A FINE WHITE GLAZED BEEHIVE WATER POT, TAIBAIZUN, LATE QING DYNASTYChina, 19th century. Well potted with rounded sides rising to a short flaring rim, molded with three archaistic dragon roundels on the body, and covered with a translucent white glaze.Provenance: From the collection of the late Michael Sherrard CBE, QC, acquired before 2000 and thence by descent. Michael Sherrard (1928-2012) was an English barrister in fraud and company law who was considered one of the great recent influences on the legal profession. He was involved in numerous high-profile cases in both English and East Asian courts, particularly Hong Kong and Singapore. Together with Linda Goldman, he wrote a memoir titled “Wigs and Wherefores: A Biography of Michael Sherrard QC”. Sherrard was an enthusiastic collector of Chinese art, especially jade carvings.Condition: Very good condition with minor wear and firing irregularities.Weight: 412.2 g Dimensions: Height 9.4 cm, Diameter 12.6 cmThe recessed base with an apocryphal six-character mark da Qing Kangxi nianzhi.Literature comparison:Compare a related waterpot illustrated by J. Ayers, Chinese Ceramics: The Koger Collection, p. 167, pl. 139, where the glaze is described as “moon-white” and the medallions are of “a dragon biting another creature, and a bat”.清末白釉太白尊中國，十九世紀。太白尊小口微撇，短頸，圓肩，豐底內凹。通體施白釉。外壁三組團螭紋。 來源：已故Michael Sherrard CBE，QC 收藏，於 2000 年之前購買，保存至今。Michael Sherrard (1928-2012年) 是一名英國大律師，被認為是近期對法律界產生重大影響的人物之一。 他在英國和東亞法院，尤其是香港和新加坡，參與了多起著名案件。他與Linda Goldman一起寫了一本回憶錄，題為《Wigs and Wherefores: A Biography of Michael Sherrard QC》。Sherrard 是一位熱心的中國藝術品收藏家，尤其喜愛玉雕。 品相：品相極好，有輕微磨損和燒製不規則。 重量：412.2 克 尺寸：高 9.4 厘米，直徑 12.6 厘米 圈足内有“大清康熙年製”款。 文獻比較： 比較一件相近的太白尊，見J. Ayers，《Chinese Ceramics: The Koger Collection》，頁167，圖139。此件太白尊得釉色被描述為「月白色」，飾有「龍和蝙蝠紋」。
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A LARGE IRON-RED AND GILT 'DRAGONS' DISH, GUANGXU MARK AND PERIODChina, 1875-1908. Nicely potted with rounded sides and finely painted in iron red and gilt with two confronting dragons amid ruyi-shaped clouds and flames chasing a pearl, the dragons' eyes dotted in black on an opaque white enamel ground also used to depict their fangs and claws. The design repeated along the exterior walls. The recessed base with an iron-red six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From a Swedish private collection. Originally gifted to the previous owner in the 1950s, and thence by descent in the same family. Condition: Magnificent condition with only minimal firing irregularities, little wear to gilt and enamels, minor fritting to foot, and light surface scratches. The gilt remarkably well-preserved!Weight: 1,892 g Dimensions: Diameter 34 cmAuction result comparison:Type: Near identicalAuction: Christie's London, 3 November 2020, lot 184Price: GBP 18,750 or approx. EUR 25,000 converted and adjusted for inflation at the time of writingDescription: A large iron-red-decorated 'dragon' dish, Guangxu six-character mark in