We found 5207 price guide item(s) matching your search
There are 5207 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
5207 item(s)/page
Lot 479
A pair of early 20th century Chinese ginger jars with domed covers, painted in the famille verte palette of polychrome enamels with a narrative battle scene, 20 cm high, two 18th century blue and white export octagonal plates painted with fenced garden landscapes in underglaze blue, Qianlong period, Qing dynasty, 21.5 cm diameter, an 18th century blue and white bowl (damaged) an 18th century pine tree pattern blue and white tea bowl, 7 cm diameter, a cinnabar lacquered and Canton enameled cylindrical box and cover, 8 cm high, articulated enameled fish pendant suspended from a hardwood stand, a Japanese Satsuma ovoid vase painted with red-crowned cranes and flowers, 20 cm high and a modern Chinese rice ware bowl (box)
Lot 194
A Chinese cinnabar lacquer flattened baluster vase, 18th/19th century, carved in high relief with scholars and boys in mountainous river landscapes, quatrelobed neck and pedestal foot, 25cm high***CONDITION REPORT***Occasional small losses to the carved decoration and to the lacquer around the edge of the foot, a little grubby and would benefit from a clean, otherwise in good condition.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.
Lot 154
A RARE ARCHAISTIC 'SHANG BRONZE IMITATION' JADE VESSEL, ZHI, LATE SONG TO EARLY MING DYNASTY 宋末至明初罕見仿商青銅酒杯玉觶China, 13th-15th century. Of flattened form, the pear-shaped body rising from a spreading foot carved with a raised bow-string band, the waisted neck with archaistic dragons and whorl motifs. The semi-translucent stone of a pale celadon tone with russet veins, cloudy inclusions, and few dark specks, mostly reserved to one side of the vessel which has been further heightened with cinnabar lacquer (extremely rare) to imitate the natural patina of the bronze prototype, cleverly presenting the archaistic jade to one side and its ancient inspiration to the other. Exhibited: On loan to the High Museum of Art, Atlanta, September 1973 to September 1980. Provenance: From the collection of William S. Arnett, Atlanta, Georgia, USA, acquired prior to 1971, and thence by descent within the same family. William Sydney Arnett (1939-2020) was an Atlanta-based writer, editor, curator, and art collector who built an internationally important collection of African, Asian, and African-American art. In 1978, he co-authored the Three Rivers of Nigeria exhibition catalog for Atlanta's High Museum of Art. As Arnett's collection of African-American art grew, he became convinced that the so-called folk or outsider artists of the black American South were in fact a coherent cultural movement and constituted a crucial chapter in world art. He spent decades gathering extensive documentation and amassing a near-definitive collection of work crucial to the understanding of this cultural phenomenon.Condition: Excellent condition with minor old wear from centuries of handling. Some minuscule nibbling is probably part of the simulated overall wear inherent to the original carving. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 127.1 gDimensions: Height 8.3 cmWith a velvet-padded silk storage box. (2)The present vessel was inspired by an archaic ritual bronze prototype, zhi, which contained wine offerings presented to the ancestors during the performance of religious rituals.The interest of Chinese scholars in ancient artifacts can be traced back to antiquity, but the study of these artifacts, known as antiquarianism or jinshixue 金石學, literally meaning 'the study of metals and stones,' first developed during the Northern Song dynasty. The practice of collecting precious objects was spreading through China as well, and many lost pieces from the Shang dynasty and later were found at building sites. Song scholars established a formal system of dating these artifacts by examining their inscriptions, decorative motif styles, and physical shapes, introducing terms such as taotie which are still in use today. Two works of this period, the Kaogu tu by Lü Dalin and the Bogu tu by Wang Fu, were especially influential on later artists. Along with many other illustrated catalogs they were reprinted during the Ming and Qing dynasties, inspiring the production of archaic style bronzes and jades.Literature comparison: Compare a closely related jade zhi in the collection of the Minneapolis Institute of Art, dated to the Song dynasty, decorated with a similar band and bowstring, accession number 16.10.Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 1 December 2016, lot 568Price: HKD 437,500 or approx. EUR 59,000 converted and adjusted for inflation at the time of writingDescription: A small light brown jade miniature archaistic vase, hu, Song dynasty Expert remark: Compare the closely related form and decoration as well as related size (7.2 cm). Note the different color of the jade and that the vessel form was incorrectly identified as a hu.Auction result comparison:Type: Closely relatedAuction: Bonhams London, 11 May 2021, lot 137Price: GBP 25,250 or approx. EUR 30,000 converted and adjusted for inflation at the time of writingDescription: An archaistic white jade vessel, zhi, Ming dynasty Expert remark: Compare the related form and size (9 cm) as well as the similar inclusions to the jade. Note the slightly different decoration.宋末至明初罕見仿商青銅酒杯玉觶中國，十三至十五世紀。小瓶狀，圓腹，侈口，圈足。頸部飾有螭龍和雲紋。半透明的淡青色玉，帶有赤褐色的脈紋和絮狀物以及少量黑色斑點，大部分聚集在玉觶一側，並用硃砂（極為罕見）進一步加強，模仿青銅的自然光澤。 展覽: High Museum of Art，亞特蘭大，1973年9月至1980年9月。 由於字數限制，完整中文敘述請至www.zacke.at查看。。
Lot 168
Five pieces of 20th century Chinese cinnabar lacquer ware comprising a pair of baluster vases depicting temple scenes, on pierced hardwood bases, 18.5cm high, two rectangular lidded boxes (one with dragon decoration, the other depicting a figural rural scene), and an ashtray with scrolling foliate and dragon decoration, 10.5cm diameter
Lot 1629
An unusual Oak and other woods Centre Table of chinoiserie flavour having two drawers to one side and revealing a secret type well base within and one lower drawer to the opposite side, standing on square legs with club style feet and fretworked corner braces/brackets, 47'' wide x 25 3/4'' deep x 34 1/4'' high approx. The remains of cinnabar coloured and other lacquering are evident.
