We found 17386 price guide item(s) matching your search
There are 17386 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
17386 item(s)/page
Lot 484A
A Chinese hardwood tripod occasional table, mid to late 19th Century, serpentine-edged circular top, fretwork frieze, dragon carved support, circular plinth, scroll feet, the top and base inlaid with bone/ivory to form dragons, beasts, sealife, scrollwork, and pagoda river landscapes with figures, 72cm high, 56cm diameter. Exemption Certificate No.98S8R65T
Lot 5
A large porcelain Chinese Imari dish with the inscription 'PAMEN', China, Kangxi, ca. 1715. With the coat of arms probably of 'van Overveldt' under a scroll with the inscription PAMEN, surrounded by three large gilded Buddhist lions against a background of peony stems, a deep blue edge with further gilded and iron-red peony scroll with a diameter of 51.5 cm (prov. see comparable copy Christie's auction https://www.christies.com/en/lot/lot-6124701. / Probably ordered by the Van family Overveldt from The Hague. See Dr. J. Kroes, Chinese weapon porcelain for the Dutch market, p. 115, where he notes: "Given the exceptionally large size and rich decoration of the chargers, the actual commissioner must have been very wealthy." meaning of 'PAMEN' is unknown).
Lot 80
A Chinese scroll painting on silk, probably late Qing Dynasty, depicting seven maidens, four on a veranda overlooking a lake where two others ride in a rustic boat86 x 39.5cmSllight marks, discolouration and small spillages. Top left corner with creases causing the silk to split. The top right corner with small closed tear. See additional images
Lot 58
A Chinese carved hardwood fire screen, Qing Dynasty, mid 19th century, the silk embroidered panel finely woven with pheasants, starlings and fowl within a scroll pierced 'frame', raised on fo dog sled feet83 x 66 x 24cmSilk in a poor state - a/f. half of one rear scrolling leg support is missing. One dog with slight split
Lot 78
Fang Zhaoling (1914-2006) The Heart Sutra Calligraphy scroll mounted for framing, signed with seal mark and dated 1960 ink on paper 33.5 x 124.5cm Provenance: Given by the artist to her son, J.M.S Fang, and by him to his tutor in the Faculty of Oriental Studies at Cambridge in about 1971 The Heart Sutra is a popular sutra in Mahāyāna Buddhism.Fang Zhaoling was born in 1914 in Wuxi, Jiangsu Province, China, to an affluent family who placed her among the minority of the 1910s well-educated women. During her studies, while living in Shanghai, she excelled in traditional Chinese paintings under the supervision of Qian Songyan and Chen Jiucun. After many troubled years during the war in 1937, she left China for the United Kingdom to study European Modern History at the University of Manchester, becoming the first female Chinese student at the university. After graduating, along with her husband and children, she moved to Hong Kong in 1948. Whilst in Hong Kong she learned under Lu Xinnong and Zhao Shao’ang. In 1953, she later became a student of Zhang Daqian developing her artistic practices by exploring Daqian’s expressionist styles. Zhaoling paved the unprecedented way for Chinese female artists with her highly expressive work developed in an artistic language embedded in tradition. Some staining and discolouration evident to the mount. The calligraphy panel with some very minor scattered foxing, and some grubby handling marks which are mostly isolated to the peripheries. Appears to be stuck down to mount with some creasing visible to the right hand edge. See additional images.
Lot 884
An Edwardian Chinese Chippendale manner mahogany ladies writing bureau desk. The desk having fall front door to top with panelled central details opening to reveal fully appointed interior over two drawers below and dual cupboard. Each with brass metal scroll handles. All raised over curved and shaped scrolled legs. Measures approx 102cm x 76cm x 62cm.
Lot 1679
20th century A.D. or earlier. Of lei form with narrow mouth, band to the equator with loop handles, lid with openwork disc handle; applied bowenite plaques to the median band, each with running-scroll detailing; kuilong inlaid ornament to the shoulder and body, flared base. See Song, L., Chinese Bronze Ware, Cambridge, 2011, for discussion. 4.35 kg, 29 cm high (11 1/2 in.).Ex Paris collection. French gallery, Paris, 1990-2000s.
Lot 91
TWO ITEMS OF ANTIQUE & VINTAGE OCCASIONAL FURNITURE, comprising a 19th Century mahogany swing toilet mirror with scroll and fan detailed mirror supports, on a shaped base, with single drawer, on turned bun feet, 82cms H, 66cms W, 29cms D, and a later carved Chinese hardwood standard lamp on a stepped circular base, 165cms H (incl. fitting)Provenance: private collection Ruthin
Lot 141
A Chinese famille rose ink rest,in the shape of a scroll, painted with a landscape in a rectangular panel, surrounded by prunus and pine in gilt against a coral ground, a four-character Qianlong mark to base,8.2cm longCondition ReportSome slight rubbing to the decoration. Please see additional condition images.
