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Click here to subscribeMSP Coastal scene with beach coves, pencil drawing, artists monogram to lower right corner, 31x39.5cm mounted in glazed frame, and a late Victorian / early 20th century still life watercolour of an 18th century Chinese meat platter, tumbler vase of yellow flowers and a knife, unsigned 28x20cm, mounted in a glazed frame.Location:
Henri Cartier-Bresson (1908–2004) was a French photographer widely regarded as one of the pioneers of modern photojournalism. Born on August 22, 1908, in Chanteloup-en-Brie, France, Cartier-Bresson played a crucial role in shaping the field of documentary photography and the art of capturing "the decisive moment."Here are some key points about Henri Cartier-Bresson:1. **Founding Member of Magnum Photos:** Henri Cartier-Bresson co-founded Magnum Photos in 1947 along with Robert Capa, David Seymour, George Rodger, and William Vandivert. Magnum is a renowned international photographic cooperative.2. **"Decisive Moment":** Cartier-Bresson is famous for coining the term "the decisive moment" (French: "le moment décisif"). This concept emphasizes capturing the perfect moment when all elements of a scene come together to create a compelling and powerful image.3. **Early Life and Painting:** Before turning to photography, Cartier-Bresson studied painting. He was influenced by Surrealism and the works of artists like André Breton and Pablo Picasso. His early interest in the visual arts contributed to the composition and aesthetics of his photographs.4. **Travel Photography:** Cartier-Bresson traveled extensively throughout his career, capturing moments from different cultures and countries. His travels took him to places such as India, China, the United States, and the Soviet Union.5. **Capturing History:** Cartier-Bresson documented many significant events in the 20th century, including the Spanish Civil War, the liberation of Paris, the funeral of Mahatma Gandhi, and the Chinese Civil War.6. **Book Publications:** Cartier-Bresson published several books, including "The Decisive Moment" ("Images à la sauvette"), which became a classic in the field of photography. His other notable books include "The World of Henri Cartier-Bresson" and "Europeans."7. **Film:** In addition to photography, Cartier-Bresson worked in the film industry. He directed several documentaries, including "Victoire de la Vie" and "Southern Exposures."8. **Awards and Honors:** Cartier-Bresson received numerous awards for his contributions to photography, including the Overseas Press Club Award, the Hasselblad Award, and the Grand Prix National de la Photographie in France.9. **Later Years and Legacy:** In his later years, Cartier-Bresson focused more on drawing and painting. He passed away on August 3, 2004, in Montjustin, France. His legacy lives on through his iconic photographs, his influence on photojournalism, and the enduring impact of Magnum Photos.Henri Cartier-Bresson's work continues to inspire generations of photographers, and his contributions to the art of photography have left an indelible mark on the medium. His ability to capture the essence of a moment with precision and artistry remains a benchmark for photographers around the world.Verso is blank.
A GREEN-GLAZED POTTERY FLASK, LIAO DYNASTY 遼代綠釉陶壺Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 907-1125. Of saddle shape with stiff, seamed edges, a short cylindrical neck, the top flap is notched and pierced with two hanging holes and applied with two small figures facing forward towards the spout, the body incised with floral motifs on each side, all under an intentionally crackled emerald-green glaze.Provenance: From the collection of André Dubreuil. André Dubreuil (1951-2022) was a French designer and craftsman. At the age of eighteen he moved to England to study drawing at the Inchbald School of Design, while exploring the London underground nightlife scene. After graduating, he started working for a decorating agency and designed flats with trompe l'oeil paintings. He learned the art of ironwork with Tom Dixon and Mark Brazier-Jones, and they quickly became the reference for 1980s English avant-garde design. As a collector, Dubreuil was particularly interested in metalwork, and his collection included a wide range of objects, such as 18th-century French candelabras, medieval ironwork, and contemporary metal sculptures. He was known for his eclectic taste and his ability to appreciate the beauty and craftsmanship of objects from different periods and cultures. His collection was a reflection of his passion for art, as well as his interest in history and cultural heritage.Condition: Fine condition, commensurate with age. Old wear as expected, the spout with a small old repair, some flaking and minor losses to glaze, and firing irregularities including scattered glaze recesses. The head of one figure lost.Weight: 1,447 gDimensions: Height 27 cm Traditionally known as a pilgrim's flask, the shape of these containers derived from leather prototypes and has retained many features of the originals such as the seam and the hanging lug. It is quite rare to find two applied figures on the flask.Literature comparison: Compare an example in the Museum of Fine Arts Boston, Charles B. Hoyt Collection, accession no. 50.1747. A flask and cover with very similar designs and also with two applied figures in the Museum of Fine Arts, Boston, is illustrated in Hai-wai Yi-chen Chinese Art in Overseas Collections Pottery and Porcelain (II), p. 88, no. 86; another flask with two figures on the rim but slightly different decoration on the body from the Chang Foundation, Taipei, is illustrated in Selected Chinese Ceramics from Han to Qing Dynasties, p. 78, col. pl. 20. An example with one figure is in the Fengtian Museum, illustrated in Koyama Fujio ed., Sekai Toji Zenshu, 1961, vol. 10, p. 244, fig. 148.Auction result comparison: Type: Closely related Auction: Christie’s New York, 20-21 March 2014, lot 2078 Price: USD 8,750 or approx. EUR 10,500 adjusted for inflation at the time of writing Description: A rare olive-green glazed pottery flask and cover, Liao dynastyExpert remark: Compare the closely related form and glaze. Note the similar size (30.5 cm).Auction result comparison: Type: Closely related Auction: Christie’s London, 17 June 2003, lot 10 Price: GBP 4,541 or approx. EUR 7,700 adjusted for inflation at the time of writing Description: A very large green-glazed flask.Expert remark: Compare the closely related form and glaze. Note the smaller size (24.8 cm).
A LARGE MOLDED AND CARVED CELADON-GLAZED ‘DRAGON’ FISHBOWL, QING DYNASTY 清代大型青釉龍紋魚缸Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 18th - 19th century. Heavily potted, the deep rounded sides rising to a thick everted rim. The exterior is finely molded and carved with two sinuous four-clawed dragons in pursuit of a flaming pearl amid swirling clouds, covered in a pale sea-green glaze darkening in the recesses and thinning at the edges. The dragon design is framed by two brown-washed bands, the upper neatly carved with magpies and chrysanthemums, the lower similarly decorated with crashing waves. The base is unglazed.Provenance: From a private collection in Hertfordshire, United Kingdom, since the 1950s, and thence by descent in the same family. By family repute, most of this collection was purchased in the Panshanger Estate Sale at the Corn Exchange, Hertford, in 1953. Panshanger was the family home of the Earls Cowper, built by the Fifth Earl in the first decade of the 19th century. The estate was home to a remarkable art collection, including rare and important Chinese works of art. Two rooms – the China Room and the Dairy – were given over to the display of porcelain, but Chinese porcelains were also kept in the Picture Gallery, Library, Drawing Room, and Small Dining Room. A pair of Imperial famille rose hu-form vases decorated with deer, with Qianlong marks and of the period, once kept at Panshanger, was sold by Christie’s London, 13 May 2008, lot 223, for GBP 804,500.Condition: Old wear and manufacturing flaws, such as glaze recesses, pitting, and dark spots. Some hairlines to glaze, two star cracks, one chip to foot rim, one chip to the inner base (possibly re-stuck). Overall displaying exceptionally well.Weight: 26.9 kgDimensions: Diameter 51.3 cm, Height 45.5 cm Literature comparison: Celadon-glazed fish bowls with dragon decorations are very rare. A Yongzheng example in the Palace Museum, Beijing, is illustrated in Monochrome Porcelain. The Complete Collection of Treasures of the Palace Museum, vol. 37, Hong Kong, 1999, p. 149, no. 135.Auction result comparison: Type: Related Auction: Christie’s New York, 18 March 2016, lot 1648 Price: USD 329,000 or approx. EUR 384,000 converted and adjusted for inflation at the time of writing Description: A massive celadon-glazed ‘dragon’ fish bowl, 18th-19th century Expert remark: Compare the similar form and celadon glaze, molded and carved decoration, and dragon motif. Note the lack of brown-washed bands and the larger size (62.8 cm).Auction result comparison:Type: RelatedAuction: Sotheby’s London, 15 May 2013, lot 256Price: GBP 30,000 or approx. EUR 54,000 converted and adjusted for inflation at the time of writingDescription: A celadon-glazed ‘dragon’ fishbowl, Qing dynasty, 19th centuryExpert remark: Compare the similar form and celadon glaze, molded and carved decoration, and dragon motif. Note the lack of brown-washed bands.
A collection of early 20th Century white metal and silver mainly Asian small figures and models to include: a filigree model of a Sampan boat, unmarked; filigree model of a house, unmarked; a basket, unmarked; a 925 silver model of a crane drawn cart with three seated children, London import marks; a Chinese figure drawing a rickshaw, stamped 90 with maker's mark; a small carriage with figures drawn by oxen, unmarked and a Dutch figure of a milkmaid and an 800 standard probably Italian model of a gondola with two oarsmen, stamped, gross weight, approx 244.7 grams (1 bag)
Postcards, Central and South America, approx. 300 cards to include Colombia, Costa Rica, Mexico, Panama, Peru etc. Subjects include street scenes, vehicles, soldiers, 1910 earthquake victims, ladies rowing team, Chinese Store, Panama Canal under construction and 'Kiss Of Oceans', advertising, Panama Lottery drawing, President Augusto B. Leguia etc. (gen gd)
A RIVER LANDSCAPE AFTER WANG YUANQI BY WEI QING 韡慶《山水畫》，王原祈款China, first half of the 20th century. Ink and watercolor on segmented paper. The fan-shaped painting depicts a landscape with a river and mountains in the background and two cabins hidden behind trees and rocks in the foreground. A fisherman waiting on a boat nearby to catch a fish. Calligraphy and a seal mark on the left. A seal mark on each bottom corner.Inscriptions: Text (translated): 'Wei Qing imitated Wang Lutai's work' (pseudonym for Wang Yuanqi, 1642-1715) and 'Painted in Shenjiang'. One seal mark on the upper left, and one seal on the bottom left. Another seal on the bottom right (translated): 'Wei Ting learns drawing at 57 years old.'Fan paintings by Wang Yuanqi are highly sought after. For a landscape fan shaped painting by the master artist see Fine Chinese Classical Paintings and Calligraphy in Christie's Hong Kong on 01 June 2015, lot 1117, sold for HKD 3,200,000.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The painting with some abrasions along the folds, minor material loss to the lower left corner.Dimensions: Image size 50.4 x 21.5 cm, paper cover 63.5 x 65 cmLaid down on paper with protective cover.
