Rachid Koraichi (Algeria, born 1947)Standing Tablet from the Salome series glazed ceramic signed 'Rachid Koraichi' and dated '1991', executed between 1991 and 199215 x 45cm (5 7/8 x 17 11/16in).Footnotes:Provenance:Property from a private collection, LondonExhibited:Institut du Monde Arab, Contemporary Art Group Exhibition, Paris, 1992Leighton House Museum, Rachid Koraichi, Clay, Silk, Paper & Steel London , London, 1998Barbican Centre, Group Exhibition: Signs, Traces and Calligraphy, London, 1995 'When I think about it, I realise that the initial project, was 'Salome' presented in 1990, in part at the Institut du Monde Arabe and in part at Beaubourg, Everything else came from that. A project created with Michel Butor. It was my first installation, already establishing a link between Judaism, Christianity and Islam, evoking passion in its absolute, up to the sacrifice of one's own life, the passion for a woman that can lead one to kill one's best friend. All the paroxysms come together: love, passion, sacrifice. All the ingredients are mixed together.' - Rachid KoraïchiWe are delighted to have this magnificent work by the renowned Algerian artist Rachid Koraichi. This standing tablet formed part of his 'Salome' series, originally exhibited at the Pompidou Centre, Institut du Monde Arab in Paris and Leighton House Museum in London in the 1990s.Rachid Koraichi uses a wide variety of symbols based on Arabic and Berber writings, magical number systems and Chinese and Japanese characters as well as cryptograms of his own invention. He works with a range of mediums including canvas, paper, ceramic, glass, metal and silk. He often produces works in a series of seven, or uses seven elements in his designs, relating to the Muslim cosmogony of seven heavens, seven planets, etc. His works form part of the collections of major museums in London, Paris, Tunis, Baghdad and Amman.The art of calligraphy in North Africa stems from the significance of the written word of the Qur'an, the sacred scripture of Islam, believed to be the literal word of God. Various schools of style, as well as individual calligraphers can be traced back as far as the seventh century, the first century of Islam.During the 18th and 19th centuries the introduction of printing brought about the demise of the professional scribe, but calligraphers remained highly regarded. By the 20th century the influence of Western languages created social and political tensions. By 1950 calligraphy became a symbol of cultural and political identity against colonialism. By 1960, the letterisme (hurrufiyoun) movement flourished as 'painting by letters' became the dominant mode of artistic expression. By 1970 certain artists had transformed the traditional conventions of calligraphy into various abstract forms.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
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PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Pichet Têtes, 1956.White earthenware, decoration with oxidised paraffin, black and white enamel. Current print run of 500 copies.Work referenced in: Catalogue of the edited ceramic works 1947-1971, by Alain Ramié, Editions Madoura, 1988, illustrated under no.367, p.189.Presents stamp on the base Picasso edition. Madoura.Size: 13 x 14 cm (diameter).The artist produced a large production of ceramic works at the Madoura factory in Vallauris, in the south of France, from 1947 onwards, devoting himself to this technique until the end of 1948. He then returned to his usual activities as a painter, engraver and sculptor, combining them with ceramics until 1971.The creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "ElsQuatreGats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange forms. Picasso is represented in the most important museums around the world, such as the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.