Lot 55
A group of Chinese and Asian collectables, comprising a scroll painting, 62 by 23cm, a Chinese carved wooden figure of a man, 17cm high, a pair of turquoise and purple glazed dogs of fo, 5cm high, six white metal figures, 11.5cm high, an Indian carved wooden box, and three Italian glass miniature penguin figures. (14)
Lot 223
KOMAI YOSHINOBU: THE COURTESAN MATSUKAZE OF OGIYA IN EDO-MACHI ITCHOMEBy Komai Yoshinobu (active 1765-1771), signed Komai Yoshinobu gaJapan, 18th centuryColor woodblock print on paper. Signed Komai Yoshinobu ga and stamped with Hayashi Collection seal in the lower left-hand corner.Two finely robed courtesans sitting on the floor of a furnished room next to a small brazier before a hanging scroll depicting bamboo stalks. The upper register inscribed, and two further inscriptions appear on the upper and lower right-hand side.SIZE of the sheet 25.5 x 19.2 cmCondition: Good impression with fading to colors, minor creasing. Tears and material loss restored, firmly mounted at the upper margin inside a paper mat. Provenance: Ex-collection of Hayashi Tadamasa (1853-1906). Collection of Adolphe Stoclet, acquired from the above, and thence by descent in the Stoclet family. The passepartout is inscribed in French, 'Yoshinobu Komai, seal of the Hayashi Collection, bought from Murakami 10-3-(19)09.' Adolphe Stoclet (1871-1949) was a Belgian engineer, financier, and noted collector. He was born into a family of Belgian bankers and became a director of the Societe Generale de Belgique after his father's death. He married Suzanne Stevens (1874-1960), the daughter of the art critic, historian, collector, and dealer Arthur Stevens (1825-1909) and niece of the painter Alfred Stevens (1823-1906). The Stoclets were connected with avant-garde art circles in Paris and Vienna, where they met Josef Hoffmann (1870-1956), who designed the Stoclet's famous Palais in Brussels. Gustav Klimt (1862-1916) painted the murals in its dining room. The Palais Stoclet, today a UNESCO World Heritage site, was the lavish setting to one of the most important eclectic art collections of all times, which included Egyptian and Chinese sculpture, medieval Italian painting and metalwork, enamels and relics, as well as Byzantine and Pre-Columbian art.Hayashi Tadamasa was a Japanese art dealer in Paris who introduced traditional Japanese art such as ukiyo-e to Europe. Hayashi provided the text for the May 1886 edition of Paris Illustre. Vincent van Gogh traced the figure on the title page for his painting The Courtesan. In 1900 he was a general commissioner of the Japanese art section at the World 's Fair in Paris. He also worked with Dr. George Frederick Kunz and Heber R. Bishop in writing and producing the catalog to the famous jade collection given to the Metropolitan Museum of Art in 1902.Museum comparison:Compare an identical print by Komai Yoshinobu, in the Chicago Institute of Art, accession number 1928.979.
Lot 6
A RARE BLACK AND GOLD LACQUERED BOX AND COVER WITH TAKARAMONOJapan, late 16th-17th century, Momoyama (1573-1615) to early Edo period (1615-1868)Of square form with rounded corners, the lustrous black ground finely decorated in gold hiramaki-e and e-nashiji, the top of the cover with a central design of nyoi (reishi), surrounded by stylized flowerheads and clouds as well as treasures including tama jewels, a mallet, a fan, a tassel, and scroll-form tables, all above crashing waves and a band of stylized clouds encircling the base. The interior and base with rich nashiji, the interior further with gold fundame edges. SIZE 3.8 x 6.5 x 6.5 cmCondition: Good condition with expected surface wear, minor rubbing, the interior with few minuscule chips and tiny flakes to edges, the base with few small nicks, light scratches, and remnants of adhesive.Provenance: Spink & Son, London, United Kingdom, 1 April 1968. Collection of Robert and Isabelle de Strycker, acquired from the above. Old label to base. 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').Auction comparison:Compare a related lacquer kogo with a similar design, dated to the Momoyama period, at Christie's, Japanese Art & Design, 16 June 1999, London, lot 163 (sold for GBP 2,185).
Lot 6039
18th century Chinese Export porcelain blue and white charger, centrally decorated with pagoda beneath a rocky outcrop on the shore of a lake within a scroll border and floral sprays around the rim D42.5cm, together with three further 18th century Chinese blue and white plates, one painted with a similar pagoda scene, the second painted with chrysanthemum and floral sprigs and a the last with a pine tree within geometric borders (4)
Lot 227
A CONTEMPORARY CHINESE CALLIGRAPHIC SCROLL IN BOX. Centred by a large character above a verse in black ink, with a red seal, the inscription relating to peace and withholding anger, ink on paper, 178cm x 73cm overall In good order, minor wear at edges, some fold marks and minor creasing. Box with some wear and tearing.
Lot 33
A CHINESE BLUE AND WHITE PORCELAIN, LATE QING DYNASTY. Of pear shape decorated with dragons chasing flaming pearls in cartouches on a chrysanthemum scroll ground. Six character mark of Kangxi to base. 23cm tall. With a carved and pierced wood display stand.Provenance: Property of Terence E B Harnden who served as Senior Naval Stores Officer in Hong Kong between 1937 - 1940. Acquired in Hong Kong before returning to England, thence by descent. Good overall condition with no signs of damage or repair.
Lot 229
CHINESE RONG BAO ZHAI PRINTS OF XU BEI HONG AND ONE OTHER, 20TH CENTURY. To include a larger image of three geese and the other of a running horse. Paper mounted on scroll. Artwork sizes 81cm x 45cm and 60.5cm x 20cm. (2) Scroll mount becoming loose to geese painting which can be re glued. Some surface wear to note.
Lot 232
A CHINESE LACQUERED AND GILT WOOD PANEL, 19TH CENTURY. Rectangular panel carved in relief with scene of figures in a courtyard with floral sprays. The border further decorated with figures and flowers. 43cm x 14cm. Small loss to bottom right scroll work. Wear to gilt and lacquer in places. Wear to decoration around border which has almost disappeared.