OKUMURA MASANOBU (1686-1764): 'SHOKI'Japan, 18th century. Woodcut, hand applied with urushi (lacquer) and washes of ink on paper. Mounted on paper. Depicting the demon queller Shoki standing in an animated pose apoplectic with rage with a grimace on his face.Inscriptions: To the left margin, signed 'Hogetsudo, Okumura Bunkaku Masanobu kinzu' 芳月堂、奥村文角政信謹圖 ('This is painted with respect by Okumura Bunkaku Masanobu, the studio name Hogetsudo'). One seal, 'Tanchosai' 丹鳥斎.Image SIZE 63 x 24.6 cm, SIZE incl. mounting 70.5 x 30.3 cmCondition: Shows tears, some wormholes, minor staining, browning, and few losses but still presenting well.Provenance: Van Stockum Gallery, The Hague. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shōki was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shōki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease. In Japan, auspicious images of Shōki were displayed for the Boys' Day Festival, celebrated on the fifth day of the fifth month.Shōki was generally depicted, based on the iconography, killing a small demon. However, in the Japanese popular cult that reveres him as guardian deity, he was also rendered standing alone in a more iconic mode.Okumura Masanobu (1686-1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga. The era Masanobu was born into was a prosperous and creatively fertile one, in which flourished the haiku poets Matsuo Bashō and Ihara Saikaku, the bunraku dramatist Chikamatsu Monzaemon, and the painter Ogata Kōrin. Masanobu was one of the most influential innovators of the ukiyo-e form, and popularizing Western-style perspective drawing. His career saw ukiyo-e evolve from its monochromatic origins to the verge of the full-color nishiki-e revolution of Suzuki Harunobu's time. Masanobu's ukiyo-e was mostly produced in the Kyōhō era. They display the printmaker's sense of line, color, and composition. The subjects are most often humorous and are executed in a lively manner with figures in brightly colored, fashionable clothing.
A WHITE AND RUSSET JADE ORNAMENT, WESTERN ZHOUChina, Western Zhou dynasty, 10th-9th century BC. The pendant of flattened, slightly arched form with notched edges is carved to both sides with stylized human or zoomorphic figures, the contours and details rendered with double-line grooves. A small aperture drilled to the top for suspension. The translucent stone is of an even white tone with russet veins and patches as well as a small area of opaque brownish-cream to one edge.Condition: Very good condition with minor wear and nibbling.Provenance: Estate of Wolfgang Zacke (1942-2022), co-founder of Galerie Zacke, thence by descent.Weight: 88.2 gDimensions: Length 13.8 cmLiterature comparison: The style of the present jade ornament, combining human and animal features with the contours rendered in double-line grooves, is characteristic of the Western Zhou period. A similar example depicting a phoenix and dragon and of slightly different shape is in the National Palace Museum Collection (acquisition no. gouyu 611), illustrated in Art in Quest of Heaven and Truth - Chinese Jades through the Ages, Taipei, 2012, pl. 5-4-6. Another example depicting similar motifs was excavated in Rujiazhuang, its line drawing illustrated in Teng Shu-p'ing, Collectors' Exhibition of Archaic Chinese Jades, National Palace Museum, Taipei, 1999, p. 35, pl. 30:5. A rectangular plaque depicting similar motifs is in the Palace Museum Collection, illustrated in Zhongguo yuqi quanji 2 - Shang & Western Zhou, Shijiazhuang, 1993, pl. 242. Compare also a jade with dragon-phoenix patter, dated to the Western Zhou dynasty, in the National Palace Museum, image number C1C000645N000000000PAD.Auction comparison: Compare a related pale celadon jade ornament, depicting a phoenix perched atop a dragon, at Christie's Hong Kong in Chinese Archaic Jades from The Yangdetang Collection on 29 November 2017, lot 2743 (sold for HKD 2,375,000), and another depicting two human figures in the same auction, lot 2746 (sold for HKD 7,060,000).
A LARGE SEA-GREEN JADE 'DRAGON AND PHOENIX' PENDANT, WARRING STATESChina, Eastern Zhou dynasty, Warring States period (c. 475-221 BC)Carved in the form of a dragon in profile with two phoenix heads emerging from its arched, s-shaped body, each side decorated with elevated comma spirals. The translucent stone of a sea-green tone with minor reddish-buff alterations, the surface shows a fine polish.Condition: Very good condition commensurate with age, with old wear, signs of weathering, and very few smoothened nicks along the edges. Provenance: Collection of Stephen Poulin, Toronto. Mr. Poulin is an avid collector of archaic jades for 40 years and a renown professional in the art conservation industry.Weight: 58 g Dimensions: Length 16 cmLITERATURE COMPARISON: Compare a closely related but significantly smaller (9 cm) jade dragon pendant, dated 4th century BC, in the collection of the Victoria and Albert Museum, accession number FE.49-1996. For an ancient drawing of a silhouette pendant related to the present lot, see Wu Dacheng, Gu Yu Tu Kao (Investigations into Ancient Jades with Illustrations), 1889, Shanghai. AUCTION RESULT COMPARISON: Type: Closely related Auction: Zacke, Fine Chinese Art, Buddhism & Hinduism on 15 October 2021, lot 68 Price: EUR 7,584 Description: An altered celadon jade 'dragon and phoenix' silhouette pendant, Warring States Expert remark: Compare the closely related form and decoration.13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.
A PAIR OF PARCEL-GILT FLOWER -SHAPED SILVER DISHES北宋 鎏金六曲平底銀洗一對 China, Northern Song Dynasty, 10th Century ADThese two dishes seemed like an pairing. Each dish with slightly flaring rounded sides divided into six petal lobes by deep grooves on the exterior and corresponding ribs on the interior rising to notches at the scalloped lip, resting on a rimless flat base engraved in the centre of the interior with a small quatrefoil flower head picked out in gilding.D: 12.8cm (each)Provenance:Irish private collection, acquired from J.J. Lally & Co., New York.Exhibition: 'Silver and Gold in Ancient China', J.J. Lally, New York, March 16-April 14, 2012, no. 22.Publication: 'Silver and Gold in Ancient China' , J.J. Lally, New York, 2012, no. 22.出处： 愛爾蘭私人收藏, 購於紐約藍理捷展覽：「中國古代的金銀」，J.J. Lally，紐約，2012年3月16日至4月14日，第22期。出版：《中國古代的金銀》，J.J.拉利，紐約，2012年，第22期。NOTEA pair of Northern Song silver dishes of very similar six-petal flower shape with less sides in the Muwen Tang Collection is illustrated by Kwan in Chinese Silver, Hong Kong, 2004, pp. 154–155, and the author illustrates a line drawing of another very similar silver dish discovered in the underground chamber of Baoyan Temple, erected in the Jin dynasty at Yuyan village, Huan, Hebei province, illustrated in Wenwu, 1993, No. 4, pl. 6-5, and in a line drawing on p. 16, no. 31. Kwan notes that the plain elegant style of these flower-shaped dishes was “. . . fashionable among the upper echelons of Song society . . . and the form was emulated in lacquer and porcelain of the period.” Six-petal flower-shaped shallow bowls in white porcelain and green-glazed stoneware discovered in 1969 in the underground chamber of Jingzhi Temple (dedicated 977) are illustrated in the catalogue of the travelling exhibition entitled Chika kyūden no ihō: Chūgoku Kahoku-shō Teishū Hokusō tōki shutsudo bunbutsuten (Treasures from the Underground Palaces: Excavated Treasures from Northern Song Pagodas, Dingzhou, Hebei Province, China), Idemitsu Museum of Arts, Tokyo, 1997, nos. 71, 73, and 79. A six-petal flower-shaped silver bowl of very similar form and size excavated in 1970 from a Five Dynasties tomb in Banqiao, Linan, Zhejiang province, is illustrated in Wenwu, 1975, Vol. 8, p. 72, no. 7. Compare also the pair of similar dishes from the Kempe Collection illustrated by Gyllensvärd and Scott in 'Kinesiskt Guld och Silver I Carl Kempe-Samlingen' (Chinese Gold and Silver in the Carl Kempe Collection), Ulricehamn, 1999, p. 209, no. 163.
Full title: A pair of Chinese eggshell Pronk studio 'parrot and spaniel' plates, Yongzheng/QianlongDescription:Dia.: 20,5 cmThis is a fine example of this rare design, traditionally attributed to the Pronk workshop, though it is probably not by Carnelis Pronk himself.The VOC set up a venture in the 1730's to make very high quality porcelains in China to specific designs produced in the West, but in the Chinese style. They employed Dutch artist Cornelis Pronk to make designs for these and he produced four sets of drawings over about three and half years that were sent out to Batavia. From there the designs were taken to Canton and the production was commissioned by Chinese agents. The designs were elaborate and used bright enamel colouring. Eventually these proved too expensive and the venture was abandoned in about 1740, though some of the designs were revived in the later 18th century, including the Parasol design for which an original drawing survives - and a ‘flowers and moth’ design recombining details from prints by Marie Sybilla Merian - which had also been used for various other details in the Pronk designs.What remains today is a rare and fascinating range of porcelains, with distinctive colouring and of a very high quality. Thus they have an appeal to serious collectors of Chinese porcelain. As the problems had developed with the costs of manufacture it seems likely that the Dutch agents in Batavia tried to simplifiy the designs and to broaden the range of designs. One pattern that was introduced featured the 'parrot and spaniel' design on the present pair, taken from a Meissen service of about 1732 using a chinoiserie drawing by Petrus Schenk.Parrots were a quick short hand for the exoticism of the Far East and also popular as pets and so a few different examples appear on designs in the Pronk workshop at this time. (source: Cohen & Cohen - link)Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.
Cyril Edward Power (British, 1872-1951)The Tube Station (Coppel CEP 32) Linocut printed in yellow ochre, spectrum red, permanent blue, viridian and Chinese blue, circa 1932, a very good impression, on tissue thin oriental laid paper, signed, titled and numbered 13/60 in pencil, framedBlock 258 x 295mm (10 1/8 x 11 3/4in)Sheet 309 x 345mm (12 1/8 x 13 5/8in)Footnotes:This image was based on Bank tube station and Power used the sweeping arc of the platform and curve of the inbound tube carriage, along with bold colours, to convey a sense of movement and drama.Power specified that the red block should be printed heavily on the train doors and platform indicators, thus drawing the viewer's eye along the curve and into the picture, allowing them to feel the sensation of the train rushing into the station.For further information on this lot please visit Bonhams.com
Published by Something Else Press, Inc. New York, run by Dick Higgins. Contains: (1) Object Poems, exhibition April 16-27, 1966. Offset printed green on thick offwhite stock, 55.5 x 75.5 cm, folded to 18.5 x 14 cm. Participating artists include George Brecht, Robert Filliou, Ian Hamilton Finlay, Peter Green, Al Hansen, Dick Higgins, Diter Rot, Gertrude Stein, Wolf Vostell and Emmett Williams. Tiny tear to one corner, generally a very good copy. (2) Wolf Vostell: Dogs and Chinese Not Allowed, Exhibition of Notations and Erasures of the Happening at the Something Else Gallery, May 28 - June 8, 1966. Printed purple on off-white stock, 54 x 75 cm, folded to 13 x 19 cm for mailing. The happening, which lasted 14 days, took place all over New York’s subway network. Recto: text by Vostell, with plan of the subway and one drawing. Verso: list of publications distributed by Something Else Press for Typos Verlag such as Vostell’s Dé-coll/age 4 and 5. With stamp of the 1970s bookstore Schröder & Dupont in Amsterdam. Mint condition.
