtedly an equal affinity with this particular subject that will have lay behind the acquisition of this work, as well as lot 58, by the Roy Eddleman Trust and their loan to the Chemical Heritage Foundation, Philadelphia (later the Science History Institute), perfectly bringing together the late owner's interests in both art and science.Margret Klinge confirmed the attribution to David Teniers at the time of the last sale.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 852
Vorlegeplatte, Stoke-on-Trent, Crown pottery, ca. 1900Steingut, achteckige Form mit gebogtem Rand, Kupferdruckdekor in Blaugrün. Rand best., Gebrauchsspuren. Marke: Ceramic Art Co./ Crown Pottery". L. 38,5 cm Creamware platter, copper print decoration, old chip at rim. Ceramic Art/ Crown Pottery, Stoke. Ca. 1900. L. 38,5 cm
Lot 224
Satz von 5 Schüsseln, Hedwig Bollhagen, 2. H. 20. Jh.Keramik. Runde Form, Dekor 086-00, zentrale Spirale in rosa auf weißem Grund im Spiegel, blaue Keile wechseln sich mit roten Streifen ab. Kleinste Schüssel unterseitig monogrammiert, größe Schüssel Prägemarke "HB". Schüssel mit 32,5 cm am Standfuß min. gechipt, größte Schüssel am Rand bestoßen. D. zwischen 19,5 und 37 cm Set of five bowls, Hedwig Bollhagen Ceramic. Round form, libely decor. Smallest one is monogrammed, biggest one has a blind stamp. Two bowls min. chipped.
Lot 929
Humpen, deutsch, um 1880Feinsteinzeug, formgepresst, polychrom bemalt. Schauseite mit reliefierter Wirtshausszene, Trinkspruch "Sitzt du gut, so sitze feste/ Jeder Wirth liebt solche Gäste". Reliefzinndeckel. H. 25,5 cm Ceramic stein, relief decoration, polychrom paint. Pewter cover. Germany, ca. 1880. H. 25,5 cm
Lot 228
Schale, Mittelmeerraum, Alt-Zypern (?), Bronzezeit.Halbkugelige Form ohne Standfläche (mit rundem Boden), einseitig anmodellierter Henkel. Rot poliert mit schwarzen Brand-Verfärbungen. D. 14,5 cm. Provenienz: Sammlung Peer Hultberg (1935-2007), Hamburg. Ancient mediterranean ceramic bowl, red burnished. Maybe Cypres, Bronze age. Collection Peer Hultberg (1935-2007), Hamburg. D. 14,5 cm.
Lot 928
Wasserkrug/ Waschkrug, Sarreguemines, Utzschneider & Co., um 1890.Steingut, florales Kupferumdruckdekor,, Schablonenkolorierung. Bauchige Form mit Henkel, Haarriss im ob. Rand, Ausguss gechipt, geklebter Chip am Fuß. Bodenmarke mit Dekorbezeichnung "Hanoi". H. 30,5 cm Ceramic (creamware) washstand pitcher, floral copper print decoration. Hairline crack to upper rim, chip to spout and footrim. Sarreguemines/ France, ca. 1890. H. 30,5 cm
Lot 854
Keramik-Kanne, Anf. 20. Jh.Flachovaler Gefäßquerschnitt mit dekorativ ausgeschnittenem Rand mit weit hochgezogenem Ausguss. Blaue Glasur, Dekor einseitig in die Glasur geschliffen/ geschnitten: Weinranke. Henkel min. best. H. 25,5 cm Ceramic jug, blue glaze, decorative cutting: vine branch. Minor damage at handle. Beginning 20th ct. H. 25,5 cm
Lot 9
GEORGES JOUVEMiroircréation vers 1955Signé, en céramique émaillée noireH: 32cm.(12 5/8in.); L: 35cm.(13 3/4in.); P: 8,5cm.(3 1/8in.).A signed enamelled ceramic mirror by Georges Jouve designed circa 1955.Footnotes:Bibligraphie:Georges Jouve, éd. Jousse Entreprise, Paris, 2006, modèle similaire pp. 185 et 289.For further information on this lot please visit Bonhams.com
Lot 77
Pablo Picasso (Spanish, 1881-1973)Bird No. 82 (Ramie 482) Glazed white ceramic plate, painted in black, with black and brown slips, 1963, numbered 59/150 and inscribed 'Edition Picasso Madoura No.82' in black ink to the underside, 260mm (10 1/4in)(diameter)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 78
Pablo Picasso (Spanish, 1881-1973)Oiseau au Soleil (Ramié 174) White earthenware ceramic ashtray with black oxide and white glaze, 1952, executed in an edition of 500, stamped and marked 'Edition Picasso' verso, 155mm (6 1/8in)(diameter)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 330
CHANEL: CERAMIC AND DIAMOND 'J12' WRISTWATCHThe circular dial with Arabic numerals, pavé-set to the centre with brilliant-cut diamonds, the bezel similarly-set, on a black ceramic bracelet, signed Chanel, inner circumference approx. 16.3cm, maker's caseFor further information on this lot please visit Bonhams.com
Lot 115
Heather Park (Contemporary), Sculptural open bowl and cover of coral form with claw feet, circa 2010, Stoneware, painted and gilded, Inscribed 'HP' to inner lid, 39cm high.Footnote:A ceramic sculpture of similar form is held at the Victoria and Albert Museum, London.One gold flame has end broken (approx 4mm square missing), one other protruding piece lacking, no other damage found to the box. Cover has piece of green foliage missing, no other damage found to the cover.
Lot 116
Heather Park (Contemporary), Sculptural open bowl and cover of coral form with claw feet, the inside with additional heart form encrusted with flowers, circa 2010, Stoneware, painted and gilded, 44cm high. Footnote:A ceramic sculpture of similar form is held at the Victoria and Albert Museum, London.Two gold flame/foliage sections are broken off, no other damage found to box. Cover has two large pieces broken off the flame/foliage, no other damage found to cover.
Lot 119
Pamela Mei Yee Leung (1962-2011), Pottery planter modelled as a winged bull and a bat, with applied flowers to the pedestal, circa 1990s, Painted earthenware, Unmarked, 54.5cm high, 48cm diameter.Footnote:Leung used zoomorphic characters to represent emotional aspects of domestic life, and intended each piece to possess a hidden moral. Her work has featured in public collections in both the UK and in Japan, as well as appearing in various editions of Ceramic Review.Please refer to department for condition report
Lot 120
Pamela Mei Yee Leung (1962-2011), Pottery sculpture of a crouching fish in a coat, circa 1990s, Painted earthenware, Unmarked, 28cm high, 50cm diameter.Footnote:Leung used zoomorphic characters to represent emotional aspects of domestic life, and intended each piece to possess a hidden moral. Her work has featured in public collections in both the UK and in Japan, as well as appearing in various editions of Ceramic Review.Please refer to department for condition reportDAMAGES
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163691 item(s)/page