Lot 101
A 19TH CENTURY CHINESE EXPORT BLACK AND GILT LACQUER TEA CADDY. Of shaped rectangular form decorated in gilding with figures at discussion before pavilions, within scroll cartouches, the interior fitted with two foliate engraved pewter tea caddies, 19.5cm wide The lock is loose, one screw missing to one hinge, pewter caddies are misshapen, lacking feet, some wear and rubbing to lacquer and gilding, small chips to edges.
Lot 120
A CHINESE DOUCAI DECORATED PORCELAIN TIANQIUPING VASE, 20TH CENTURY. Globular body with cylindrical neck decorated in underglaze blue and polychrome enamels featuring dragons on chrysanthemum scroll ground between band of waves and ruyi lappets. Apocryphal six character seal mark of Qianlong to base. 31cm tall. 5mm chip to rim leading into an almost U shaped hairline at the neck. No other signs of damage or repair.
Lot 247
A CHINESE MOTHER-OF-PEARL INLAID AND MARBLE-INSET HARDWOOD ARMCHAIR, 19TH CENTURY. With shaped top rail inlaid with floral mother-of-pearl decoration above a pierced back and circular panel inset with Dali marble. The seat-rail with pierced square section on a wide rectangular seat with legs joined by stretchers and terminating in stylised scroll feet. 99cm tall x 62cm seat width x 48cm deep. Weight 21KG. Visually good condition with no major signs of loss or damage. One metal pin inserted to inside of left arm rest. U-shaped spilt to front left leg.
Lot 123
A PAIR OF CHINESE YELLOW GROUND FAMILLE ROSE PORCELAIN VASES, 19/20TH CENTURY. Of baluster form decorated with figures in cartouches on a floral scroll ground. Applied chilong to shoulders with lion dog handles. 42.5cm tall. (2) Both vases in good condition with no signs of damage or repair. Minor areas of enamel loss in places.
Lot 204
A LARGE ROLL OF JAPANESE MACHINE WOVEN IVORY COLOURED SILK AND A 20TH CENTURY CHINESE SCROLL WATERCOLOUR PAINTING ON SILK. The silk decorated with pavilions, mountains and clouds in silver, gold, yellow and grey threads, the scroll in the Yongcheng style, after Jiang Tingxi, depicting a bird perched on a branch before chrysanthemum, with two red seals and calligraphic inscription, 108cm x 38cm exc. mount Minor wear, but overall in good order.
Lot 2748
AN EDWARDIAN CHINESE HARDSTONE RING in a delicate 18ct white gold scroll basket mount with four eight cut diamonds set to each shoulder, the hardstone is approx 14mm x 10.5mm x 2.4mm. Finger size M1/2, weight 2.5gms Condition Report:light general wear, hardstone;- nice colour good polish, no scratches. Mount all good.
Lot 46
WANG XUETAO (1903-1982): 'ROOSTER'China, 20th century. Ink, watercolor, and gouache on paper. Mounted as a hanging scroll, on a silk brocade coated paper frame with wooden handles. Finely painted in bright colors, the rooster, standing on one leg, eyes filled with enthusiastic longing as two insects jump playfully from a blossom.Inscriptions: To the left margin artist's signature ‘Xuetao’ and seal ‘Wang Xuetao yin’.Provenance: Belgian trade.Condition: Very good condition with minor wear and light foxing. The silk brocade mounting shows wear, soiling, foxing, some creasing, fraying to the back, and water stains. Dimensions: Image size 64 x 43.2 cm, Size incl. frame 195.5 x 57 cmWang Xuetao (1903-1982) was a Chinese painter from Hebei province, who attended the Baoding Zhili Teachers College and the Peking College of Arts. Later he studied under Wang Mengbai, Qi Baishi, and Chen Banding.Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 30 November 2021, lot 1206 Price: HKD 475,000 or approx. EUR 58,500 converted and adjusted for inflation at the time of writing Description: Wang Xuetao (1903-1984): Rooster Expert remark: Compare the closely related motif with the rooster similarly posed, eyeing an insect. Note the larger size (106 x 52.6 cm).
Lot 61
QI GONG (1912-2005): 'BAMBOO AND BUTTERFLIES'China. Ink and watercolors on paper. With a silk brocade frame, mounted as a hanging scroll. Finely painted in varying shades of green with leafy stalks of bamboo and two red butterflies playfully flying below.Inscriptions: Upper right, signed ‘Jianjingweng Qi Gong’ and inscribed with a poem. One seal of the artist.The poem inscribed on this painting can be translated as follows:The green bamboo shoots from the earth and supports the sky,One cannot take them in the hand as a fishing rod, The leaves and the branches are so long and get tangled,It is so difficult to remove the superfluous leaves and branches. Provenance: West Berkshire, United Kingdom, local trade. By repute acquired from a private estate. Condition: Very good condition with only minor wear and little foxing.Dimensions: Image size 82 cm x 33 cmQi Gong (1912-2005), whose artist name was Jianjingweng, was a descendant of the Yongzheng Emperor through his son Hongzhou, formally known as Prince He. He grew up in extreme poverty but learned Chinese calligraphy in his childhood and studied various historical stone inscriptions of calligraphy. Qi Gong was versatile in all writing styles, especially the regular script (kaishu), the running hand (xingshu), and the cursive script (caoshu).Auction result comparison:Type: Closely relatedAuction: Bonhams San Francisco, 21 June 2011, lot 8396Price: USD 13,420 or approx. EUR 16,000 converted and adjusted for inflation at the time of writingDescription: Qi Gong (1912-2005), Green BambooExpert remark: Compare the closely related motif and fine details. Note the size (94 x 46 cm).