OKUMURA MASANOBU (1686-1764): 'SHOKI'Japan, 18th century. Woodcut, hand applied with urushi (lacquer) and washes of ink on paper. Mounted on paper. Depicting the demon queller Shoki standing in an animated pose apoplectic with rage with a grimace on his face.Inscriptions: To the left margin, signed 'Hogetsudo, Okumura Bunkaku Masanobu kinzu' 芳月堂、奥村文角政信謹圖 ('This is painted with respect by Okumura Bunkaku Masanobu, the studio name Hogetsudo'). One seal, 'Tanchosai' 丹鳥斎.Image SIZE 63 x 24.6 cm, SIZE incl. mounting 70.5 x 30.3 cmCondition: Shows tears, some wormholes, minor staining, browning, and few losses but still presenting well.Provenance: Van Stockum Gallery, The Hague. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shōki was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shōki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease. In Japan, auspicious images of Shōki were displayed for the Boys' Day Festival, celebrated on the fifth day of the fifth month.Shōki was generally depicted, based on the iconography, killing a small demon. However, in the Japanese popular cult that reveres him as guardian deity, he was also rendered standing alone in a more iconic mode.Okumura Masanobu (1686-1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga. The era Masanobu was born into was a prosperous and creatively fertile one, in which flourished the haiku poets Matsuo Bashō and Ihara Saikaku, the bunraku dramatist Chikamatsu Monzaemon, and the painter Ogata Kōrin. Masanobu was one of the most influential innovators of the ukiyo-e form, and popularizing Western-style perspective drawing. His career saw ukiyo-e evolve from its monochromatic origins to the verge of the full-color nishiki-e revolution of Suzuki Harunobu's time. Masanobu's ukiyo-e was mostly produced in the Kyōhō era. They display the printmaker's sense of line, color, and composition. The subjects are most often humorous and are executed in a lively manner with figures in brightly colored, fashionable clothing.
Full title: James Ensor (1860-1949): Still life with painting, two flower vases and a Tanagra figure, coloured pencil on paperDescription:Work: 16,8 x 11,8 cm Frame: 34,5 x 29,5 cm The work is full of references to the oeuvre and world of James Ensor. - Drawing 'Optocht met maskers' (top left): the same work is visible in the background of 'Un bon coin chez moi' (1938, MSK, Ostende, link) - Chinese blue and white vase on the plinth: the same vase is visible in 'Bibelots' (1935, Museum de Fundatie, Heino/Wijhe and Zwolle, link) - Blue octagonal vase: visible in different works, a.o. 'Un bon coin chez moi', also for example 'Accord Bleu' (1917, Tricot, no.496), 'Harmonie en bleu' (1919, Tricot no.504). The vase was also part of the private collection of Ensor, as visible on a photo by Maurice Antony (1937: interior Ensor, see the added picture) - Tanagra figure: the same sculpture visible in a.o. 'Roses et Tanagras (1917, Tricot no.494) and in other works (link). On a picture of Ferdinand Naeyaert ('Ensor in his interior'), the figure is clearly visible on the chimney.Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com
Attributed to Kari Lehr (20th/21st century) - "Wet Bear", inscribed with the name Pat Crowther together with a further later label verso with the inscription Wet Bear original by Kari Lehr also inscribed Pat Crowther "A Cool Dip", pastel drawing, 13.25" x 10.5" together with five further contemporary works including two indistinctly signed watercolours of coastal scenes the picture depicting a seated Chinese Scribe seated at a desk, a small picture of Venice and a Dale Klee print 'Junk Pile Ford Version' (6)
M Murphy (mid 20th Century), Chinese objects and sunflowers, signed pastel drawing, 50cm x 43cm; and another of a bowl of anemones and a Chinese plate, pastel, signed, 44cm x 39cm (2) (Please note condition is not noted. We strongly advise viewing to satsify yourself as to condition. If you are unable to view please request a condition report, which will be provided in writing).
A pair of Louis XV ormolu mounted Chinese crackle glazed ewersThe porcelain 18th century, the mounts possibly by Jean-Claude Duplessis, mid-18th centuryThe baluster 'Ge-type' vase bodies rising from slightly splayed feet to slender waisted necks, the exterior covered with a blue-grey glaze suffused with cracks, the acanthus scrolling handles cast with bull rushes, the lip mounts with rocaille acanthus sprays, on scrolling footed bases, minor losses to bull rushes to the handle of one vase, 17.5cm wide, 14cm deep, 31.5cm high (6 1/2in wide, 5 1/2in deep, 12in high) (2)Footnotes:十八世紀 仿哥窯瓶一對（嵌十八世紀中期或为吉恩-克勞德·查姆貝蘭·迪普萊西所作鎏金銅飾）Provenance Rosenberg & Stiebel, New York, 1984.Galerie Michel Meyer, Paris.來源Rosenberg & Stiebel，紐約，1984年Galerie Michel Meyer，巴黎Related LiteratureRosenberg & Stiebel, New York, Elements of Style: The Art of the Bronze Mount in 18th and 19th Century France, exhibition catalogue, April-June 1984, no.13, fig 12.Jean-Claude Chambellan Duplessis (1699-1774)Duplessis was a sculptor, ceramics modeller, bronzier and artistic director of the Vincennes and Sèvres Manufactory. From 1752, he assisted his father in creating models for the porcelain manufactures. On 12 June 1765 he became maître fondeur en terre et sable, having, as was customary at the time, mastered the disciplines of drawing and sculpture. Duplessis' illustrious career is mainly recognized today for having perfected the rocaille symmetrisé style. One of the most talented and influential designers and bronziers of his day, only a few pieces can be firmly attributed to him, including a pair of ormolu braziers commissioned by Jean-Baptiste Machault d'Arnouville for royal presentation in 1742 to the Ambassador of Turkey, one of which is today conserved at the Topkapi Palace Museum, Istanbul.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
DONG SHOUPING (Chinese b. 1904-1997) Landscape Inscribed and signed, with two seals of the artist Dated Spring, yichou year (1985) Scroll and mounted, ink on paper 95cm x 43 cm (37.5" x 17") 董寿平 一九八八年作 题：乙丑 (1985）董寿平写于北京 鈐印：壽平、壽平書畫， Dong Shouping (董寿平; 1904-1997) was a renowned contemporary painter and calligrapher. Formerly known as Dong Gyu, later renamed Shou ping. Born in Shangxi province Hongdong County Du Shu village, Dong Shouping was born to a reputable family, Emperor Dong Jitang of Qing Dynasty famous calligrapher, his grandfather Dong Zhihuan Qing Hanlin. He was influenced by his family in calligraphy and painting, and especially admired at the beginning of the Qing Dynasty the works of painter Yun Shouping, then renamed Shou ping. At the age of 16, Dong Shouping attended the Beijing world language school after the turn of the Department of economics of Nankai University, tianjin. In 1926 he graduated from Burapha University in Beijing and settled in Beijing in 1928. In 1931 he began selling paintings for a living, 1938 articles to Xi'an, back to Chengdu, Sichuan writers have Lin Shan Yu appreciation, to praise to make the name well known in Chengdu, held the first day, in 1939 moved to Sichuan Province Guanxian Dujiangyan Guan Yu Lei, living there for 12 years. In 1941 he donated to support the Anti Japanese war. After the liberation, Dong Shouping returned to Beijing in 1950, Ren Rong Bao Zhai editing, 1952 will hide all the books donated by Shanxi provincial museum. To travel around the China sketch, creating more than. In 1979, Rong Bao Zhai consultants identity to Japan, and lectured at University of the Arts in Tokyo, painting demonstration. He is currently a member of the CPPCC National Committee, director of the China Calligrapher's Association, honorary president of Beijing research China painting. In 1979 the people's Fine Arts Publishing House of the "Dong Shouping" painting series. Dong Shouping started at a young age for art, will develop a reading habit of drawing, half day, he be learned in books, there is a profound knowledge, good at the broad and profound ancient Chinese art and modern techniques of combining. His picture has not only poetry and painting artistic conception, which has the literati scroll temperament, layout composition rich philosophy. He also acquired a hand hanging Book stunts, commended for the artists at home and abroad.
SIX CHINESE FANSQING DYNASTY AND LATERTwo on paper painted with landscape scenes, two on silk with figures and calligraphy, another a reticulated boxwood fan, and the sixth a paper fan decorated with gold on a black ground with a seal which reads Shulian ji, together with a watercolour and pencil drawing, inscribed 'Treaty of Peace, Nankin 1843', 51cm x 50cm max. (7)PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from the collection of Phillip Allen (1938-2022).
Walasse Ting (Chinese/American, 1929-2010). Watercolor on paper depicting a woman hiding her face behind a fan. With a red seal stamp along the lower left.Lot Essay:Walasse Ting was a painter and a poet, a powerhouse in the mid-20th century art and intellectual scene. His work was fluorescent and shocking, intended to confront the viewer and force them to pause their worldly cares to focus on beauty. Born Ding Xiongquan in Wuxi, Jiangsu province in 1929, Ting had little formal artistic education. After a brief stint at the Shanghai Art Academy, he left for Paris, arriving in 1949. He quickly fell in with the CoBrA group, an avant-garde collective of artists known for their spontaneous way of painting and rebellion against the artistic establishment. Their emphasis on Outsider Art had a profound effect on Ting, especially since he had little art training and tended to see himself as an outsider in the art world.In 1959, he left Paris for New York City, where he was influenced by Pop Art and Abstract Expressionism. He became friends with many artists working in these styles, including greats such as Andy Warhol, with whom he once put on a joint exhibition. His work was influenced by these connections, pulling ideas from both movements and fluctuating between abstraction and figural works with a unique ease. He also began finding inspiration in more traditional sources, using bold strokes inspired by the calligraphy of his native China. In addition to art, he began publishing poetry during this period, both original poems and translations of classical Chinese poems. He published thirteen books, many of which contained illustrations by himself and his artistic contemporaries.In 1970, he won the Guggenheim Fellowship Award for Drawing. His career continued to flourish, and he split his time between New York and Amsterdam, painting, writing, and displaying his works. He additionally made many trips to Paris to exhibit at the Salon de Mai and traveled to Tahiti to explore the tropical landscapes and colors.During his long and varied career, he had over 60 solo exhibitions of his paintings, as well as making forays into theater direction and teaching. In all his endeavors, he tried to use art to bring beauty into the lives of as many people as possible, because, in his words, “[w]ithout beauty, life makes no sense."Sight; height: 14 in x width: 19 in. Framed; height: 19 1/4 in x width: 28 1/4 in. />Condition: There are no tears, losses, or restorations. Natural texture to the sheet due to the paper type. The colors are bold and bright. The paper is affixed to a backing. Framed under glass; light wear to the frame. The paper backing has been removed to allow for inspection of the work.