RENE PORTOCARRERO (El Cerro, Cuba, 1912 - Havana, Cuba, 1985).Untitled, 1969.Oil on cardboard.Signed and dated in the lower right corner.Size: 76 x 56 cm; 103 x 82 cm (frame).René Portocarrero is known for his colourful abstract paintings, although he was also a sculptor, ceramist, scenic designer, muralist and book illustrator. He began painting at a very young age, and at the age of fourteen he entered the San Alejandro Academy of Fine Arts. However, he soon dropped out of his studies, as his strong temperament did not fit in with the rules of the institution. His training thereafter was self-taught. He exhibited his work for the first time at the Salón de Bellas Artes in Havana, and in 1934 he held his first personal exhibition at the Lyceum in the same city. The success of this exhibition was a great boost to his career, which enabled him to work at the Estudio Libre para Pintores y Escultores de La Habana (Free Studio for Painters and Sculptors of Havana), together with Mariano Rodríguez. Linked to the generation of poets of the so-called "Grupo de Orígenes", he published drawings in several literary magazines of the time, as well as two books. In 1943 he became a teacher of free drawing at the Havana Prison, and during these years he began several cycles of paintings. The following year he exhibited his works in New York at the Julian Levy Gallery and the Museum of Modern Art. He also began several trips that took him to paint in Haiti, Europe and the United States. Around 1950 he began to work on the decoration of ceramic pieces at the Taller Experimental de Santiago de Las Vegas, together with other artists such as Wifredo Lam, Amelia Peláez and Mariano Martínez. In 1951 he received the National Painting Prize for the first of his so-called "Havana Landscapes". He took part in the São Paulo Biennial in 1957 and 1963, and in the Venice Biennial in 1952 and 1966. Throughout his career, Portocarrero received numerous prizes and distinctions, including the International Sambra Prize (São Paulo Biennial, 1963), etc. In 1985, the year of his death, he held a travelling exhibition with a large part of his work, which toured several European countries and definitively consolidated his already internationally recognised artistic legacy. René Portocarrero is currently represented in major centres of artistic relevance, including the MoMA in New York, the National Museums of Fine Arts in Havana, Santiago de Chile and Argentina, the Spanish Museum of Contemporary Art, the Museum of Modern Art in São Paulo, the Museum of Contemporary Art in Santiago de Chile and many others, as well as in important private collections.
Ismail Gulgee (Pakistani, 1926-2007)Untitled (Calligraphic) signed and dated '99 lower rightoil on ceramic tile30.8 x 30.8cm (12 1/8 x 12 1/8in).Footnotes:ProvenanceThe Collection of Mrs. Nighat Hussain who acquired this work from the artist;Acquired by the vendor from the above. 'My work is the externalisation of my inner journey. Through it I communicate with the pulse of life. The calligraphic form and movement that emerges is not premeditated or cerebral, it is intuitive and articulates something deep inside me. It is important that no thought of how people will react to my work intrudes, as they would destroy the thread and take the truth away. I am enchanted by Islamic calligraphy and feel close to Sufi mystics. At the mystic level, barriers melt away and religious experience whether Buddhist, Hindu or Muslim become one. One could call it human experience of the ineffable.' (Annemarie Schimmel in M. Ismaili, Gulgee, Ferozesons, 2000, unpaginated)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
MIXED, selection , inc. silks (150), ATC Butterflies, Flags, Wix Flowers, Phillips Old Masters, Regimental Crests, Ceramic Art etc., loose mounted in three acetate albums; large, complete (8), Wills Racehorses & Jockeys, Players Famous Beauties & Naval Prints, modern (5) (each corhner mounted in 3/d albums), FR to EX, 390*
c.18th century B.C. A ceramic pillow-shaped cuneiform tablet; accompanied by an old scholarly note, typed and signed by W.G. Lambert, late Professor of Assyriology, University of Birmingham, 1970-1993, which states: 'Old Babylonian Administrative Document.about land. This has a total of 28 lines of cuneiform on obverse and reverse and is in fair condition, some gashes and a few chips have removed a few signs, but most remain. The tablet is dated to the 42nd year of the Hammurabi, king of Babylon, c.1751 B.C. It is a list of areas of agricultural land with their borders defined and the officers named under whose administration they fell. The purpose was to ensure that this land, which belonged to the state and was used for various state purposes, was clearly regulated. It could be given to servants of the crown as remuneration, on which they would live though the freehold belonged to the crown. The hand is a Late Old Babylonian cursive, which is abbreviated and difficult to read, for which reason the following translation is only provisional: Translation / 504 iku, land under cultivation, 20 iku, not cultivated, / from the field of Ishbi.to the assigned work / field of Iddin-yatum: sustenance field with oxen, / under the supervision of Shelimatim. / 180 iku, the assigned work field of Enlil-nasir, under / the supervision of Iddin-yatum, from the Oxen Field / up to the . of Shamash. / 168.iku, the assigned work field of . under / the supervsion of Shelimatim. / District of .zinnutu / 45 iku, the assigned work field of Nabi'um-malik / 45 iku, the assigned work field of Ilum. / together. which they took from the / district of the Exorcist. / 72 iku: sustenance field with oxen: foreman: Ili-amtahar, / under the supervision of Shelimatim. / District of the Banker's. / 2240 iku: fields assigned to work for tax / 2196 iku: land under cultivation, 20 iku not cultivated, / sustenance land with oxen / Total: 5517 iku of cultivated land, 20 iku not cultivated / .. the other side on the west. / Tablet of Lu-Ninshuburka, Sin-iddin-Sin and the mayor, their colleagues. / Month: Nenegar / Year: the city wall of Kar-Shamash'. 253 grams, 10.5 cm (4 1/4 in). Earlier 20th century collection. Alex Szolin Ancient Art, UK. Dr D.G. collection, 1990s-2019. Accompanied by a copy of a scholarly note and translation by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. An iku was approximately 3500 square metres. Fine condition.