iron-red and of the periodExpert remark: Compare the near identical motif to the interior, and similar size (37 cm). Note the exterior is enameled with four blooms on leafy scrolls.Auction result comparison:Type: Near identicalAuction: Christie's London, 14 May 2013, lot 281Price: GBP 22,500 or approx. EUR 35,500 converted and adjusted for inflation at the time of writingDescription: A pair of iron-red-decorated 'dragon' dishes, Guangxu six-character mark and of the periodExpert remark: Compare the near identical motif to the interior and exterior, and the similar size (33.2). Note the lot comprises two dishes.光緒款及年代大型礬紅描金雙龍戲珠紋盤中國，1875-1908年。胎骨堅致，白釉潤澤，敞口弧壁，淺腹圈足。通體施白釉，釉面光潤。口沿飾金彩，盤心以礬紅彩繪雙龍戲珠，並以金彩描繪雙龍身軀、雲紋及龍珠。雙龍身形矯健，鬃鬣飛揚，展現威風凜凜之態。外壁繪雙龍趕珠，內外紋飾呈呼應之勢，底部礬紅彩書“大清光緒年製”。 來源：瑞典私人收藏，是受贈之物，之前的主人購於上世紀五十年代，在同一家族保存至今。 品相：品相精美，僅有微小的製造瑕疵，描金和琺瑯輕微磨損，足部有輕微的熔塊，表面有小劃痕。 重量：1,892 克 尺寸：直徑 34 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦佳士得，2020年11月3日，lot 184 價格：GBP 18,750（相當於今日EUR 25,000） 描述：清光緒礬紅描金雙龍戲珠紋盤礬紅六字楷書款 專家評論：比較內盤幾乎相同的主題，以及尺寸 (37 厘米)較小。請注意盤外圍飾有花卉纏枝紋。 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦佳士得，2013年5月14日，lot 281 價格：GBP 22,500（相當於今日EUR 35,500） 描述：一對光緒款及年代大型礬紅描金雙龍戲珠紋盤 專家評論：比較內盤幾乎相同的主題，尺寸 (33.2)較小。請注意此盤為一對。 #byimperialcommand
A FLAMBE GLAZED VASE, FANGHU, XUANTONG MARK AND PERIODChina, 1908-1911. Of archaic bronze form, the pear-shaped body of square section and molded with a peach-shaped panel on the front and back face, rising to a broad neck with indented corners and flanked by tubular handles, covered with a rich crackle-suffused crushed-strawberry glaze streaked to a milky lavender tone at the edges and the rim, thinning to pale mushroom at the edges. The base incised with a six-character mark da Qing Xuantong nianzhi and of the period.Provenance: Sotheby's London, 9 November 2011, lot 100, estimate GBP 12,000 or approx. EUR 18,500 (converted and adjusted for inflation at the time of writing). A private collection in Maryland, USA, acquired from the above in an after-sale transaction, and thence by descent.Condition: Very good condition with minor wear and firing irregularities, the foot with small chips and minor glaze flakes.Weight: 3,348 gDimensions: Height 30 cmAuction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 30 May 2018, lot 520Price: HKD 275,000 or approx. EUR 36,500 converted and adjusted for inflation at the time of writing Description: A flambe-glazed vase, hu, incised mark and period of Xianfeng Expert remark: Compare the closely related form, similar size (30.4 cm) and rich red glaze streaked to a milky lavender tone at the edges. Note the Xianfeng reign mark.宣統款及年代窯變釉貫耳方壺中國，1908-1911年。溜肩鼓腹，長方形圈足，頸部堆塑對稱雙貫耳，腹部前後淺凸呈現桃形紋樣，通體施窯變釉，釉色以紅、紫、藍為主，色澤變化多端。瓶底足齊平，露胎。底刻“大清宣統年製”六字款。 來源：倫敦蘇富比，2011年11月 9日，lot 100，估價 GBP 12,000 或 EUR 18,500 (根據通貨膨脹率)；美國馬里蘭私人收藏，購於上述拍賣，保存至今。 品相：品相極佳，有輕微磨損和燒製不規則，足部有小嗑損和輕微釉層剝落。 重量：3,348 克 尺寸：高 30 厘米 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2018年5月30日，lot 520 價格：HKD 275,000（相當於今日EUR 36,500） 描述：清咸豐窰變釉貫耳方壺 《大清咸豐年製》刻款 專家評論：比較非常相近的外形，相似的尺寸(30.4 厘米) 、通體飽滿的紅釉，以及壺緣薰衣草乳白色調斑。請注意咸豐款。 #byimperialcommand