Walasse Ting (Chinese/American, 1929-2010). Lithograph on paper depicting a simple line drawing depicting one woman whispering into the other's ear, 1977. Pencil signed and dated along the lower right; editioned "Artist Proof" along the lower left. Possibly inspired by the works of Henri Matisse during one of the artist's trip to Paris.Lot Essay:Walasse Ting was a painter and a poet, a powerhouse in the mid-20th century art and intellectual scene. His work was fluorescent and shocking, intended to confront the viewer and force them to pause their worldly cares to focus on beauty. Born Ding Xiongquan in Wuxi, Jiangsu province in 1929, Ting had little formal artistic education. After a brief stint at the Shanghai Art Academy, he left for Paris, arriving in 1949. He quickly fell in with the CoBrA group, an avant-garde collective of artists known for their spontaneous way of painting and rebellion against the artistic establishment. Their emphasis on Outsider Art had a profound effect on Ting, especially since he had little art training and tended to see himself as an outsider in the art world.In 1959, he left Paris for New York City, where he was influenced by Pop Art and Abstract Expressionism. He became friends with many artists working in these styles, including greats such as Andy Warhol, with whom he once put on a joint exhibition. His work was influenced by these connections, pulling ideas from both movements and fluctuating between abstraction and figural works with a unique ease. He also began finding inspiration in more traditional sources, using bold strokes inspired by the calligraphy of his native China. In addition to art, he began publishing poetry during this period, both original poems and translations of classical Chinese poems. He published thirteen books, many of which contained illustrations by himself and his artistic contemporaries.In 1970, he won the Guggenheim Fellowship Award for Drawing. His career continued to flourish, and he split his time between New York and Amsterdam, painting, writing, and displaying his works. He additionally made many trips to Paris to exhibit at the Salon de Mai and traveled to Tahiti to explore the tropical landscapes and colors.During his long and varied career, he had over 60 solo exhibitions of his paintings, as well as making forays into theater direction and teaching. In all his endeavors, he tried to use art to bring beauty into the lives of as many people as possible, because, in his words, “[w]ithout beauty, life makes no sense."Sight; height: 27 3/4 in x width: 39 3/4 in. Framed; height: 30 1/4 in x width: 42 in. Condition: The sheet is toned. There are stains and foxing throughout, visible in the lot listing. No visible tears, creases, or losses. Light wear to the frame; framed under plexiglass; not inspected out of frame. The paper backing has been cut along three sides to see if the print could be rolled for shipping. The print can be rolled for shipping.
* Chinese School. Album of pen and black ink drawings of Chinese trades and professions, circa 1830-50, a collection of 49 pen and black ink drawings on rice paper, depicting various trades, occupations and pastimes, each with caption in Chinese characters to upper right corner, some chips and losses (mostly affecting sheet edges), some yellowing and occasional spots or stains (mainly towards front and rear of album), each sheet originally tipped at corners (some also at centres of sides) to an album leaf, some with one (or more) edging strips of blue silk, most sheets partially or fully split away from support (due to expansion of album leaves), the splits mainly affecting blank areas and captions, the first drawing (man selling hand fans) detached with losses to both sides of image, final image with long vertical split centrally, the sheets 31 x 19 cm and similar, stitching strained, original decorative cloth covered boards, extremely worn, front cover detached, 4toQTY: (1)NOTE:Probably produced as a souvenir album for export, the trades and occupations depicted include a scribe, selling firecrackers, chopping firewood, selling shoes, a lady embroidering, chiselling lock parts, playing three games, selling horseshoes, carrying tea, selling mooncakes, carrying mountain water, cooking fermented wine, selling dove and duck eggs, beating tin shapes, sweeping word boards, etc.
Large rare Chinese porcelain famille noire "dragon" seal, late Qing dynasty. Of square form with a pair addorsed dragon head finials. The top of the seal with a dragon in relief coiling around a flaming pearl amidst clouds and flames. The four sides with striding dragons. The seal face inscribed with eight characters reading "Kangxi huangdi yulan zhibao (seal for the appreciation of the Kangxi emperor)."Provenance: Collection of George H. Taber (1859-1940); Collection of Graham and Margaret Groves, Coral Gables, FL (by repute); Private Collection; Sotheby's New York, "Important Chinese Art," September 12, 2018, Lot 351; Private California Collection.Exhibition: The Carnegie Museum of Art, Pittsburgh, Pennsylvania (on loan), 1935-1940.Literature:Berthold Laufer, Copy of a note, "Three Imperial Porcelain Seals," Field Museum of Natural History, September 25, 1933."A Rare Collection of Chinese Art: Porcelains, Jades and Horn Carvings Shown in the Exquisite Examples in the George H. Taber Loan to the Carnegie Institute," Carnegie Magazine, vol. 10 (March 1937), 293. Figs. IV, V.Chao Ming Chen, "Symbolism in Chinese Porcelain Decoration," The Bulletin of the American Ceramic Society, vol. 20, no. 6 (June 1941), 197.Lot Essay:The seal has been well-documented throughout the early 20th century. The present seal appears to be the mate to an identical example sold at Freeman's, Philadelphia, 12th March 2016, lot 146. That seal was incised with the mark "xiao yi huang hou yu shang zhi bao" referring to the imperial consort, Lady Tunggiya, who was posthumously honored by the Kangxi emperor as Empress Xiao Yi Ren in 1689. Both that seal and the present seal are referenced as a pair in a short description written in 1933 by Berthold Laufer, then serving as the curator of Chinese art at the Field Museum, Chicago and again in an article by Chen Ming Chen in 1941. In his 1933 description, Laufer thanks Chen for the opportunity to view the seals, implying that the pair was with Chen in 1933. However by 1935, the pair of seals are recorded as belonging to the well-known collector and patron of the arts, George Hathaway Taber (1859-1940) and on loan to the Carnegie Museum of Art in Pittsburgh, Pennsylvania. The present seal and seal face are illustrated in an article in the Carnegie Magazine, vol. 10, March 1937. The seal also appears as a hand drawing in "Notes on the Taber Collection of Oriental Art by A. Avinoff after Consultation with Mr. C.T. Loo, Chinese Dealer in the Art Objects, Paris and New York," Carnegie Museum of Art archives, done while the seals were on loan sometime between 1935-40, with a comment that the pair was on display in "Case II" and it was considered to have been made later than the Kangxi period.Height: 5 3/4 in x width: 9 1/2 in x depth: 7 1/2 in. />Condition: There are a couple of minor restorations to the applied dragon heads with a few small losses. The surface with wear throughout consistent with age.
A SUPERB SAISHIKI NETSUKE OF SHOKI WITH HIS SWORD, ATTRIBUTED TO YOSHIMURA SHUZANAttributed to Yoshimura Shuzan, unsignedJapan, Osaka, 18th century, Edo period (1615-1868)Boldly carved from cypress (hinoki wood) and well-painted as the demon queller Shoki lifting his left leg while holding his sword in his right hand. The fierce expression on Shoki's face marked by large, furrowed brows and a long, neatly incised beard and long hair falling down the middle of his back. Good, functional himotoshi finely excavated to the back.With an associated shikibako box bearing an attestation by the famous artist Kano Tessai (1845-1925) confirming the attribution to Yoshimura Shuzan. The top reading:'Shuzan saku, shoki, netsuke' [A netsuke, Shoki, by Shuzan] and the underside of the hakogaki sealed 'Ko' [of Kotaro, art name of Tessai] and reading, 'The carving knife is handled freely by the master, as if it is a living thing, this is undoubtedly a genuine work of Shuzan, attested by Tessai, a man of Tao, at the residence in Nara in the early winter of the year of Tsuchinoto-hitsuji (Taisho 8, 1919).'HEIGHT 8.1 cmCondition: Good condition with minor wear, the remnants of blue, green, gold, and red pigments with expected losses.The polychrome pigments and gesso, as well as the gold accents are well preserved, as it is known that coloring applied by Yoshimura Shuzan, who was a Kano school painter, would not wear off so easily as later copies. The finely preserved pigments as well as the attribution to him by the artist Kano Tessai strongly advocate this netsuke was made by the great master himself.Kano Tessai (1845-1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art.Auction comparisonCompare a related Saishiki netsuke of Shoki and oni, in the style of Yoshimura Shuzan, at Zacke, Fine Netsuke & Sagemono, 29 October 2021, lot 275 (sold for EUR 12,640).
