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A 19TH CENTURY CHINESE HARDWOOD INLAID DRESSING TABLE CHEST, the top inlaid with jade carvings surrounded by ivory jardinières issuing coral branches set with jade and coloured paste leaves and flowers, the sides inlaid with further jardinières, the sides with brass scroll handles, the front with hinged panel doors with fancy brass mounts, the hinged top and front doors opening to reveal a mirror and fitted interior. 22cm high, 26.5cm wide, 35cm deep The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.The top and sides with losses to the inlaid paste/stones, a bag of broken fragments is included in one of the draws, some appear to be later replacements, the style of the ivory jardinières differs across the tops and sides, splits noted to the ivory.
A CHINESE BRONZE RITUAL WINE VESSEL, of baluster form and raised on a short cylindrical foot, the body and cover with Taotie mask and scroll decoration and the loop handle with mask terminations. 11.5cm highThe absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.In good condition.
A group of 19th century Chinese carved ivory sewing accessories comprising: two pin cushion clamps, two other clamps, needlecases two small carvings and a card caseCONDITION: - needle case carved with birds and dragons, 15.5cm, dirty but otherwise good, containing ivory needles- large pin cushion clamp, overall 7cm, a little dirty otherwise good- small pin cushion clamp, 5cm, pad fabric faded- two other incomplete clamps with drilled decoration approx 5.5cm, both carved from bone- small needlecase, 6.5cm, a little dirty- two similar pomegranate and scroll carvings looking a little like posy holders, width 4.5cm and 4cm- ivory and tortoiseshell card case lacking one tortoiseshell panel, various small splits, height 11.5cm
VERY LARGE CHINESE LACQUER FIGURE OF BODHISATTVA GUANYIN, 125cm / 4.1ft TALL A hollow lacquered figure of The God of Mercy dressed in robes open at the chest revealing a jewelled necklace seated with left hand resting on her knee gently clasping a scroll, the right leg hanging, resting on a lotus stall. 125cm / 4.1ft tall
A Japanese 'shaku dokei' shitan wood wall hung pillar clockAnomynous, late 20th in the 19th century styleThe going train of three wheels set between strip backplate angled at the top to incorporate verge escape wheel top potance and foliate scroll-pierced and engraved keyhole-shaped frontplate with conforming apron to the top margin concealing pivot for the front swinging short bob pendulum, with decorative turned column pillar finials to angles set within three-panel glazed box cover, over caddy-moulded trunk applied with vertical chapter ring annotated with ten divisions each divided into tenths next to twelve adjustable cartouche numerals each engraved with their respective Japanese characters with further shaped baton half hour markers between, the interior with descending weight also incorporating the single bell striking mechanism with countwheel for striking Japanese hours and pointer passing through the front, with brass 'flowerhead' pierced sound frets to sides and applied to a shaped backboard incorporating hanging hole to the extended shaped top section, 63.5cm (25ins) high. Provenance: The property of a private collector, Hertfordshire. The Japanese method of dividing the day had its origins in Chinese practice and until 1868 the daytime and night time were split into six 'hours' each. This meant that with the changing of seasons the length of these temporal hours varied. Day hours in the summertime were longer than the day hours in the winter. With this system to show the correct time, the numerals on the dial ideally needed to be adjusted every fourteen days. The hours or toki were each divided into tenths bu with the mid way or Shokuru marked with a baton. The hours were counted backwards and named after zodiacal animals. Consequently the current lot is annotated with two repeating sets of six numerals starting with the sixth hour denoting either the hour of the Hare (dawn) or Cock (sunset) and counts downwards through two sequences before clock needs to be rewound.Condition Report: The movement is in clean working condition with the only noticeable fault being a small section missing from the front apron for the pendulum pivot. The strike train is also in clean working condition. The case is in fine condition with no visible faults although there is some slight tarnishing to the vertical chapter scale. Overall the timepiece is a fine quality faithful replica with detailing both in the movement and the case very similar to that of the originals. There is a winding key present with the clock. Condition Report Disclaimer
Chinese Qing dynasty patinated bronze censer vase of twin handled ovoid form on four dragon mask scroll supports and domed cover with dog of fo finial, the body decorated with phoenix and a dragon amongst clouds. Moulded six character seal mark, the interior with cylindrical additional copper liner, 47cm high.
18th century Chinese Export blue and white octagonal ashet or meat platter with landscape panel of cottages by a lake surrounded by a border of butterflies, scroll panels, flowers and symbols, unmarked, 47cm wide. Condition report:Glaze impurities, some scratches and wear consistent with age. Small rim chip to left hand edge (9 o'clock).