Lot 1533
A Chinese cinnabar lacquer vase, early 20th century, baluster form, carved with figures and buildings in wooded mountain landscapes, below a lappet band and neck with flowers and leafy scrolls, the inside and base blue enamelled, 9in. (22.9cm.) high, dent to rim; together with a Chinese square enamel lidded box, decorated with a butterfly, peaches and flowers on a blue ground, turquoise interior, red stamp to base, 3¼in. (8.2cm.) square; and a pair of Japanese ginbari cloisonne dragon vases, both bruised, 6in. (15.2cm.) high. (4) - Cinnabar vase: Dent to rim, which has caused a large chip from lacquer and flaking from interior enamel. - Box: Small flake from top of one side. Otherwise good. - Cloisonne: One vase has a small bruise with flaking from enamel to shoulder. The other vase has a dent to rim and flaking from enamel beneath this - also a tiny bruise to shoulder, but no losses.
Lot 1551
A small group of Chinese porcelain and works of art, comprising a 20th century famille rose export figure of Shoulao holding a peach, 6½in. (16.5cm.) high; a small crackle glaze famille verte jardiniere, 1st half 20th century, 4¼in. (10.75cm.) high; a miniature blue and white baluster vase, painted with a lake landscape, 4 3/8in. (11.1cm.) high; two carved hardstone sycee ingot weights; and a cinnabar lacquer style resin snuff bottle. (6) Small kiln glaze flaw to rim of blue & white vase (not a chip). Two chips to ruse quartz ingot. The other pieces in good condition.
Lot 1560
A Chinese carved cinnabar lacquer double gourd snuff bottle, the base with incised Qianlong seal mark, probably 19th century, carved with pomegranates and flowers between bands of floral scrollwork, with beehive stopper, 6.5cm. high. Some gilt wear to edge of rim and foot. Tiny chip to petal of one flower on lower body. Otherwise good, with no other losses or cracks/splits to the lacquer.
Lot 707
A LARGE CHINESE THREE COLOUR LACQUER OCTAGONAL BOX AND COVER QING DYNASTY The exterior decorated with a large panel containing chrysanthemum flowerheads and swastikas, the design repeated on the shoulder and the base, the cinnabar coloured ground with black outlines and yellow borders, the interior and underside lacquered black, 43.5cm. (2) Provenance: from a deceased estate, London.
Lot 766
A CHINESE CINNABAR LACQUER CIRCULAR BOX AND COVER 15TH/16TH CENTURY The cover carved with two deer standing beside a wutong tree and chrysanthemums, with mantis and butterflies in flight above, the box carved with a band of blossoms growing from leafy foliage to the underside, the interior and the base lacquered black, 9.5cm. (2)
Lot 887
A CHINESE CINNABAR LACQUER SNUFF BOTTLE TWO CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 Of flattened circular form, carved to each side with a scene of a figure within a mountainous landscape, surrounded by pine and wutong, topped with a chrysanthemum bud stopper, 6cm. Cf. Christie's London, 15 May 2015, lot 527 for a snuff bottle with similar design.
Lot 380
A CHINESE GILT AND LACQUERED BRONZE FIGURE AND THREE OTHER ITEMS QING DYNASTY AND LATER One a cinnabar lacquer circular box and cover, another a celadon jade belt hook, the third a lacquered wood paperweight with dragon decorations, the figure 1.05kg, 25cm max. (5) Provenance: from the collection of Dr Oliver Impey (1936-2005), and Dr Jane (Mellanby) Impey (1938-2021), of Cumnor Place, Oxford.