A PAINTED WOOD 'TEXTILE DESIGN' CHESTTibet, circa 16th centuryPainted with colourful squares of geometric patterns, surrounded by ribbons with two suspended disk shapes. 100cm × 45cm x 43cm (39 1/4in x 17 3/4in x 17in).Footnotes:Published:Chris Buckley, Tibetan Furniture, Warren, CT., 2005, pp. 118 and 119, no. 119. (a copy of the book is sold with this lot)約十六世紀 藏傳木雕彩繪圖紋衣箱Buckley describes the design of this chest as a 'simulation of gift-wrapping' drawing from Tibetan patchwork textiles, unusually combined with interlacing ribbons holding two captive disks resembling gold-mounted Chinese jade bi disks.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Rollbild "Chrysanthemen im Haar". 18.- 19. Jahrhundert, Qing-Dynastie, Qianlong-Jiaqing-Zeit. China.Tuschzeichnung auf Papier. Motiv: 186 x 94 cm, Rollenbreite: 115 cm. Chinesische Schriftzeichen. Partiell Fehlstellen, oben am Rand seitlich kleiner Riss.Chrysanthemen sind hauptsächlich in Ostasien verbreitet. Der Name, latinisiert von altgriechisch, bedeutet "Gold-Blüte". In China seit 1600 kultiviert. Symbol des Mutes, für ein langes Leben, für Bescheidenheit, Vornehmheit und ewige Liebe. Sie werden in der traditionellen chinesischen Medizin als Heilpflanze sehr geschätzt * Partnerauktion Bergmann.Provenienz : Nachlass der Industriellen-Familie Henschel, ehemaliger Maschinen- und Fahrzeugbaukonzern.Aufrufzeit 26. | Okt 2023 | voraussichtlich 11:39 Uhr (CET)Roll painting "Chrysanthemums in hair". 18th - 19th century, Qing dynasty, Qianlong-Jiaqing period. China.Ink drawing on paper. Motif: 186 x 94 cm, roll width: 115 cm.Chinese characters. Partial missing, top of the edge laterally small tear.Chrysanthemums are mainly common in East Asia. The name, Latinized from ancient Greek, means "gold flower". Cultivated in China since 1600. Symbol of courage, for long life, modesty, nobility and eternal love. They are highly valued in traditional Chinese medicine as a medicinal plant * Partner auction miner.Provenance : Estate of the industrialist Henschel family, former engineering and vehicle manufacturing group.Call time 26 | Oct 2023 | expected 11:39 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
A PALE CELADON JADE 'DRAGON AND PHOENIX' ORNAMENT, WESTERN ZHOU DYNASTYChina, c. 1100-771 BC. Of slightly tapering shape, carved on both sides with a phoenix perched on top of a coiling dragon, the contours and details rendered with double-line grooves. The translucent stone is of a pale celadon tone with patches of a cream-white tone and dark veins. Provenance: From the collection of David Taylor, and thence by descent within the Taylor family. David Taylor (1876-1958) was a notable British businessman who lived in Belfast and owned various commercial buildings along with a substantial portfolio of stocks and shares. During his travels to China in the early 20th century, he acquired many jades, including the present lot. His grandfather, Sir David Taylor, was born in 1815 in Perth, Scotland, and moved to Belfast in 1842, serving as its Mayor in 1867 and for two consecutive terms in 1883 and 1884. Condition: Fine overall condition, commensurate with age. Few tiny nicks, distinct signs of weathering and erosion, with the surface showing a silky matte surface as a result of long-time burial. The stone with natural fissures. Microscopic remnants of ancient pigment. Weight: 34.3 g Dimensions: Length 9.6 cm The present ornament displays an elegant combination of two zoomorphic elements, depicting a phoenix perched on top of a coiling dragon, the contours rendered in double-line grooves, a style characteristic of the Western Zhou period. Literature comparison:A similar example depicting the same motif but of slightly different shape, is in the National Palace Museum Collection (acquisition no. gouyu 611), illustrated in Art in Quest of Heaven and Truth, Chinese Jades through the Ages, Taipei, 2012, pl. 5-4-6. Another example depicting similar motifs was excavated in Rujiazhuang, its line drawing illustrated in Teng Shu-p'ing, Collectors' Exhibition of Archaic Chinese Jades, National Palace Museum, Taipei, 1999, p. 35, pl. 30:5. A rectangular plaque depicting similar motifs is in the Palace Museum Collection, illustrated in Zhongguo yuqi quanji 2- Shang & Western Zhou, Shijiazhuang, 1993, pl. 242. Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 November 2017, lot 2743 Price: HKD 2,375,000 or approx. EUR 307,000 converted and adjusted for inflation at the time of writing Description: A very rare pale celadon jade 'dragon and phoenix' ornament, Western Zhou dynasty Expert remark: Compare the near identical form and decoration. Note the related size (10.5 cm). 西周青白玉龍鳳紋柄形器 中國，公元前1100-771 年。半透明青白玉質，帶有白色絮狀物和深色紋理。器作近梯形的片狀柄形器，厚薄不勻。器之二面均琢龍鳳紋，輪廓與細節以雙線槽呈現。 來源：David Taylor收藏，自此一直保存在Taylor家族中。David Taylor (1876-1958) 曾是一位著名的英國商人，住在貝爾法斯特，擁有各種商業建築以及大量股票和股份。二十世紀初，他到中國旅行時購買了許多玉器，包括現在的這件。他的祖父戴維·泰勒爵士 1815 年出生於蘇格蘭Perth，1842 年移居Belfast，1867年擔任市長，1883 年和 1884 年連任。 品相：整體狀況良好，與年齡相稱。有少量微小的刻痕、風化和明顯的侵蝕跡象。由於長期埋在地下，表面啞光，非常光滑。具有天然紋理的玉料，古時顏色殘餘。 重量：34.3 克 尺寸：長9.6 厘米本件柄形器將兩種獸形元素巧妙結合，鳳凰盤龍，輪廓呈雙線凹槽，具有西周時期的風格特徵。 文獻比較：比較一件相似的例子，收藏於國立故宮博物院，描繪相同的主題，但形狀略有不同（收購編號：勾玉611），見《敬天極物：院藏玉器菁華展》，台北，2012年，圖版5-4-6。另一件相近的例子，出土於汝家莊，見鄧淑蘋，《羣玉別藏》，國立故宮博物院，台北，1999年，頁 35，圖30:5。一件相似主題的長方形佩，故宮博物院藏，參見《中國玉器全集2-商和西周》，石家莊，1993年，圖版242。 拍賣結果比較：形制：幾乎相同拍賣：香港佳士得，2017年11月29日，lot 2743價格：HKD 2,375,000（相當今日EUR 307,000）描述：西周青白玉龍鳳紋柄形器專家評論：比較幾乎相同的形式和裝飾。 請注意相關尺寸（10.5 厘米）。
A DEHUA LOTUS-LEAF-FORM BRUSH WASHER, CHINA, 17TH CENTURYExpert's note: The present lot has an age of at least 350 years and is preserved in an absolutely superb condition, which must be regarded as extremely rare, given its overall fragility.Delicately modeled in the form of a furled lotus leaf, set with a stem issuing from one side of the rim, an attendant bud extending across the base while the other sprig elegantly loops over towards the center of the leaf. The washer is applied overall with a distinct ivory-white glaze.Provenance: Collection of Major Edward C. Radcliffe, and thence by descent in the same family. Listed in the family archive as 'X3'. Copies of a drawing of the present lot and handwritten notes from the Radcliffe family archive, reading 'X3. Drawn by nightlight. Far better in every respect but drawn to give you an idea. It's amazingly delicate.' and 'X3. Washer, white porcelain with form of an upturned lotus leaf. Blanc de chine. Mr. Morgan wrote and told me that.' accompany this lot. Major Edward Copleston Radcliffe (1898-1967) served as a company commander with the British Expeditionary Force in France. He was wounded during the withdrawal at Dunkirk while holding the line at Calais. In 1948, he emigrated to South Africa for retirement as a successful artist. His collection became renowned only after his death, when several Imperial Chinese works of art were found in his house. Brian John St. Martin Morgan (1930-2018) joined Bluett & Sons in 1954, where he became a director of the company. He also was president of the British Antiques Dealers' Association for a time. Condition: Excellent condition with expected minor old wear and firing irregularities. A microscopic nick to the rim. A small area of the rim has been polished, probably inherent to production.Weight: 75.4 g Dimensions: Length 12.2 cm, Height 3.9 cm Literature comparison:Compare a closely related brush washer, 3 cm high, dated 18th century, in the British Museum, registration number PDF.417. Compare a related brush washer from the Edward T. Chow collection, sold at Sotheby's London, 23 June 1981, lot 303, and again at Sotheby's Hong Kong, 20 November 1985, lot 232.Auction result comparison: Type: Near identical Auction: Christie's New York, 19 March 2015, lot 409 Price: USD 35,000 or approx. EUR 41,500 converted and adjusted for inflation at the time of writing Description: A small Dehua lotus-leaf-form brush washer, late Ming-early Qing dynasty, 17th century Expert remark: Compare the closely related form and glaze. Note the size (10.5 cm). 十七世紀德化荷葉形筆洗精美的捲曲的荷葉，莖從邊緣的一側伸出，與花蕾延伸到底部，而另一根小枝則優雅地環繞到葉子的中心。筆洗通體施象牙色白釉，造型別致，栩栩如生。 來源：Edward C. Radcliffe少校收藏，在同一家族保存，在家庭檔案中“X3"。隨附當前拍品的圖畫副本以及Radcliffe家族檔案中的手寫筆記副本。Edward Copleston Radcliffe（1898-1967 年）曾擔任駐法英國遠征軍連長。他在敦克爾克撤退時在加萊堅守陣地時受傷。1948年，他作為一名成功的藝術家移民到南非退休。直到他死後，他的收藏才開始聞名，當時在他的家裡發現了幾件中國御製藝術品。Brian John St. Martin Morgan (1930-2018) 於 1954 年加入 Bluett & Sons，並成為該公司的董事。他還曾擔任過英國古董經銷商協會主席。 品相：狀況良好，有輕微磨損和燒製不規則。邊緣有一個微小的缺口。邊緣的一小部分區域已被拋光，可能是生產過程中固有的。 重量：75.4 克 尺寸：長12.2 厘米, 高 3.9 厘米 文獻比較： 比較一件非常相近的十八世紀筆洗，3 釐米高，收藏於大英博物館，館藏編號PDF.417。比較一件相近的筆洗，收藏於Edward T. Chow收藏，見倫敦蘇富比，1981年6月23日，lot 303，以及見香港蘇富比，1985年11月20日，lot 232。 拍賣結果比較： 形制：幾乎相同 拍賣：紐約佳士得，2015年3月19日，lot 409 價格：USD 35,000（相當於今日EUR 41,500） 描述：明末/清初德化白釉荷葉形洗 專家評論：比較非常相近的外形和釉面。請注意尺寸 (10.5 釐米)。
Group of three 20th century Chinese porcelain objects including a lidded cup and two plates. The plates are painted with elegantly dressed figures; one plate with an inscription or poem along the top of the plate. The cup decorated with flowering branches. Each plate marked along the underside with an inscription indicating production in Jingdezhen. The cup with a four-character Qianlong mark along the underside.Lidded cup; height: 3 in x diameter: 3 1/2 in. Plates, each; diameter: 8 1/2 in.Condition: Overall there are no visible chips, cracks or losses to the lidded item and the plate with the figure holding a fan. There is a minute uneven area along the rim but it appears to be original on the plate with the drawing figure; there is a minute chip along the rim. The footrim of each plate has three drill holes; please see the listing image. There are a few scattered areas with original firing flaws, particularly along the interior of the lidded item. There is discoloration along the rim where the cup and lid meet. There is discoloration along the foot rim. There are two areas of adhesive residue along the top of the lid, visible under UV light. There is no restoration visible under UV light.