HIDARI ISSAN: A FINE WOOD NETSUKE OF GENTOKU By Hidari Issan, signed Hidari Issan 左一山Japan, Edo (Tokyo), c. 1850, Edo period (1615-1868)Published: Bandini, Rosemary (2020) The Larry Caplan Collection of Japanese Netsuke, pp. 34-35, no. 15.Gentoku, one of the three heroes of the Han dynasty, is seated on a low Chinese stool, his head bowed in concentration as he studies a scroll. One sleeve is pulled back over his shoulder revealing a pauldron and his soft robes are hitched up at one knee to show feather-edged leg armor. The stool is standing on a tiger skin pelt and Gentoku’s right leg is resting on the unfortunate animal’s head. Himotoshi through the tiger skin pelt and signed HIDARI ISSAN.HEIGHT 3.9 cmCondition: Very good condition, only one tiny chip to edge of the tied bow on the head.Provenance: Ex-collection Larry Caplan, Toronto.According to notes by Raymond Bushell in reply to enquiries by Larry Caplan (reproduced by Rosemary Bandini in Euronetsuke journal no. 54.) Hidari Issan moved to Tokyo around 1850 devoting himself to carving and the study of literature. From the style of this piece, which immediately reminds one of Tokyo carvers such as Tokoku or Jugyoku, it is evident that Hidari Issan must have carved this piece during this time.
An 18th century export famille rose bowl, cover and dish, of moulded lotus form with applied naturalistic mouldings, painted in polychrome enamels with gilt highlights, Qianlong period, to/w an 18th century Chinese octagonal famille rose plate decorated with a partially unrolled scroll depicting a perching bird amongst prunus next to a design of flowering peony framed by a brown swirl ground border with peony and bamboo, Yongzheng period, 26.5 cm diam, an 18th century famille rose bowl painted with a narrative scene in polychrome enamels, Yongzheng period, 22 cm diam, an 18th blue and white tea bowl with European gilt metal mounts and clobbered polychrome decoration, 6 cm high, and a small famille rose vase, 8 cm high (7)Dish, bowl and cover with a few small chips/losses to extremities, rims and mouldings, areas of wear to gilt and enamelsFamille rose bowl with large hairlines and rim chip Octagonal plate with staples repair
A 19th century Chinese hardwood cabinet in two sections, with foliate and scroll carved cornice above a series of shelves and pair of panelled cupboard doors beneath with brass drop handles and all raised on stile feet. Height 211 cm, width 98 cm, depth 37.5 cm. (see illustration). CONDITION REPORT: The cabinet is structurally very sound. It is in generally extremely good condition. Some of the corner spandrels have minor nibbles and are a little loose, but there are no losses of any note that we can see. The side panels are all in good condition. There are no splits to the base. The doors are not warped but do not quite meet in the middle and at the top edge. There is some minor water splash damage to the right hand door. The base is in good order. The overall condition is very good.
A group of Chinese porcelain: comprising a teabowl and pewter stand, the exterior painted with chrysanthemum and poetic texts on a celadon ground, six character Qianlong seal mark to base, a tear drop shaped vase under sang-de-boeuf glazes, a Ge ware bowl under glazed celadon glaze and an oviform jar decorated with panels of figures on a peony scroll ground, [drilled].
A First Period Worcester 'scratch cross' cider jug: of baluster form with scroll handle, painted in Chinese famille rose style with two ladies at a table, a parrot on a perch to one side, the reverse with a lady holding a fan, incised scratch mark, circa 1753-55, 18cm [three chips to rim, minor stress crack between handle and body].
A rare First Period Worcester sauceboat: of deep quatrelobed form with angular handle and moulded scroll and foliate cartouches, painted in the 'Boatman' pattern [I.B.22B] with on one side a Chinese lake scene with boatman and willow tree, a two-storied building to the other, workman's mark, circa 1753-55, 15cm. * Provenance Paper label for 'Albert Amor Ltd. 18th Century Blue & White Exhibition 1979 no.14'.
Chinese porcelain miniature vase with underglaze blue dragon and cloud scroll decoration, four character Qianlong mark to base, 6.5cm high, Chinese porcelain small circular lidded box with blue landscape decoration and a Chinese Canton porcelain lidded cylindrical trinket pot (3)Condition ReportSee photos trinket post has chip inside rim, slight nibbling to rims

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17386 item(s)/page