Lot 70
CHEN SHAOMEI (1909-1954): 'SCHOLARS IN LANDSCAPE'China, dated 1943. Ink, watercolors, and gouache on paper. Mounted as a hanging scroll, on a silk brocade coated paper frame with wooden handles. Depicting a house by the river with three scholars enjoying a cup of tea, all within a verdant landscape with pine trees framed by imposing rocks and mountains.Inscriptions: To the top-left, inscribed with a reference by the artist to the style of Guo Xi which he incorporated in this artwork. Dated ‘3rd month of the Guiwei year (corresponding to 1943)’. Signed ‘Shaomei Chen Yunzhang’, seal ‘Chen Yunzhang’.Provenance: British trade.Condition: Excellent condition with wear and very minor creasing. The brocade frame in very good condition with traces of age and minor foxing.Dimensions: Image size 117 x 63 cm, Size incl. mounting 212 x 76.5 cmChen Shaomei (1909-1954), also known as Chen Yunzhang, started studying under Jing Bei-Lo at the Chinese Brush Painting Research Association when he was just 15 years old. He is known as an excellent representative of the Northern School of Chinese Landscape Painting and is praised as the “First painter after Tang Yin.” He grew to fame at the young age of 20, developing new styles, methodologies, and genres which he built from studying the old masters of Chinese painting.Auction result comparison: Type: RelatedAuction: Sotheby’s Hong Kong, 7 April 2023, lot 3193Price: HKD 1,079,500 or approx. EUR 131,000 converted and adjusted for inflation at the time of writingDescription: Chen Shaomei (1909-1954), Scholar under Pine TreeExpert remark: Note the size (86.4 x 40.2 cm).
Lot 69
HUANG JUNBI (1898-1991): 'AUTUMN MOUNTAIN LANDSCAPE', DATED 1951China, 20th century. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Boldly painted with a scholar seated amid bamboo stalks near a bridge in a vast misty landscape with towering mountains, pines and other trees, two waterfalls, and small huts.Inscriptions: Upper left, signed ‘Huang Junbi’, titled ‘Landscape’, and dated ‘In the Summer of the Year of Xinmao’ (corresponding to 1951). Two seals of the artist, ‘Huang Junbi yin’ and ‘Jun Weng’.Provenance: The Oliver Impey Collection of Modern Paintings. Sotheby’s Hong Kong, 3 October 2011, lot 1836, sold for HKD 300,000 or approx. EUR 49,000 (converted and adjusted for inflation at the time of writing). A private collector, acquired from the above. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum's holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie’s in Hong Kong in the late 2000s.Condition: Very good condition with minor wear and little soiling.Dimensions: Image size 115 x 54 cm, Size incl. mounting 217 x 64 cmHuang Junbi (1898-1991) was an important Chinese master painter, who strongly believed in the inheritance of traditional brushwork while reforming it constantly to express one’s personal feelings. He moved to Taiwan together with Pu Ru and Zhang Daqian in 1949, the group thus became known as the ‘The Three Masters Crossing The Sea’. Huang studied both Chinese and Western painting in Guangzhou and Japan, eventually teaching at the National University in Chongqing (Guoli zhongyang daxue) during the Second Sino-Japanese war. After 1949, he became the head of the Fine Arts Department at the National Taiwan University.Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 16 December 2014, lot 8401 Price: USD 75,000 or approx. EUR 88,500 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Waterfall Landscape, dated 1943 Expert remark: Note the size (102.9 x 59.4 cm)Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 27 November 2012, lot 1339 Price: HKD 800,000 or approx. EUR 124,000 converted and adjusted for inflation at the time of writing Description: Huang Junbi (1898-1991), Mountainous Landscape, dated 1941 Expert remark: Note the size (96 x 40.6 cm)
Lot 78
A BUDDHIST KAKEMONO, 'MONJU BOSATSU RIDING A SHISHI'Japan, Edo period (1615-1868). Ink, watercolors, gouache, and gold paint on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame with copper repousse handles. The deity seated in royal ease on a Buddhist lion, the hands holding a ruyi-scepter, all in a verdant landscape framed by a halo.Inscriptions: Three seals, each with the same phrase ‘Tenjin Chigi’ 天神地祇 (Gods (Kami in Japanese) of Heaven and Earth’).Provenance: From an old Swiss private collection.Condition: Very good condition with minor traces of use, and some creasing. The brocade frame with expected traces of wear and age.Dimensions: Image size 58 x 27.2 cm, Size incl. mounting 125 x 40.6 cmTenjin chigi is a collective term for the kami of heaven (tenjin) and kami of earth (chigi). The expression was strongly influenced by Chinese thought; in China, ‘heavenly deities’ referred to the ‘Emperor Above in High Heaven’ (Haotian Shangdi); the sun, moon, and stars; ‘Master of the Middle’, (Sī-Zhōng) ‘Master of Destinies’ (Sī-Mìng) and deities of wind and rain, while ‘earthly deities’ included the gods of the soil and grain, the five sacred mountains, and the five annual sacrifices. In Japan, the expression tenjin chigi is used most often to refer to amatsukami and kunitsukami, but a certain discrimination is made in Kojiki and Nihongi based on Chinese thought, and chigi tends to be used only in those cases where ‘heavenly deities and earthly deities’ are mentioned together as a pair.