Lot 430
A Chinese cinnabar snuff bottle, late Qing Dynasty or early Republican, of flattened circular form, deeply carved to each side with an archaistic dragon among clouds, spaced by geometric scrolling borders, bearing incised apocryphal Xuande four-character mark, overall height including turquoise matrix stopper 7cm Provenance: From and English private collection 晚清 至民国 剔红鼻烟壶一件拍品来源：英国私人收藏Condition Report: in good condition Condition Report Disclaimer
Lot 92
A Chinese cinnabar lacquer snuff bottle and cover, Qing Dynasty, 19th century, of cylindrical form, thickly lacquered and deeply carved with three sages and their attendants sitting in a rock garden, the base with paper collector's label inscribed 'The Warwick Collection No. 28', 9cm high including stopperProvenance: From and English private collection Cinnabar lacquer snuff bottles of this form are rare, and mostly date from the mid- to late-Qing period and are, occasionally, standard, nineteenth-century porcelain bottles which have been subsequently lacquered.清19世纪 剔红鼻烟壶拍品来源：英国私人收藏Condition Report: the cover with shrinkage crack Condition Report Disclaimer
Lot 93
A Chinese cinnabar lacquer snuff bottle, Qianlong, one side with a scholar and pupil and the other side fruits being offered on a tray, overall height including later green aventurine quartz stopper, 8.5cm Provenance: From and English private collection 清乾隆 剔红人物鼻烟壶一件Condition Report: in good condition with wear commensurate with agethe stopper laterCondition Report Disclaimer
Lot 734
A Chinese cinnabar lacquer carved 'birds and chrysanthemums' snuff bottle, late Qing Dynasty, of baluster shape, with copper core, with associated chalcedony stopper with bone collar and bone spoon, 8.2cm high without stopper.清晚期 剔紅花鳥圖紋鼻煙壺A few scattered nibbles to carved design and some flaking to lacquer around the foot and mouth. Some expected surface wear including some scratching and gluey surface residue from tape around the neck.
Lot 74
Property of a Gentleman (Lots 55-80)A Chinese two-colour cinnabar lacquer 'chun' box and cover, 18th century, carved to the cover with a large chun (spring) character rising from a bowl of auspicious emblems radiating waves, the character beneath a medallion carved with Shoulao flanked by attendants, the sides carved with four panels of flowers and rockwork between lotus blooms, the interior black lacquered, 26cm diameter十八世紀 剔彩壽春圖圓蓋盒來源：紳士私人收藏Please refer to department for condition report
Lot 72
CARVED CINNABAR LACQUER 'EIGHT DAOIST EMBLEMS' SNUFF BOTTLE QING DYNASTY, QIANLONG MARK, 19TH CENTURY 清 乾隆款 剔紅暗八仙紋鼻烟壺 of bulbous form, the body carved in two cartouches with the 'Eight Daoist Emblems' against a square diaper ground, surrounded by bats and tassels, the domed stopper carved with layers of flower petals resembling a blossoming chrysanthemum, the base lacquered in black and incised with a two-character Qianlong mark in seal scriptDimensions:6.4cm highProvenance:Provenance: Private Scottish collection, Edinburgh; bequeathed to the current owner by parents and grandparents who lived in Hong Kong and Canton in the early 20th century.