Alexandra Diez de Rivera Confessional II (Open), 2023 Giclée Hahnemühle photo rag Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Diez de Rivera is a Spanish-Argentine visual artist based in London working with photography. Her work is characterised by images of psychologically ambiguous objects and spaces that are empty but charged and marked by the passage of people and time. She is interested in psychology, memory, trace and the body. Diez de Rivera's work has been featured in publications such as Vanity Fair, FT Magazine, Vogue, and Le Point and exhibited in galleries both nationally and internationally. She is represented in collections in Europe, China, the US and UAE. Diez de Rivera's work was selected for the 2022-2023 edition of 'Small is Beautiful' at Flowers Gallery, RWA Bristol's 'Photo Open 2023' exhibition, 'London Grads Now 21' at the Saatchi Gallery and 'After the High Tide' at Cromwell Place in London, amongst other exhibitions. Diez de Rivera holds a Postgraduate Diploma in Communications from Central Saint Martins University of the Arts London and a Master's degree in Photography from the Royal College of Art. Education 2018 - 2021 Royal College of Art, London. MA Fine Art Photography 2003 - 2005 Central Saint Martins University of the Arts London. Post Graduate degree Communication and Graphic Design Select Exhibitions/Awards SELECTED EXHIBITIONS 2023 RWA Photo Open Exhibition 2023. Royal West of England Academy, Bristol 2022 Small is Beautiful. Flowers Gallery, London 2022 The Winter Gala for Save the Children exhibition, Guildhall London 2022 PHotoESPANA Discoveries Portfolio Exhibition, Madrid 2022 LONDON GRADS NOW 21. Saatchi Gallery, London 2022 Travers Smith CSR Art Programme Exhibition, Travers Smith HQ London 2021 December Exhibiton. NOUA Gallery, Bodo Norway 2021 Fair Art Fair Curated I. Unit 1 Gallery, London 2021 After the High Tide, RCA Degree Show. Cromwell Place, London 2021 Selected 2021 Art Graduates. Dyson Gallery, Royal College of Art, London 2021 Can We Dance Again? Royal Victoria Patriotic Building, London 2021 Final, Not Over. Unit 1 Gallery, London 2021 Always Present. Void Collective (online) 2020 A Pervading Absence. Windows 187, Greenwich Studios, London 2019 Offprint. Tate Modern, London 2019 Royal College of Art WIP Show. Dyson Building, RCA, London AWARDS 2023 Nominee in Fine Art Photography Awards (Open theme) 2021-2022 Selected for the Travers Smith CSR Art Programme 2021 Selected for The Pupil Sphere Showcase 2021 FAPA Awards - Nominee in Fine Art Photography 2020 Critical Mass Competition - Finalist 2020 Fine Art Photography Awards - Nominee in Conceptual Photography 2019 Fine Art Photography Awards - Nominee in Portrait Photography 2019 UAL Chinese Scholar Association - Winner 2019 Fine Art Photography Awards - Nominee in Portrait Photography Statement about AOAP Submitted Artwork 'A house that has been experienced is not an inert box. Inhabited space transcends geometrical space' Gaston Bachelard, The Poetics of Space My practice looks at the vacant space, the hollow shell, the skin of things. I am drawn to psychologically ambiguous objects and spaces that are empty but charged and marked by the passage of people and time. I work with large format film, cameraless photography, and other creative techniques to seize the heart of my subjects, to capture their presence and aura. I'm interested in psychology, memory, and the body. My subjects have an intimate, physical relationship to the body and have been handled and inhabited, they are inanimate but loaded, exposing the affecting remnants of past lives. Resonating Spaces depicts a series of singular locations which have been inhabited but are vacant in the photograph, allowing the viewer in. Confessionals I and II are included in this series. The camera becomes an instrument for resurrecting archaic and obsolete objects, turning them into something new, allowing us to observe them and re-evaluate their cultural, political and sentimental meaning. I want my stark and silent photographs to act as introspective spaces, mirrors for self-examination which trigger our deeper thoughts and feelings, fears and desires. My work deals with absence. When something is missing, we unwittingly fill in the gaps, occupying the space with our own lived experience and imagination, drawing from memories and emotions which may be hidden or suppressed. The space becomes a reflection of ourselves, a chance to examine our own mind, identity, and feelings. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Alexandra Diez de Rivera Confessional I (Open), 2023 Giclée Hahnemühle photo rag Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Diez de Rivera is a Spanish-Argentine visual artist based in London working with photography. Her work is characterised by images of psychologically ambiguous objects and spaces that are empty but charged and marked by the passage of people and time. She is interested in psychology, memory, trace and the body. Diez de Rivera's work has been featured in publications such as Vanity Fair, FT Magazine, Vogue, and Le Point and exhibited in galleries both nationally and internationally. She is represented in collections in Europe, China, the US and UAE. Diez de Rivera's work was selected for the 2022-2023 edition of 'Small is Beautiful' at Flowers Gallery, RWA Bristol's 'Photo Open 2023' exhibition, 'London Grads Now 21' at the Saatchi Gallery and 'After the High Tide' at Cromwell Place in London, amongst other exhibitions. Diez de Rivera holds a Postgraduate Diploma in Communications from Central Saint Martins University of the Arts London and a Master's degree in Photography from the Royal College of Art. Education 2018 - 2021 Royal College of Art, London. MA Fine Art Photography 2003 - 2005 Central Saint Martins University of the Arts London. Post Graduate degree Communication and Graphic Design Select Exhibitions/Awards SELECTED EXHIBITIONS 2023 RWA Photo Open Exhibition 2023. Royal West of England Academy, Bristol 2022 Small is Beautiful. Flowers Gallery, London 2022 The Winter Gala for Save the Children exhibition, Guildhall London 2022 PHotoESPANA Discoveries Portfolio Exhibition, Madrid 2022 LONDON GRADS NOW 21. Saatchi Gallery, London 2022 Travers Smith CSR Art Programme Exhibition, Travers Smith HQ London 2021 December Exhibiton. NOUA Gallery, Bodo Norway 2021 Fair Art Fair Curated I. Unit 1 Gallery, London 2021 After the High Tide, RCA Degree Show. Cromwell Place, London 2021 Selected 2021 Art Graduates. Dyson Gallery, Royal College of Art, London 2021 Can We Dance Again? Royal Victoria Patriotic Building, London 2021 Final, Not Over. Unit 1 Gallery, London 2021 Always Present. Void Collective (online) 2020 A Pervading Absence. Windows 187, Greenwich Studios, London 2019 Offprint. Tate Modern, London 2019 Royal College of Art WIP Show. Dyson Building, RCA, London AWARDS 2023 Nominee in Fine Art Photography Awards (Open theme) 2021-2022 Selected for the Travers Smith CSR Art Programme 2021 Selected for The Pupil Sphere Showcase 2021 FAPA Awards - Nominee in Fine Art Photography 2020 Critical Mass Competition - Finalist 2020 Fine Art Photography Awards - Nominee in Conceptual Photography 2019 Fine Art Photography Awards - Nominee in Portrait Photography 2019 UAL Chinese Scholar Association - Winner 2019 Fine Art Photography Awards - Nominee in Portrait Photography Statement about AOAP Submitted Artwork 'A house that has been experienced is not an inert box. Inhabited space transcends geometrical space' Gaston Bachelard, The Poetics of Space My practice looks at the vacant space, the hollow shell, the skin of things. I am drawn to psychologically ambiguous objects and spaces that are empty but charged and marked by the passage of people and time. I work with large format film, cameraless photography, and other creative techniques to seize the heart of my subjects, to capture their presence and aura. I'm interested in psychology, memory, and the body. My subjects have an intimate, physical relationship to the body and have been handled and inhabited, they are inanimate but loaded, exposing the affecting remnants of past lives. Resonating Spaces depicts a series of singular locations which have been inhabited but are vacant in the photograph, allowing the viewer in. Confessionals I and II are included in this series. The camera becomes an instrument for resurrecting archaic and obsolete objects, turning them into something new, allowing us to observe them and re-evaluate their cultural, political and sentimental meaning. I want my stark and silent photographs to act as introspective spaces, mirrors for self-examination which trigger our deeper thoughts and feelings, fears and desires. My work deals with absence. When something is missing, we unwittingly fill in the gaps, occupying the space with our own lived experience and imagination, drawing from memories and emotions which may be hidden or suppressed. The space becomes a reflection of ourselves, a chance to examine our own mind, identity, and feelings. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Alexandra Diez de Rivera Confessional II (Closed), 2023 Giclée Hahnemühle photo rag Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Diez de Rivera is a Spanish-Argentine visual artist based in London working with photography. Her work is characterised by images of psychologically ambiguous objects and spaces that are empty but charged and marked by the passage of people and time. She is interested in psychology, memory, trace and the body. Diez de Rivera's work has been featured in publications such as Vanity Fair, FT Magazine, Vogue, and Le Point and exhibited in galleries both nationally and internationally. She is represented in collections in Europe, China, the US and UAE. Diez de Rivera's work was selected for the 2022-2023 edition of 'Small is Beautiful' at Flowers Gallery, RWA Bristol's 'Photo Open 2023' exhibition, 'London Grads Now 21' at the Saatchi Gallery and 'After the High Tide' at Cromwell Place in London, amongst other exhibitions. Diez de Rivera holds a Postgraduate Diploma in Communications from Central Saint Martins University of the Arts London and a Master's degree in Photography from the Royal College of Art. Education 2018 - 2021 Royal College of Art, London. MA Fine Art Photography 2003 - 2005 Central Saint Martins University of the Arts London. Post Graduate degree Communication and Graphic Design Select Exhibitions/Awards SELECTED EXHIBITIONS 2023 RWA Photo Open Exhibition 2023. Royal West of England Academy, Bristol 2022 Small is Beautiful. Flowers Gallery, London 2022 The Winter Gala for Save the Children exhibition, Guildhall London 2022 PHotoESPANA Discoveries Portfolio Exhibition, Madrid 2022 LONDON GRADS NOW 21. Saatchi Gallery, London 2022 Travers Smith CSR Art Programme Exhibition, Travers Smith HQ London 2021 December Exhibiton. NOUA Gallery, Bodo Norway 2021 Fair Art Fair Curated I. Unit 1 Gallery, London 2021 After the High Tide, RCA Degree Show. Cromwell Place, London 2021 Selected 2021 Art Graduates. Dyson Gallery, Royal College of Art, London 2021 Can We Dance Again? Royal Victoria Patriotic Building, London 2021 Final, Not Over. Unit 