Lot 50
QI BAISHI (1864-1957): 'SHRIMP'China, dated 1944. Ink on paper. Mounted as a hanging scroll, with a silk brocade coated paper frame and wooden handles. Superbly painted in the artist’s characteristic simple lines and spontaneous style, full of vitality and vivacity, to depict a cluster of shrimps integrated to the whole scene despite each shrimp displaying distinctive features from the other.Inscriptions: To the right margin, ‘In March of the year Jiashen (corresponding to 1944), the old man Baishi painted it at the age of eighty-three.’ 甲申三月八十三岁白石老人画. Two seals. The reverse inscribed, ‘Qi Baishi – Shrimp‘.Provenance: Czech private collection. Previously sold at European Arts Investments Ltd., Prague, 20 November 2016, lot 90 for CZK 1,800,000 (approx. EUR 110,000 converted and adjusted for inflation at the time of writing).Condition: Very good condition with minor wear and little foxing. The mounting with usual traces of wear and age.Dimensions: Image size 88 x 30 cm, Size incl. frame 202 x 46.5 cmThere is a saying in modern China’s painting community that ‘Xu Beihong is famous for painting horses while Qi Baishi is renowned for painting shrimp.’ The shrimp painted by Qi Baishi are very lifelike, vivid and dynamic, fully demonstrating the essence of Chinese ink painting, presenting the elegance, grace, charm and vivacity. His painting of shrimp was an everlasting legacy in Chinese ink painting. Qi Baishi had raised shrimp for several decades, so as to observe them closely. This contributed to his breathtaking paintings of shrimp. Later, people said metaphorically that when Qi Baishi was painting shrimp, the blank rice paper immediately turned into a stream of clean water with shrimp in Qi’s mind.Qi Baishi's early mentor in Beijing, Chen Hengke (1876–1923), counseled him to abandon his technical training and strive for a new expressive freedom through a calligraphic approach to painting. The subsequent transformation of Qi's style is illustrated by this painting. Each crustacean—like a single Chinese character—is formed through the repetition of the same conventionalized pattern of marks. Released from the need to visualize each shrimp separately, Qi thus was free to explore the abstract expressive possibilities of structure, ink tone, and composition and to achieve the direct, childlike spontaneity and naturalness that are hallmarks of his work.Qi Baishi (1864-1957) is one of the world’s most important artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began his career as a carpenter, though he taught himself to paint using a manual from the Qin dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to insects, birds, figures, animals, vegetation, and landscapes, and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People’s Congress.Literature comparison:Compare a closely related ink on paper by Qi Baishi, titled ‘Cluster of Shrimp,’ in the collection of the National Palace Museum, Taipei. Compare a closely related ink on paper by Qi Baishi, titled ‘Shrimp,’ in the collection of the Metropolitan Museum of Art, New York City, accession number 1986.267.212. Compare a closely related ink on paper by Qi Baishi, titled ‘Shrimps,’ in the collection of the Princeton University Art Museum, object number y1954-126. Compare a closely related ink on paper by Qi Baishi, titled ‘Shrimps Playing Around,’ in the collection of the Hunan Museum, Changsha.Auction result comparison:Type: Closely relatedAuction: Christie’s Hong Kong, 27 May 2014, lot 1536Price: HKD 2,200,000 or approx. EUR 326,000 converted and adjusted for inflation at the time of writingDescription: Qi Baishi (1864-1957), Ink ShrimpExpert remark: Note the size (100 x 34.5 cm).Auction result comparison:Type: Closely relatedAuction: Sotheby’s Hong Kong, 9 October 2022, lot 190Price: HKD 3,024, 000 or approx. EUR 374,000 converted and adjusted for inflation at the time of writingDescription: Qi Baishi (1864-1957), Six ShrimpsExpert remark: Note the size (102 x 32.2 cm).
Lot 74
BUDDHAS, BODHISATTVAS, ARHATS, AND A VAJRAPANI'Published: Roderick Whitfield (editor), Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum, Surrey, 2011, pp. 18-20 and 111, no. 8.China, Ming dynasty (1368-1644). Ink, watercolors, gouache, and gold highlights on silk. Mounted as a hanging scroll with a paper frame. Finely painted with five buddhas above four bodhisattvas, nine luohan, and a fierce Vajrapani, all amid thick scrolling five-color clouds. Inscriptions: Upper left, titled ‘Buddhas of the Ten Directions, Eight Great Bodhisattvas, Luohans, and a Vajrapani’. Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. 130. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and a noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou’s years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou’s drive to collect was a burning desire to preserve the relics of China’s rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived the idea to create a place to house his collection, but in 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a ‘must see’ destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China’s glorious history.Condition: Good condition with wear, creases, small tears, and minor losses with associated old repairs. The paper frame in similar condition with losses, tears, creasing, and associated repairs. Presenting overall very well given its age and material. Dimensions: Image size 83.8 x 134 cm, Size incl. frame 94.3 x 184 cmThe grandest of the Buddhist mortuary rites is the Water-Land (shuilu) ritual. This esoteric ceremony is conducted for the salvation of “all souls of the dead on land and sea.” The ostentatious ritual was performed for imperial ancestors and high officials from the Song (960–1279) to the Ming dynasties and drew large crowds. On the second day of the weeklong ceremony, paintings are hung in the inner altar.Originally one of a pair, most likely flanking a central painting of the Buddha. It has been claimed that the total of twelve characters is a feature of a painting created at the imperial court. Almost certainly, the matching right-hand painting of the pair would have featured another inscription in gold, with details of the temple where it was dedicated and the date.At the top of the painting, against a background of auspicious 'five-colored' clouds, are five of the Buddhas of the Ten Directions. They are not individually identified, but display different mudras or hand gestures. From the left, these are: abhaya, dharmacakra, anjali, abhaya, and dhyani mudra.Immediately below them are four of the Eight Great Bodhisattvas, who are more easily identifiable by the attributes they hold. From the left, the first figure, holding a khakkhara or priest's staff, and with a Sanskrit seed character in his headdress, is Kshitigarbha; next to him, holding a ruyi or wish-fulfilling sceptre, is Sarvanivaranavishkambin; following him is Maitreya holding a fan on which is depicted the sun and moon and a two-story building representing the Tushita Paradise in which he resides; and finally Samantabhadra. Similarly, the group of nine luohan in this painting would have been completed by a parallel group in the facing painting. Although they are not all immediately identifiable, they have very distinctive characters, old and young, Chinese and foreign. The first figure in the second row, holding a fan with outline clouds, is Pindola, an old man with immensely long, white eyebrows.Museum comparison:Compare a pair of related Water-Land ritual paintings, dated 1454, in the Cleveland Art Museum, accession number 1973.70.