Lot 136
A VERY RARE GILT-DECORATED BLACK-LACQUERED PANEL AND CARVED CINNABAR LACQUER FRAME FOR THE IMPERIAL COURTLate 18th centuryThe black lacquer panel exquisitely decorated in gilt with a mountainous landscape dotted with pavilions, some of the roofs decorated in the kirikane technique, all amidst various trees, and a waterfall on the right from which a boisterous river with swirling currents curves across, some gnarled rocks slightly raised in the takamaki-e technique, all framed by a carved cinnabar lacquer frame with lotus scrolls, an ornate metal hook ontop. 96cm (37 3/4in) wide x 88cm (34 1/2in) high.Footnotes:十八世紀晚期 御用剔紅邊框鑲黑漆描金風景紋屏Provenance: Vanderven Oriental Art, 's-Hertogenbosch, The Netherlands; acquired at TEFAF, Maastricht 來源： 於馬斯特里赫特歐洲藝術和古董博覽會，購自荷蘭斯海爾托亨博思古董商Vanderven Oriental ArtThe present panel is exceptionally rare and demonstrates the fascination of the Qing Court with foreign representations as well as its admiration of the technical virtuosity of lacquering techniques and decoration imported from or influenced by Japan. The lavish use of gold on black lacquer became particularly popular during the reign of the Yongzheng emperor, who especially appreciated and collected Japanese gold and silvered lacquer (maki-e). During the Yongzheng reign, Japanese lacquer was presented to the Imperial Court by Sui Hede, Gao Qizhuo and Zhun Tai, the Jiangnan silk manufacturing agent, the Suzhou Imperial inspector and the Superintendent of the Fujian customs house respectively. See Yuancang riben qiqi tezhan, Taipei, 2002, p.19. Yongzheng's appreciation for Japanese lacquer can be seen for example, in the 'Twelve Beauties at Leisure' painted for Prince Yinzhen (the Future Yongzheng emperor), in which one painting shows a woman with a Japanese style black lacquered box with gilt decorated bamboo, illustrated by E.Rawski and J.Rawson, China: The Three Emperors 1662-1795, London, 2005, p.259. Japanese boxes were particularly highly regarded at Court where they were used to store precious objects and antiques; see for example a Japanese lacquer box in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Small Refined Articles of the Study, Shenzhen, 2009, pp.8-9, no.4. Chinese artisans also imitated Japanese lacquer pieces. See for example, a handled case with gold-painted landscape in the same raised technique, in imitation of a Japanese case, mid Qing dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Lacquer Wares of the Qing Dynasty, Hong Kong, 2006, p.192, no.144.The black lacquer panel in the present lot was probably made in Japan; takamaki-e techniques of slightly raised gold-leaf as can be seen on the rocks of the present lot, was used in Japan, and the landscape scene itself appears to have its origins in Japanese designs. See for example, a Japanese black lacquer and gilt-decorated cabinet (one of a pair), at the Qing Court Collection, with a very similar landscape but with a party of people in Edo period dress, illustrated in The Emperor's Private Paradise: Treasures from the Forbidden City, New Haven and London, 2010, p.178, pl.54. The same cabinet is also illustrated in A Lofty retreat from the Red Dust: The Secret Garden of Emperor Qianlong, Beijing, 2012, nos.44 and 45, where it is described as Qianlong. The cinnabar lacquer frame on the present lot, however, is demonstrably Chinese. See for example a related black lacquer and mother-of-pearl-inlaid panel with cinnabar lacquer frame, Yongzheng/Qianlong, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties, vol.2, Hong Kong, 2002, p.207, no.179.Despite the lack of official diplomatic ties between Qing China and Tokugawa Japan in the 18th century, Sino-Japanese trade was maintained sustainably, either through Chinese traders in Nagasaki or European intermediaries; see Hao Peng, Trade Relations between Qing China and Tokugawa Japan, 1685-1859, Singapore, 2019. Government sponsored and private merchant ships bound for Japan were often dispatched from Nanjing, Ningbo, Taiwan, Xiamen, and Guangdong. Private operations run by family businesses required strong government connections and sound financial backing. Official records of the 18th century reveal that in 1693 the Suzhou silk agent Li Xu presented ten items of Japanese lacquer to the Court. In this way, Japanese lacquer could enter the Qing Court, where it was highly prized as demonstrated in its use to contain precious works of art.Compare the landscape of the present lot with the landscape on a black lacquer and gilt-decorated cabinet in the National Palace Museum, Taipei (acc.no.gu.qi07.00.000392), and also a black lacquer box and cover, also in the National Palace Museum, Taipei, (acc.no.guqi07.11.000376).See a related black lacquer panel with cinnabar lacquer frame, late Qing dynasty, which was sold at Christie's London, 9 December 1991, lot 61.For further information on this lot please visit Bonhams.com
Lot 137
A CINNABAR LACQUER PEACH-SHAPED 'SANDUO' BOX AND COVERQianlongFinely carved in varying levels through red, with a central cartouche of an Immortal followed by a demon carrying a double-gourd, standing on a shore beside pine issuing from rockwork, all encircled by scrolling peaches, finger citron and pomegranate amidst dense branches and leaves, the box decorated en suite, the interior and base lacquered black.16cm (6 1/4in) high. (2).Footnotes:清乾隆 剔彩道教人物「三多」紋桃式蓋盒Compare with a similar pair of peach-shaped boxes and covers with Daoist Immortals, Qianlong, which was presented by the Qianlong emperor to Lord Macartney's Embassy of 1792-1794, illustrated by J.Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty the Queen, London, 2016, p.865, nos.1988-1989.See a single related cinnabar lacquer peach box and cover with an Immortal on the cover, 18th century, which was sold at Sotheby's London, 18 May 2018, lot 458.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
Loading...-
5207 item(s)/page