1 Gallery, London 2021 Always Present. Void Collective (online) 2020 A Pervading Absence. Windows 187, Greenwich Studios, London 2019 Offprint. Tate Modern, London 2019 Royal College of Art WIP Show. Dyson Building, RCA, London AWARDS 2023 Nominee in Fine Art Photography Awards (Open theme) 2021-2022 Selected for the Travers Smith CSR Art Programme 2021 Selected for The Pupil Sphere Showcase 2021 FAPA Awards - Nominee in Fine Art Photography 2020 Critical Mass Competition - Finalist 2020 Fine Art Photography Awards - Nominee in Conceptual Photography 2019 Fine Art Photography Awards - Nominee in Portrait Photography 2019 UAL Chinese Scholar Association - Winner 2019 Fine Art Photography Awards - Nominee in Portrait Photography Statement about AOAP Submitted Artwork 'A house that has been experienced is not an inert box. Inhabited space transcends geometrical space' Gaston Bachelard, The Poetics of Space My practice looks at the vacant space, the hollow shell, the skin of things. I am drawn to psychologically ambiguous objects and spaces that are empty but charged and marked by the passage of people and time. I work with large format film, cameraless photography, and other creative techniques to seize the heart of my subjects, to capture their presence and aura. I'm interested in psychology, memory, and the body. My subjects have an intimate, physical relationship to the body and have been handled and inhabited, they are inanimate but loaded, exposing the affecting remnants of past lives. Resonating Spaces depicts a series of singular locations which have been inhabited but are vacant in the photograph, allowing the viewer in. Confessionals I and II are included in this series. The camera becomes an instrument for resurrecting archaic and obsolete objects, turning them into something new, allowing us to observe them and re-evaluate their cultural, political and sentimental meaning. I want my stark and silent photographs to act as introspective spaces, mirrors for self-examination which trigger our deeper thoughts and feelings, fears and desires. My work deals with absence. When something is missing, we unwittingly fill in the gaps, occupying the space with our own lived experience and imagination, drawing from memories and emotions which may be hidden or suppressed. The space becomes a reflection of ourselves, a chance to examine our own mind, identity, and feelings. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
Alexandra Diez de Rivera Confessional I (Closed), 2023 Giclée Hahnemühle photo rag Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Diez de Rivera is a Spanish-Argentine visual artist based in London working with photography. Her work is characterised by images of psychologically ambiguous objects and spaces that are empty but charged and marked by the passage of people and time. She is interested in psychology, memory, trace and the body. Diez de Rivera's work has been featured in publications such as Vanity Fair, FT Magazine, Vogue, and Le Point and exhibited in galleries both nationally and internationally. She is represented in collections in Europe, China, the US and UAE. Diez de Rivera's work was selected for the 2022-2023 edition of 'Small is Beautiful' at Flowers Gallery, RWA Bristol's 'Photo Open 2023' exhibition, 'London Grads Now 21' at the Saatchi Gallery and 'After the High Tide' at Cromwell Place in London, amongst other exhibitions. Diez de Rivera holds a Postgraduate Diploma in Communications from Central Saint Martins University of the Arts London and a Master's degree in Photography from the Royal College of Art. Education 2018 - 2021 Royal College of Art, London. MA Fine Art Photography 2003 - 2005 Central Saint Martins University of the Arts London. Post Graduate degree Communication and Graphic Design Select Exhibitions/Awards SELECTED EXHIBITIONS 2023 RWA Photo Open Exhibition 2023. Royal West of England Academy, Bristol 2022 Small is Beautiful. Flowers Gallery, London 2022 The Winter Gala for Save the Children exhibition, Guildhall London 2022 PHotoESPANA Discoveries Portfolio Exhibition, Madrid 2022 LONDON GRADS NOW 21. Saatchi Gallery, London 2022 Travers Smith CSR Art Programme Exhibition, Travers Smith HQ London 2021 December Exhibiton. NOUA Gallery, Bodo Norway 2021 Fair Art Fair Curated I. Unit 1 Gallery, London 2021 After the High Tide, RCA Degree Show. Cromwell Place, London 2021 Selected 2021 Art Graduates. Dyson Gallery, Royal College of Art, London 2021 Can We Dance Again? Royal Victoria Patriotic Building, London 2021 Final, Not Over. Unit 1 Gallery, London 2021 Always Present. Void Collective (online) 2020 A Pervading Absence. Windows 187, Greenwich Studios, London 2019 Offprint. Tate Modern, London 2019 Royal College of Art WIP Show. Dyson Building, RCA, London AWARDS 2023 Nominee in Fine Art Photography Awards (Open theme) 2021-2022 Selected for the Travers Smith CSR Art Programme 2021 Selected for The Pupil Sphere Showcase 2021 FAPA Awards - Nominee in Fine Art Photography 2020 Critical Mass Competition - Finalist 2020 Fine Art Photography Awards - Nominee in Conceptual Photography 2019 Fine Art Photography Awards - Nominee in Portrait Photography 2019 UAL Chinese Scholar Association - Winner 2019 Fine Art Photography Awards - Nominee in Portrait Photography Statement about AOAP Submitted Artwork 'A house that has been experienced is not an inert box. Inhabited space transcends geometrical space' Gaston Bachelard, The Poetics of Space My practice looks at the vacant space, the hollow shell, the skin of things. I am drawn to psychologically ambiguous objects and spaces that are empty but charged and marked by the passage of people and time. I work with large format film, cameraless photography, and other creative techniques to seize the heart of my subjects, to capture their presence and aura. I'm interested in psychology, memory, and the body. My subjects have an intimate, physical relationship to the body and have been handled and inhabited, they are inanimate but loaded, exposing the affecting remnants of past lives. Resonating Spaces depicts a series of singular locations which have been inhabited but are vacant in the photograph, allowing the viewer in. Confessionals I and II are included in this series. The camera becomes an instrument for resurrecting archaic and obsolete objects, turning them into something new, allowing us to observe them and re-evaluate their cultural, political and sentimental meaning. I want my stark and silent photographs to act as introspective spaces, mirrors for self-examination which trigger our deeper thoughts and feelings, fears and desires. My work deals with absence. When something is missing, we unwittingly fill in the gaps, occupying the space with our own lived experience and imagination, drawing from memories and emotions which may be hidden or suppressed. The space becomes a reflection of ourselves, a chance to examine our own mind, identity, and feelings. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.
AFTER XIE ZHILIU (1910-1997), BUTTERFLIES AND LILIESChina, 20th century. Ink and watercolors on paper. Inscribed including the artist name Zhiliu jushi Xie Zhi and with red seals. Finely painted with butterflies fluttering above lilies, the flowers in full bloom, with petals of coral and foliage of evergreen, matted in silk. The subject of butterflies, an animal that undergoes a form of 'rebirth' from their chrysalis, is seen as an auspicious symbol of longevity. Lilies and butterflies together form a rebus, 'Xuān Die Tú', meaning 'May mother live up to a ripe old age', and are often a theme for mothers' birthday gifts. Framed in a vintage frame, behind glass.Condition: Very good condition with very minor ink stains and creasing.Provenance: US trade.Dimensions: 89 x 42 cm (image cut-out), 105.5 x 66 cm (frame)Xie Zhiliu (1910-1997) was a leading traditional painter, calligrapher, and art connoisseur of modern China. He was a noted member of the Shanghai School. Xie and his wife Chen Peiqiu are one of the most famous couples in Chinese art. Xie began learning to paint at the age of nine and received an education according to the Chinese artistic tradition, which is a combination of drawing directly from life and copying the paintings of old masters. At the age of 19, he began to emulate the style of Ming dynasty master Chen Hongshou. In the 1930s, Xie Zhiliu befriended the famous painter Zhang Daqian. In 1942 Xie went to Dunhuang with Zhang to study the art of the Mogao Caves. After returning he published several books including 'Records of Dunhuang Art' and 'Compilation of Dunhuang Cave Art'. In 1943, Xie was hired as an art professor by the National Central University (now Nanjing University), then exiled in Chongqing during the Second Sino-Japanese War. He held personal exhibitions in many Chinese cities including Chengdu, Chongqing, Kunming, Xi'an, and Shanghai. After the founding of the People's Republic of China in 1949, he worked on cultural relic preservation, and served as a consultant for the Shanghai Museum.
An S.J. Dupont gold plated and Chinese lacquer Gatsby Versailles cigarette lighter, with mask, coronet and trellis work decoration, signed and numbered 1965/2686, 63mm.***CONDITION REPORT***Minor nicks and surface scratches to the metal in general. Small graze to the metal on the top of the lighter. Lighter not producing a flame.S.T. Dupont, drawing inspiration from the splendours of the residence of King Louis XIV in Versailles, created this limited edition lighter, finished in white Chinese lacquer and decorated with golden arabesques and other royal symbols like a golden sun, the emblem of Louis XIV.Launched in 2006, and limited to only 2686 individually numbered pieces.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
TESSAI: A WOOD OKIMONO OF HOTEIBy Kano Tessai (1845-1925), signed Tessai with kakihanJapan, Nara, late 19th to early 20th centuryFinely carved as a seated Hotei leaning against his huge sack, his face resting against his left hand, with a serene expression marked by full lips forming a subtle smile, the narrowed eyes with incised pupils below thick brows, flanked by large pendulous earlobes, his voluminous robe with deeply carved folds opening to reveal his chest and large belly. The underside carved with the signature TESSAI with a kakihan.LENGTH 28 cmCondition: Very good condition with minor wear and few minuscule nicks.With a wood storage box (tomobako) inscribed Hotei zo and Taisho mizunoto-ushidoshi shoshu TESSAI [...] ('In the early autumn in mizunoto-ushi year of Taisho [corresponding to 1913] by Tessai') with a kakihan and seal TESSAI.Kano Tessai (1845-1925) came from a Gifu family and started his life as a Buddhist priest, though his father instructed him in the art of carving. He studied Chinese literature and drawing and was a professor at Tokyo art school in 1872. He was also on the examining committee for investigating the ancient art of Japan and subsequently went to Nara where he engaged in the reproductions of old objects of art.Auction comparison:Compare another okimono of Hotei by Kano Tessai at Bonhams, Fine Japanese Works of Art, 19 March 2013, New York, lot 3205 (sold for 3,125 USD).