22nd-21st century B.C. A pillow-shaped ceramic cuneiform tablet bearing eighteen lines of Sumerian text; the document is an account of barley, flour and goats used in rituals for 'the big crescent moon', issued for various other purposes in month VI, of year six of king Shu-Suen of Ur; accompanied by a translation. 30.4 grams, 43 mm (1 3/4 in). Earlier 20th century collection of Professor Geoffrey Wilson, Warwickshire, UK. London Mayfair gallery, UK. Dr D.G. collection, 1990s-2019. Accompanied by an old typed catalogue slip and a translation page. Fine condition.
3rd-2nd millennium B.C. A ceramic cuneiform tablet with a slightly curved profile, cuneiform text to both faces. 81 grams, 64 mm (2 1/2 in). Specialised collection of cuneiform texts, the property of a London gentleman and housed in London before 1992. Thence by descent to family members. Examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s. This small collection is exceptional for the variety of types, including some very rare and well preserved examples. [No Reserve] Fine condition, repaired.
3rd-2nd millennium B.C. A large section of a ceramic cuneiform tablet bearing cuneiform script to both faces, one side clearer than the other. 132 grams, 63 mm (2 1/2 in). Acquired on the French art market before 1988. Private deceased estate, passed to heirs, 2010. Private French collection of C. M., 2015. [No Reserve] Fair condition.
22nd to 21st century B.C. A roughly pillow-shaped ceramic cuneiform tablet, bearing clear cuneiform script to both faces. 79 grams, 56 mm (2 1/4 in). Acquired on the French art market before 1988. Private deceased estate, passed to heirs, 2010. Private French collection of C. M., 2015. [No Reserve] Fair condition, chipped.
4th-3rd millennium B.C. A ceramic idol standing in a carriage or wagon, raised stylised animals in relief to the outer face of the parapet, standing figure modelled facing forwards, texture detailing to hair, and holding hands to chest, large circular recessed eyes and pinched nose; copper-alloy draught pole through front of vehicle; carriage with lentoid-section wheels threaded onto copper-alloy bars; applied stylised figure with exaggerated arms to the rear of the carriage, narrow footboard below, a marriage. Cf. Serhal, C.D., The Klat Collection Near Eastern Terracotta Models and Figurines, Lebanon, 2009, pp.56-57 and pp.98-99, for similar wagon and figure. 811 grams, 16 cm wide (6 1/4 in). Acquired on the London art market, 1980. Property of a North London gentleman. Fine condition.
3rd-2nd millennium B.C. A ceramic fertility goddess figure modelled in the half-round with hands clasping breasts, wearing a headdress and neck ornamentation, stylised facial features; old label to verso 'No A / 235'. 108 grams, 16 cm high (6 1/4 in). Acquired before the early 1970s. Ex London, UK, gallery. Property of a London gentleman. Fair condition, repaired.
c.12th-8th century B.C. A ceramic fertility idol with stylised anatomical features, hands clasping full breasts, wearing neck ornamentation and voluminous wig, detailing to pubic region. 133 grams, 16 cm high (6 1/4 in). Acquired 1970-1999. London collection of the late Mr S.M., thence by descent. Fine condition.