Lot 1
KAIHO YUSHO (1533-1615): 'KAKU SHIGI'Japan, 16th century. Ink on paper. Mounted as a hanging scroll, on a silk brocade coated paper frame, with ivory handles. Displaying the classical aesthetics of the Kano School, depicting Kaku Shigi dressed in voluminous robes with billowing sleeves holding a banana leaf.Inscriptions: Two seals, ‘Kaihō’ 海北 and ‘Yushō’ 友松. The tomobako storage box further inscribed in English and Japanese.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his first own gallery in Berlin. The entire family survived the Holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa.Condition: Shows few tears, material loss, and associated touch-ups, but still presenting well. The brocade frame with usual traces of wear and creasing.Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer.Dimensions: Image size 104 x 50 cm, Size incl. mounting 188 x 52.5 cmWith an inscribed tomobako storage box. (2)Kaihō Yushō (1533-1615) was a Japanese painter of the Azuchi–Momoyama period. He was born in Omi province to Kaiho Tsunachika, who was a vassal of Azai Nagamasa. At an early age he became a page at the Tofuku-ji in Kyoto and later a lay priest. He served there under the abbot and associated with the leading Zen priests of Kyoto. In his forties, Yusho turned to painting and became a pupil in the Kano School, either under the famous Kano Motonobu or his grandson Kano Eitoku. He then worked at Jurakudai, under the patronage of Toyotomi Hideyoshi and the Emperor Go-Yozei. At first, he patterned his work after Song painter Liang Kai, producing only monochrome ink paintings, using a ‘reduced brush stroke,’ relying more on ink washes than sharp hard strokes. Later, he worked with fashionable rich colors and gold leaf. Artistically on a level with Hasegawa Tohaku and Kano Eitoku, he gave his name Kaiho to the style of painting he and his followers practiced.Kaku Shigi or Guo Ziyi (697-781) was a Tang dynasty general, known for his military conquests and progeny. He rose to fame when he led the Chinese army on several central Asian campaigns and then crushed the An Lushan rebellion of 755-63. Guo's eight sons and seven daughters produced so many grandchildren that, reportedly, he could not remember all their names. He became a symbol of longevity, wealth, and fatherhood in China and was popular with Japanese merchants of the Edo period. Auction result comparison: Type: RelatedAuction: Christie’s, New York, Japanese & Korean Art, 15 September 2010, lot 526Price: USD 30,000 or approx. EUR 40,000 converted and adjusted for inflation at the time of writingDescription: Kaiho Yusho (1533-1615), Kaiho Yusho (1533-1615) Gibbon grasping at the reflected moon and Sofu (Ch'cao-fu) leading his oxAuction result comparison: Type: Closely relatedAuction: Bonhams, The Ethereal Brush, 10 November 2016, London, lot 13Estimate: GBP 20,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writingDescription: Attributed to Kaihō Yushō (1533-1615) and Karasuma Mitsuhiro (1579-1638) Kinkō Riding a CarpExpert remark: Note the very similar expression of Kinko sennin.
Lot 59
JU LIAN (1828-1904): WEALTH, AND EVERLASTING SPRINGChina, dated 1890. Ink, watercolor, and gouache on paper. Mounted as a hanging scroll, on paper with fabric coated endpieces. Masterfully painted with a large peony blossom and bud sprouting behind hallowed rockwork with a triad of bees flying to pollinate the central blossom.Inscriptions: The upper left-hand corner is signed by the artist, inscribed with the title ‘Wealth and everlasting spring’, the dating ‘autumn of the geng yin year’ (corresponding to 1890), and a dedication note. The lower right-hand corner is sealed with an old collector’s seal.Provenance: From an old private collection in Northern Germany, in the family collection since 1929.Condition: Shows wear, light creasing, minuscule foxing, stains, and some tears and material loss with associated touch-ups, overall displaying well. The mounting has some foxing, creasing, and small tears. Dimensions: Image size 82 x 33 cm, Size incl. mounting 210.5 x 46.5 cmJu Lian (1828-1904) was a Chinese painter from Panyu, modern day Guangzhou, who painted during the late Qing dynasty. His courtesy name was 'Ancient Spring,’ and his pseudonym was 'Old Man of the Divided Mountain.’ He was the younger brother of the painter Ju Chao and was known for his plant-and-insect and bird-and-flower paintings.Auction result comparison: Type: Related Auction: Christie’s Hong Kong, 26 November 2012, lot 979 Price: HKD 437,500 or approx. EUR 52,000 converted and adjusted for inflation at the time of writing Description: Ju Lian (1828-1904): Peonies and butterflies Expert remark: Compare the related motif albeit with butterflies. Note the smaller size (61.5 x 39.5 cm).