A group of reference books relating to antique furniture, to include Thomas Sheraton The Cabinet Maker and Upholsterers Drawing Book, Chinnery (Victor) Oak Furniture The British Tradition, Edwards (Ralph) the Shorter Dictionary of English Furniture, further works relating to Regency furniture, 19thC European furniture, Gillow furniture designs, Chinese furniture, etc. (1 shelf)
Chinese & Japanese interest: Picture Story of Silkworm and Raw Silk, 8vo n.d. 10 hd. cold. Chinese drawing on silk, on a concertina action volume, wooden covers, Twenty-five Views of Mt. Fuji by Katsushika Hokusai, Miniature Edn., 25 cold. wd. blocks, in a concertina action, printed in Tokyo, cloth covers & in orig. cloth box; Amsden (Dora) Impressions of Ukiyo-Ye The School of the Japanese Colour-Print Artists, Sm. 8vo San Francisco & New York 1905. Illus. plts. orig. decor. cloth; & a small Album of Chinese postcards & stamps, cloth. As a coll., w.a.f. (4)
ANONYMOUS, KANO SCHOOLThe '100 Horses' Edo period (1615-1868), 18th/19th centuryTwo makimono (hand scrolls), ink, colours, gold paint, and gold leaf on paper decorated on the reverse with flecks of gold foil, the hyoshi (beginning of the outer wrapper) silk brocade, the mikaeshi (reverse of the hyoshi) gold paper; the first scroll depicting 57 horses, 52 with an affixed paper label giving the horse's name in kanji (Chinese characters) and both the hiragana and the katakana Japanese syllabaries; the second depicting 41 horses similarly labelled; the labels mostly consisting of a single—often very rarely used—kanji including the element uma (horse) and drawing the viewer's attention to prominent features of the patterns and colours of each animal's coat; the horses all with different markings depicted with lively brushstrokes against a constantly changing background of a stream and other features, with plants including on the first scroll cherry blossom, pines, tanpopo (dandelions), sumire (violets), bamboo, botan (peonies), tachiaoi (hollyhocks), nadeshiko (pinks), and willow; and on the second bamboo, kikyo (Chinese bellflower), kiku (chrysanthemum), susuki (pampas grass), nogiku (daisies), hagi (bush clover), and maples; with a wood storage box inscribed Hyakuba no zu nijiku (Two scrolls with pictures of the '100' horses). The first, overall: 900cm x 33.5cm (354in x 13¼in); image: 828cm x 31cm (326in x 12¼in); the second, overall, 891cm x 33.5cm (351in x 13¼in); image: 820cm x 31cm (323in. x 12¼in). (3).Footnotes:Similar Example:Baji Bunka Zaidan (Japanese Equine Foundation), Edo Kano-ha to uma: Uma no Hakubutsukan shuki tokubetsuten (Special Autumn Exhibition at the Equine Museum of Japan: Horses Painted by the Edo Kano School), exhibition catalogue, Yokohama, 2022, cat. no.23, a makimono of 48 different horses bearing the signature and seal of Kano Yasunobu (1613-1685). According to the catalogue entry another example by Kano Naonobu (1607-1650) is known from a later copy to have dated from 1647, with an introduction by the leading Confucian scholar Hayashi Razan and a colophon by his associate Hayashi Gaho; other copies, and copies of copies, are extant. The present lot differs from these other examples not only in the large number of horses depicted but also in the richness and variety of the backgrounds as well as the detailed and lively depiction of the animals.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
A RARE AND IMPORTANT IMPERIAL COURT PAINTING OF THE BANNERMAN TE'ER DENG CHEQianlong, dated by inscription to the Wushen year, corresponding to 1788 and of the periodInk and colours on silk, depicting a bannerman facing directly the viewer with finely painted whiskers, donning a fur-lined hat surmounted by a coral bead and a peacock feather with a single-eyed plume (dan yan hua ling), dressed in a grey surcoat with foliate roundels, green colour and tunic, wearing a pair of black silk boots with white soles, his right hand drawing his sword, his left hand holding the shagreen scabbard, eulogised with several lines of text above, the right side with Chinese in kaishu calligraphy and in Manchu on the left, with one seal of the Qianlong emperor between, reading Qianlong Yulan Zhibao, mounted on board. The painting, 186cm high x 96cm wide (73in high x 37 3/4in wide).Footnotes:清乾隆戊申年 1788 特爾登徹像 設色絹本Provenance: an English private collection; according to the owner, the painting was gifted to the owner's late husband circa 1970s.來源：英國私人收藏；據現藏家稱，該畫於二十世紀七十年代由友人贈予其現已過世的丈夫The inscription in Manchu reads:meiren i janggin i jergi uheri da bihe xukdan baturu teldence daci solon i dorgi gabtara manggangge da tolome goirakvngge akv, dabkime morin noilhumbume faida be birehe de dardai andande efulerakvungge akv, ehe hvlha be sihame fargara de etuhun hvsun i fafurxame funturxehe de dasame arbun nirubufi, erei faxxaha be saixame iletulehe abkai fehiyehe xufayan bonio aniya juwari ujui biyade han i arahanggeThe inscription in Chinese reads:原副都統銜總管舒克丹巴圖魯特爾登徹索倫勁手箭無虛發躍馬突陣縱横倏忽視力窮追猛氣咆勃再炳丹青用旌偉伐乾隆戊申孟夏御題Which may be translated as:Former Lieutenant-general, Commandant [and] Xukdan Baturu [Manchu term for national hero], TeldenceOriginally from the Solon [people], he is an expert at archery and who does not miss [literally: counting his hits, he has no misses]. When whipping his horse, making it gallop, and rushing to attack the formation, there is nothing he does not destroy. When hot on the pursuit of the evil bandits, he vigorously rooted them out. Having [ordered] to paint [his] image, through this moreover, I commend him and make obvious his effort.Written by the Emperor Qianlong in the early Summer of the Wushen year (1788) Bannermen were the Qing dynasty's military elite administered into divisions known as the Eight Banners. Apart from being soldiers, the banner system was also the basic organisational framework of all Manchu society and included various groups including Manchus, Mongols and Han Chinese. The Solon people, mentioned in the present inscription, are a subgroup of the Evenki people of north-eastern Asia. The Solon were ordered by the Qianlong Emperor to stop using rifles and instead practice traditional archery, issuing an edict for silver taels to be issued for guns to be turned over to the government. It is not surprising therefore, that the Emperor praises Teldence's archery skills in particular. The eulogy of the present lot describes the bannerman Teldence (Chinese name Te'er Dengche), as a heroic and brave warrior and praises his relentless pursuit of the rebels. This portrait, and those of other officers in this series of Bannerman paintings, was commissioned by the Qianlong Emperor as part of two series of portraits after the triumphant campaign in Taiwan against Ming-loyalist rebels in the years 1787 to 1788. Teldence's rank and excellence in the battlefield is unmistakable in the single-eyed peacock feather that hangs prominently from the back of his black fur-trimmed winter hat, an Imperial gift bestowed only to officers who had distinguished themselves in a military campaign.In 1786 a rebellion arose out of central Taiwan in the village of Daliyi, led by the Ming loyalist Lin Shuangwen. The brutality of the Qing army against the local populace sparked an uprising on 16th January 1787, and Lin organised an army that quickly seized Taichung, Hsinchu and Chunghwa, which was established as their capital. He assumed the title 'King of the Ming' and extended his territory to Fengshan, but was unable to gain control of the capital city, Tainan. The rebels were able to defend their holdings despite Qing reinforcements from the mainland until Lin Cou, one of Lin Shuangwen's generals, defected to the Qing. On 10th February 1788, after ruling central Taiwan for over a year, Ling Shuangwen was captured and later executed, marking the end of the campaign.This portrait, painting number 5 in the second set of portraits, was produced in 1788. The yuan 原 ('former') character in the inscription implies that Teldence had died by the time the portrait was painted, either during the campaign or after. Such Imperial bannerman paintings were housed in the Ziguange (Hall of Purple Splendour), a hall of fame for Immortal heroes, located in the West Garden of the Imperial Palace Precincts in Beijing. During the Qianlong Emperor's reign in total 280 compositions of bannermen portrait paintings were made which were hung in the Ziguang Pavilion. Following Qianlong's example, later emperors continued adding new portraits to the collection in the Ziguang Pavilion. During the reign of the Qianlong emperor the building was also used to display battle wall charts and seized weapons and was also known as the 'Hall of Barbarian Tributes'. The Qianlong emperor often held banquets and received foreigners there; to impress on foreign guests the Qing empire's formidable military power. See C.Ho and B.Bronson, Splendors of China's Forbidden City: the Glorious Reign of Emperor Qianlong, Chicago, 2004, p.118.The present lot embodies the Imperial academy workshop style of the eighteenth century, which combined traditional Chinese portrait painting with Western painting techniques introduced by Jesuit missionary artists at Court such as Giuseppe Castiglione (1688-1766), Ignace Sichelbart (1708-1780) and Jean-Denis Attiret (1702-1768).
ZENG XIAOJUN (b.1954)Ancient Wood from Horyu Temple in Nara, Japan No. 2, 2004Ink on xuan paper, framed. 182cm long x 126cm wide (71 3/4in long × 49 1/2in wide). Footnotes:曾小俊（1954年生）奈良法隆寺古木，日本No.2 水墨紙本 鏡框 2004年作 Published, Illustrated and Exhibited: Chinese Ink Painting Now, New York, 2010, p.62.Michael Goedhuis, The Ink Art of China, London, 2019, pp.10-11.展覽著錄：《當代中國水墨畫》，紐約，2010年，第62頁Michael Goedhuis著，《水墨中国》，伦敦，2019年，第10-11頁Zeng Xiaojun was born in Beijing in 1954. He graduated from the Central Academy of Fine Arts, Beijing, in 1981, specialising in mural painting. He moved to the United States in 1983 and lived for the next fourteen years in Boston, where he exhibited and taught until 1997. Drawing inspiration from the literati landscape painting tradition, especially works by Shen Zhou (1427–1509) and Wen Zhengming (1470–1559) of the Ming dynasty, Zeng extracts rocks and trees from the context of landscape and depicts them as isolated objects. Zeng Xiaojun collects antique furniture, scholar's rocks and grotesque roots which the Chinese literati have long held the tradition of depicting.Employing a delicate balance between dry and wet, lines and dots, his meticulously executed paintings remind us of the Chinese scholars' fascination with these subjects as embodiments of their own spiritual perseverance in times of difficulty and turbulence. Together with the work of Liu Dan, Zeng Xiaojun's ink paintings are a powerful example of how the high culture of traditional China can be reinvigorated for contemporary society.See a related painting by Zeng Xiaojun, 'Wild Spirit Screen No.2', 2013, which was sold at Christie's Hong Kong, 28 May 2018, lot 858.This lot is subject to the following lot symbols: W TPW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
SET OF FOUR CHINESE EXPORT 'EXOTIC BIRDS' WALLPAPER PANELS QING DYNASTY, 18TH-19TH CENTURY 清 外銷壁紙花鳥圖 紙本設色 鏡框 （共四幅） gouache on paper, painted on pink ground with flowering plants and trees including prunus, peonies, chrysanthemums with rockwork, inhabited by pheasants, herons, quail and butterflies, with bamboo frames Dimensions:167cm x 50.8cm eachProvenance:Provenance: Private Scottish collection, Broxmouth House, Dunbar, East Lothian, formerly in the drawing room; home of the Late Major-General Sir John Kennedy (1893-1970), G.C.M.G., K.C.V.O., K.B.E., C.B., M.C. He was a senior British Army officer who served as Assistant Chief of the Imperial General Staff during World War II.Broxmouth House was built ca. 1774 and was purchased and renovated by Major General Sir John Kennedy in 1966. Note: Note: Many forms of Chinese export art played an important role in European interior decoration during the late 17th and 18th century, of which black and gold lacquer furniture, silk embroidery, and porcelain wares are most common. Chinese wallpapers appeared in Europe at about the same time as part of the larger trade. Imported by the East India and Dutch East India companies, these hand-painted papers arrived in Europe in the form of rolled sheets and marked an astonishing change of taste in grand houses that endured throughout the 18th century into the 19th century and then again periodically in the late 19th and early 20th century centuries.Most of the great houses of Europe had at least one room decorated with Chinese papers, they were often hung to form continuous murals decoration around the room and featured exotic subject matters, which are the scenes of Chinese life and landscapes, flowering trees populated with birds, butterflies and insects, and a hybrid decoration of the flowering trees incorporating with figures and sometimes pagodas and temples.The National Trust looks after one of the most important collections of historic Chinese wallpapers in the world, on permanent display at 18 country houses. For discussion and comparison of the wallpapers in British country houses, see de Bruijn, E., Bush, A. and Clifford H., Chinese Wallpaper in National Trust Houses, Swindon, National Trust, 2014, and de Bruijn, Emile, Chinese Wallpaper in Britain and Ireland, London, Philip Wilson in collaboration with the National Trust, 2017. Also compare to a suite of twenty-four export Chinese wallpaper panels depicting birds and flowers, dated to the Qing dynasty, ca. 1790-1810, sold at Sotheby's London, 11 December 2019, lot 23. A set of nine Chinese painted wallpaper panels, probably 19th century, was sold at Christie's London, 2 Oct 2013, lot 28.
CHINESE SCHOOL (18TH/19TH CENTURY)Various SubjectsComprising: a gouache of four figures, one holding a candle; three pith paper paintings of animals in rocky landscapes; a study of a junk and a seated gentleman; a drawing of a luohan; a study of butterflies and peonies; a gouache of a lady and gentleman seated at a table at leisure; and a gouache of an elegant lady holding a pipe, all framed and glazed.The largest: 35cm (13 3/4in) high x 46cm (18 1/8in) wide (10).Footnotes:The Property of a Lady and GentlemanFor further information on this lot please visit Bonhams.com
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