1st millennium B.C. A ceramic figure modelled in the round as a naked captive kneeling, hands bound and crossed, naturalistic detailing to the anatomy and face; on a rectangular base. 380 grams, 15.5 cm high (6 1/8 in). Acquired in the 1970s. Property of a London gentleman. Fair condition. Repaired.
11th-10th century B.C. A ceramic tripod with the main body decorated with four images of warrior-hunters dressed in long chitons and armed with spears, axes and swords; divided from each other by four sections of double pilasters ornamented with lozenge pattern; the legs, terminating with a stylised lion paw, also decorated with lozenge motifs, the upper part divided in six sections with stylised plants and suns; everted rim fitted with two small handles, each with painted net decoration. Cf. Myres, J., Handbook of the Cesnola collection of Antiquities from Cyprus, New York, 1914, no.513, p.67. 500 grams, 14.5 cm high (5 3/4 in). Acquired on the London art market, 1993. Property of a North London gentle6man. Clay tripods, though not very common in Cyprus, are characteristic of the geometrical art of Greek lands during the early Iron Age, imitating bronze tripods. The lozenge and checker motifs evoke the openwork of bronze furnishings. This tripod, painted with plants, animals, and human figures, illustrates the rude vigour, but also the naïve style of pictorial art in Cyprus during this period. This decoration combines indigenous and Aegean iconography. [A video of this lot is available to view on Timeline Auctions Website] Fine condition.
1st millennium B.C. A ceramic rhyton formed as a stylised kneeling ram with figure of eight-shaped body, its slender legs tucked beneath its over-sized body, detailing to the head, horns and tail; short vessel neck with integral handle; circular opening in the chest for pouring. Cf. The Metropolitan Museum, accession number 1988.102.30, for a rhyton of similar form, although modelled on a rabbit. 1.6 kg. 25.5 cm (10 in). Gallery Sakae, Japan, 1997. London art market, acquired 15 November 2001. With Pierre Bergé & Associés, 1 December 2011, lot 247 (4,000-5,000 euros). Accompanied by a copy of an Art Loss Register certificate number S00094333, dated 31 October 2014. Accompanied by a copy of a positive thermoluminescence report no.C141444-1, dated 12 July 2013. Accompanied by copies of the relevant Pierre Bergé & Associés catalogue pages. [A video of this lot is available to view on Timeline Auctions Website] Fine condition, restored
Tang Dynasty, 618-907 A.D. A group of two ceramic figures, each modelled as a female musician on horseback, each horse standing on a quadrilateral base with one leg raised, head held low and mouth open, with semi-naturalistic anatomical and facial features, dressed tail and moulded saddle, painted head collars and harnesses; both female figures wearing long dresses, leaning to one side of their mount and playing a wind instrument; extensive remains of painted polychrome pigment. Cf. Shaanxi History Museum, Xi'an, for comparable figures. 8.4 kg total, 40.5-41 cm high (16 - 16 1/8 in). Acquired 1990s-2000. Ex D.N. collection. Accompanied by a positive thermoluminescence test certificate no.CJ42522022 issued by Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11245-189433. [2] [A video of this lot is available to view on Timeline Auctions Website] Finely modelled.
Tang Dynasty, 618-907 A.D. A ceramic horse modelled in the round prancing on a rectangular base, right foreleg raised, with integral moulded saddle and saddlecloth, cropped and dressed mane and tail, painted bridle, naturalistic detailing to the head; remains of painted pigmentation. 5.9 kg, 47 cm wide (18 1/2 in). Acquired 1990s. Ex West Country collection, UK. Accompanied by a positive thermoluminescence test certificate no.CJ132522022 issued by Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11256-189443. [A video of this lot is available to view on Timeline Auctions Website] Fine condition.
Northern Wei Dynasty, 386-534 A.D. A ceramic horse modelled in the round standing on an integral base, neck stretched upwards and head turned, mouth open; semi-naturalistic detailing to the head, chest, legs and hooves, cropped mane, short tail dressed with a ribbon, moulded saddle with saddle cloth beneath, face and body harnesses decorated with ornate piriform pendants; extensive remains of painted pigmentation. 6.5 kg, 45 cm high (17 3/4 in). Acquired 1990s-2000. Ex D.N. collection. Accompanied by a positive thermoluminescence test certificate no.CJ52522022 issued by Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11255-189442. [A video of this lot is available to view on Timeline Auctions Website] Finely modelled.