Lot 19
CAT AND BUTTERFLIES'China, 17th century. Ink, watercolor, and gouache on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame with ivory handles. The charming painting depicting a crouching cat looking at a pair of butterflies, its tail appearing to dance in sync with the fluttering butterflies, beside a large blooming peony sprig. Provenance: French trade. Condition: Good condition with minor wear, some creasing and fading, tiny losses. The mounting in very good condition with usual traces of wear. Important notice: Please note that we will need to remove the ivory roller ends before shipping / handing over the item. The roller ends are not part of this offer. Dimensions: Image size 32.5 x 39.5 cm, Size incl. frame 114 x 52.3 cm Cats and butterflies are symbols of longevity. The word for cat in Chinese (mao) is a homophone for the word for octogenarian, and the word for butterfly (die) sounds the same as that for a septuagenarian. Thus, the combination of the cat and butterflies here conveys the wish that the recipient might live a long life of seventy or eighty years. Literature comparison: Compare a related silk painting of a cat, rock, and peonies in the Freer Gallery of Art, Smithsonian Institution, accession number F1909.245r.
Lot 48
XU BEIHONG (1895-1953): 'GALLOPING HORSE'China, dated 1942. Ink and watercolor on paper. Mounted as a hanging scroll, on a silk brocade coated paper frame with wooden handles. Finely painted, the dark horse stretching out in full stride through a grassy field.Inscriptions: To the right-edge, inscribed ‘On a winter day in the Year of Renwo,’ (corresponding to 1942) and signed ‘Beihong’. One artist’s seal ‘Donghai Wangsun’. The reverse with two collector’s seals.Provenance: Austrian private collection. Previously sold at Bonhams Hong Kong, 9 October 2019, lot 121, from the personal collection of Li Yanshan, for HKD 281,875 or approx. EUR 36,500 converted and adjusted for inflation at the time of writing. The collector’s seal ‘Yanshan suocang shuhuayin’ applied to scroll border. Li Yanshan (1898-1961) was a renowned Chinese painter, calligraphist, poet, art educator and Chinese art connoisseur. He was hailed as a master of Guohua landscape painting.Condition: Excellent condition with only minor wear. The mounting with usual traces of wear and age.Dimensions: Image size 67 x 55 cm, Size incl. frame 200 x 64 cmXu Beihong (1895-1953) is primarily known for his ink paintings of horses. He was one of the first Chinese artists to articulate the need for artistic expressions that reflected a modern China at the beginning of the 20th century. He is regarded as one of the four most important pioneers of Chinese modern art. Auction result comparison: Type: Related Auction: Bonhams Hong Kong, 27 November 2017, lot 188 Price: HKD 2,250,000 or approx. EUR 302,000 converted and adjusted for inflation at the time of writing Description: Xu Beihong (1895-1953), Standing Horse Expert remark: Compare the identical signature and seal. Note the smaller size (56 x 38 cm).
Lot 40
GAO JIANFU (1879-1951): 'MAJESTIC EAGLE ON CLIFF'China, dated 1917. Ink, watercolors, and gouache on silk. Mounted as a hanging scroll, on a silk brocade coated paper frame. Finely painted with an eagle perched on a cliff, its talons clasped sharply around the outpost, keeping its footing, as it attentively surveys the area nearby.Inscription: To the top-right, inscribed ‘In June of the 5th year of the Republic period, Gao Lun painted in Japanese capital’. One seal ‘Gao Jianfu’. Another seal at the bottom right corner.Provenance: French trade.Condition: Good condition with minor wear, few stains, and very few touch-ups. The mounting with traces of age and wear.Dimensions: Image size 113.5 x 35.5 cm, Size incl. mounting 196 x 48 cmGao Jianfu (1879–1951), a native of Guangzhou, was credited for leading the Lingnan (Canton) School’s effort to modernize Chinese traditional painting as a ‘new national painting.’ Along with his brother Gao Qifeng and friend Chen Shuren, they are known as the Three Masters of the Lingnan School. Gao Jianfu learned painting with Ju Lian (1828-1904) in his early years before he went to Japan, where he was influenced by the Nihonga movement that synthesized Western realism—natural light and luminous colors—with Eastern materials, techniques, and subject matter. This new hybrid art included the use of perspective, and other elements of Western painting. Jianfu once wrote: ‘I think we should not only take in elements of Western painting. If there are good points in Indian painting, Egyptian painting, Persian painting, or masterpieces of other countries, we should embrace all of them too, as nourishment for Chinese painting.’ While in Japan and after his return, he was involved in Sun Yat-sen’s revolutionary movement. After Sun Yat-sen passed away, Gao Jianfu devoted himself to the modernization of Chinese painting and art education.Auction result comparison: Type: Closely relatedAuction: Shanghai Chongyuan Arts Auction Co. LTD, Shanghai, 30 June 2005, lot 1237Price: CNY 286,000 or approx. EUR 57,000 converted and adjusted for inflation at the time of writingDescription: Gao Jianfu (1879-1951), Eagle and Pine (1923)Expert remark: Compare the closely related subject. Note the size (58 x 90 cm).