Tang Dynasty, 618-907 A.D. A ceramic horse modelled in the round prancing on a rectangular base, right foreleg bent and raised, integral moulded saddle and saddlecloth, crupper with bells and dangles, cropped and dressed mane and tail, naturalistic detailing to the head; remains of painted pigmentation. 13 kg, 54 cm wide (21 1/4 in). Acquired 1990s. Ex West Country collection, UK. Accompanied by a positive thermoluminescence test certificate no.TBA issued by Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11250-189441. [A video of this lot is available to view on Timeline Auctions Website] Finely modelled.
Tang Dynasty, 618-907 A.D. A ceramic figure modelled as a standing Bactrian camel on a flat irregular base, integral rider on a moulded saddle with packs, bottles and bags suspended from a frame; the rider wearing a cap, robe and trousers, in an animated pose; remains of painted pigmentation. 5.8 kg, 48 cm high (18 7/8 in). Acquired 1990s-2000. Ex D.N. collection. Accompanied by a positive thermoluminescence test certificate no.CJ122522022 issued by Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11247-189438. [A video of this lot is available to view on Timeline Auctions Website] Fine condition; repaired.
Tang Dynasty, 618-907 A.D. A ceramic figure of a standing lady in floor-length courtly dress with hands enfolded within the sleeves; pink and green pigment, on an integral base formed as a train to the robe. 7 kg, 59.5 cm high (23 3/8 in). Acquired 1990s-2000. Ex D.N. collection. Accompanied by a positive thermoluminescence test certificate no.CJ102522022 issued by Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11249-189440. [A video of this lot is available to view on Timeline Auctions Website] Finely modelled.
Wei Dynasty, 534-550 A.D. A ceramic figure of a standing Guanyin female modelled in the round on a waisted lotus-flower base; the figure with elegantly draped tiered robes, hands held in the karana mudr? signifying the overcoming of fear. 5.16 kg, 47 cm high (18 1/2 in). Acquired 1990s-2000. Ex D.N. collection. Accompanied by a positive thermoluminescence test certificate no.CJ62522022 issued by Laboratory Kotalla. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.11248-189439. [A video of this lot is available to view on Timeline Auctions Website] Finely modelled.
Han Dynasty, 206 B.C.-220 A.D. A ceramic figure of a slender female wearing a flared floor-length robe, hair tied to the rear, hands covered by the capacious sleeves; black, cream and other pigments remaining; hollow to the underside. 1.3 kg, 38.5 cm high (15 1/8 in). Acquired 1990s. Ex collection of Dr D.G. Finely modelled.
3rd millennium B.C. A carinated ceramic jar with short everted neck and two loop handles low down on the body, the upper body painted with a frieze of circles decorated with geometric patterns, bands of zigzags to the upper shoulder and neck. 4.5 kg, 38 cm wide (15 in). Acquired 1980-2015. Ex Abelita family collection. Fair condition, rim chipped.
3rd millennium B.C. A ceramic jar with piriform body, bulbous neck, everted rim and two integral loop handles below the shoulder, decorated with a medial band of painted chevrons, scallops and hatched roundels. 2.8 kg, 33 cm high (13 in). Acquired 1980-2015. Ex Abelita family collection. Fine condition.
5th century B.C. A substantial ceramic black ware kylix with carinated profile and flared rim, short stem above a broad base with two strap handles; band of figural ornament to the body with two palmettes flanking two cloaked figures facing inwards towards a male and female united in sexual intercourse. See Smith, C.H., British Museum, London, Catalogue of the Greek and Etruscan Vases in the British Museum (Band 3): Vases of the finest period, London, 1896; Folsom, R.S., Handbook of Greek Pottery, New York, 1969, p.189, fig. A-123, for the typology of Kylix. 655 grams, 12.2 cm high (4 3/4 in). Cambridgeshire collection, 1990s-2000s. Property of a Sussex gentleman. Accompanied by a positive thermoluminescence report no.N122b53 issued by Oxford Authentication. The cup belongs to the category of stemmed kylikes (Attic type I), the lip cups of type C according to Folsom, widespread during 490-460 B.C. It is characterised by a lower stem, a very definite foot, the separation of foot from the stem through a fillet, with stem and bowl merging in a curve. [A video of this lot is available to view on Timeline Auctions Website] Fine condition, some restoration.