Lot 49
XU BEIHONG (1895-1953) AND ZHANG SHUQI (1899-1956): 'TWO PIGS', DATED 1937China. Ink and watercolors on paper. Mounted as a hanging scroll with finely carved and lacquered wood handles. Superbly painted with two black pigs standing foursquare side by side below a tree, one with its head raised and turned to the side. The top left corner with a text written in calligraphy about the two pigs.Inscriptions: Inscribed and signed with ‘Shuqi and Beihong in Chengdu, in the twenty-sixth year of the Republic era (corresponding to 1937) and two seals, ‘Shuqi’ and ‘Donghai Wang Sun’. Lower left, a collector’s seal, ‘Zuhou Yingnan’. Lower right, one seal.Provenance: A noted private collector. Previously sold at Bonhams, Hong Kong, Admiralty, Chinese Paintings, March 2022, lot 22, for HKD 38,000 or approx. EUR 5,000 converted and adjusted for inflation at the time of writing. Condition: Very good condition with minor wear, few water stains with associated small touchups. The handles with minuscule chips.Dimensions: Image size 115 x 50 cm, Size incl. mounting 205 x 62.5 cm Xu Beihong (1895-1953) was a Chinese painter, born in rural Yixing during the late Qing dynasty. He began studying classic Chinese works and calligraphy at the age of six, with his father Xu Dazhang, a private school teacher, and Chinese painting at the age of nine. Beihong started from very humble beginnings to become one of the most sought-after, admired and influential painters of China. One of his well-known works, the “Cultivation of the Peaceful Land”, sold for 27.4 million euro in 2011 and therefore ranks among the most expensive paintings in the world. After the founding of the People's Republic of China in 1949, Xu became president of the Central Academy of Fine Arts and chairman of the China Artists Association. Xu Beihong, together with Zhang Shuqi and Liu Zigu, were called the "Three Masters of Jinling (Nanjing)." Xu Beihong was a master of both oil and ink paintings. Most of his works, however, were in the Chinese traditional style. In his efforts to create a new form of national art, he combined Chinese brush and ink techniques with Western perspective and methods of composition. He integrated firm and bold brush strokes with the precise delineation of form. As an art teacher, he advocated the subordination of technique to artistic conception and emphasized the importance of the artist's experiences in life. Of all the painters of the modern era, it can be safely said that Xu is the one most responsible for the direction taken in the modern Chinese Art World.Zhang Shuqi (1899-1956) was a Chinese painter from Zhejiang, noted for painting flowers and birds. He studied at Shanghai under Liu Haisu. He temporarily taught at the National Center University. From 1942 to 1946, he lived in the United States. After that, he returned to China for a time, but ultimately settled in the US. His works are held in the Art Gallery of Greater Victoria, the Ashmolean Museum, and Stanford University.Literature comparison:Compare a painting of two pigs by Xu Beihong, sold at Christie’s Hong Kong, 30 November 2012, lot 2591. Compare the closely related depiction of the pigs, with similarly painted snouts and tails. Note the smaller size (89.5 x 53.5 cm).
Lot 131
A Chinese Famille Rose porcelain circular medalion plate with sgraffito fern scroll decorated enamel ground, Qing Dynasty bearing Jiaqing mark,19th century, marked in seal, 26 cm diameter.A private estateThe plate is in good order but has a slight firing blemish/crack to the rim.The footrim has some shell chips and some very small losses to the blue ground that show the white ground.Please see the extra images.
Lot 5
A Chinese watercolour scroll, depicting tree, lilies and rock with calligraphy with signature bottom right dated Hong Kong 20.11.52. Image size 121 cm x 44 cm (see illustration). CONDITION REPORT: This work on paper is very much in poor condition. Numerous folds, a tear to the top margin that runs for at least 12”. The image itself is not torn but it is heavily creased with foxing and discolouration around the edge. There is also a tear to one margin that runs to 1.5 cm wide. Condition is poor but the paper image that is painted is intact but well worn, used and folded.
Lot 1460
A Regency Anglo Chinese hardwood small open bookcase, with adjustable shelves and scroll feet. Height including upstand 100 cm, width 59 cm, depth 22 cm (see illustration). CONDITION REPORT: This bookcase has a firm structure. It sits on the floor in a stable fashion. It has two turned lets to each side which are in good condition but with some areas of wear through use. The three adjustable shelves all fit and move comfortably. The rectangular top has some areas of distressing and the pierced fretwork rail is split in many places along the back. To the sides the wood has been discoloured in places but the boards appear intact. Overall condition used but structurally sound.
Lot 5
A CHINESE JAR AND COVER of ovoid form, painted in colours with two quatrefoil panels enclosing exotic birds and moths amidst flowering peonies and with fans and roundels, on a green and orange scroll and crackle glaze ground, unmarked, 11 1/2" high, with carved hardwood stand (2) (Est. plus 24% premium inc. VAT)Condition Report: Cover badly damaged
Lot 151
Full title: A Chinese bottle shaped famille rose 'lotus scroll' vase, Jiaqing mark, 19th/20th C.Description:H 19 cmCondition 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
Lot 637
Full title: A Chinese famille rose dish with a scroll and a duck among blossoming branches, Yongzheng/QianlongDescription:Dia.: 38,6 cmCondition 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
Lot 176
Full title: A Chinese hongmu wood scroll end stand, 'ji', 18th/19th C.Description:L 47 - D 26,5 - H 8,5 cmCondition 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
Lot 642
Full title: Two Chinese famille rose plates with a rooster and a scroll surrounded by flowers, Yongzheng/QianlongDescription:Dia.: 22,6 - 21,7 cmCondition 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
Loading...-
17386 item(s)/page