15th century A.D. A glazed ceramic floor tile decorated with three crowned lion heads with protruding tongues and large eyes, framed by the bottom half of a shield-shaped background. 983 grams, 13.3 x 13.3 cm (5 1/4 x 5 1/4 in). Benjamin Proust, 2015. Ex central London gallery. [No Reserve] Fair condition.
1st-2nd century A.D. A glazed ceramic rhyton formed as a stylised standing horse with stout forequarters and an exaggerated, bulbous rear, stub legs, knob-like tail, the head facing forwards and characterised by a beak-like face with applied circular eyes, raised and notched reins and head collar, large pricked ears, large triangular forelock covering the face; oval-shaped vessel neck at the top of the head, truncated conical opening in the chest. 1.45 kg, 30 cm (11 3/4 in). London art market, since 1992. Fine condition; cracks.
3rd-1st century B.C. An amber-coloured hemispherical glass bowl with circumferential rotary grinding marks on the interior, shallow kick-up to base; small patches of lustre to body. See The Corning Museum of Glass, accession number 79.1.40, for comparable; see The Metropolitan Museum, accession numbers 81.10.37, 81.10.129 and 81.10.130, for comparable. 102 grams, 12 cm (4 3/4 in). Fernand Adda, 1920s. Mrs Petra Schamelman, Breitenbach, Germany. Private collection of a Kensington collector. Property of a London gentleman. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate no.10859-178322. Hemispherical bowls were popular in the late Hellenistic period. Glass was not the only media in which they were produced, as evidenced by the survival of specimens crafted in metal and ceramic. For this specific lot, 5% import VAT is applicable on the hammer price Very fine condition.
Three F.A. Cup commemorative ceramic plates, comprising Coronation Year Cup Final Sunderland v Preston North End, played at Wembley 1st May 1937 plate featuring images of the King and Queen, diameter 23cm.; cased Crown Staffordshire Bolton Wanderers FC F.A. Cup winner's 1958 commemorative plate, featuring facsimile signatures of the players and central image of Nat Lofthouse, diameter 26cm. cardboard cased, and 100th Football Challenge Cup competition commemorative plate, featuring names of the winners since 1872 flanking a floral border and central trophy motif, diameter 27cm. cardboard cased, (3)
Collection of ceramic football commemorative plates,including Liverpool FC F.A. Cup Winners 1974 plate; West Bromwich Albion FC centenary plate with facsimile signatures, diameter 27cm. cased; Bury FC Centenary Year 1885-1985 ceramic framed wall plaque; Watford FC promoted to Division One 1981-82 ceramic framed wall plaque; Wycombe Wanderers FC Farewell Game at Loakes Park 7th May 1990, (2); Scarborough FC Conference Champions season 1986-87, diameter 24.5cm., (7); Port Vale "The Valiants" Centenary Year 1876-1976 plate, diameter 22cm.; Aston Villa FC second division promotion squad 1987-88 plate, diameter 27.5cm.; Wimbledon FC F.A. Cup Winners 1987-88 plate, diameter 27.5cm.; The Football Hall of Fame plate, diameter 27cm.; Bob Paisley "The Greatest Managerial Record of all time" plate, diameter 26cm. cased; (18 approximately)All glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.
French ceramic pot pourri vase and cover, 19th century, the urn-shaped body supported by three figural forms joined by swags, on shaped plinth base, with pierced and floral encrusted floral cover, gilt outlines, applied paper label for 'Litchfield's Sinclair Galleries, Shaftsbury Avenue', 26cm, old damages and restoration.Condition report:The vase has been heavily restored and repainted. There are chips and hairline cracks to the lid. Please see additional uploaded images.
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163696 item(s)/page