A FAMILLE ROSE 'NINE PEACHES' VASE, TIANQIUPING, LATE QING DYNASTY TO REPUBLIC PERIODChina, 19th to early 20th century. The vase is decorated with the spreading leafy branches of a peach tree bearing nine large fruit and numerous pink and white blossoms, the slender leaves decorated in two shades of green, the shoulder with three iron-red bats. The base with an apocryphal underglaze-blue six-character mark da Qing Qianlong nianzhi.Provenance: From an old Norwegian private collection, and thence by descent in the same family. Acquired in Qingdao, China, in 1954, by the second mate of the Oakland (Holmen & Vaboen shipping company from Kristiansand, Norway), while the ship was on a trip to deliver ore to China, and his wife, a telegraph operator. A scan of an old photograph, showing the present lot with the son of the couple, taken in the family home in 1957 or 1958, accompanies this lot.Condition: Good condition with only minor wear and few expected firing irregularities, shallow surface scratches, the lower body with a U-shaped hairline.Weight: 10.1 kg Dimensions: Height 47 cmAuction result comparison: Type: Closely related Auction: Sotheby's New York, 29 June 2022, lot 42 Price: USD 44,100 or approx. EUR 41,000 converted at the time of writing Description: A large famille-rose 'peach' vase (Tianqiuping), Late Qing dynasty / 20th centuryExpert remark: Note the closely related size (47.3 cm). Auction result comparison: Type: Closely related Auction: Bonhams San Francisco, 24 June 2015, lot 8397 Price: USD 22,500 or approx. EUR 25,500 converted and adjusted for inflation at the time of writing Description: A large famille rose Nine Peaches vase, tianqiuping, Qianlong mark, late Qing dynastyExpert remark: Note the closely related size (48.5 cm) Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 8 October 2020, lot 340 Price: HKD 250,000 or approx. EUR 30,000 converted and adjusted for inflation at the time of writing Description: A large famille rose 'nine peaches' vase, tianqiuping, late Qing dynasty-Republic period, late 19th-early 20th centuryExpert remark: Note the related size (51.8 cm)清末民初粉彩福壽天球瓶中國，十九至二十世紀初。瓷胎天球瓶，直口，長頸部向下微斂，寬圓肩，碩圓腹，矮圈足。全器外壁以粉彩描繪桃枝連連、桃花錦簇，九桃飽滿，肩部有三隻紅色蝙蝠。設色雅麗，足底緣未上釉露白胎。圈足內“大清乾隆年製”青花篆書款。琺瑯彩瓷指的是使用琺瑯料，以混容中西繪法進行裝飾的瓷器，生產地位於清宮中造辦處，也稱為瓷胎畫琺瑯。洋彩瓷則是在江西景德鎮御窯廠生產，部分使用琺瑯料進行裝飾的瓷器。至於粉彩，是清末民初時對洋彩作品出現的一種新的稱呼。 來源：挪威私人收藏，在同一家族保存至今，1954年購於中國青島，由奧克蘭號的二副（來自挪威克里斯蒂安桑的 Holmen & Vaboen 航運公司）和他的妻子，一位電報員，當時這艘船正在向中國運送礦石。隨附有一張照片的掃描件，照片上有這個瓶子和這對夫婦與兒子，拍攝於 1957 年或 1958 年。 品相：狀況良好，只有輕微磨損、燒製瑕疵，較淺的表面劃痕，下半身有 U 形細裂線。 重量：10.1 公斤 尺寸：高 47 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2022年6月29日，lot 42 價格：USD 44,100（相當於今日EUR 41,000） 描述：清末 / 二十世紀粉彩九桃天球瓶 專家評論：請注意非常相近 尺寸(47.3 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：舊金山邦瀚斯，2015年6月24日，lot 8397 價格：USD 22,500（相當於今日EUR 25,500） 描述：清末乾隆款粉彩九桃天球瓶 專家評論：請注意非常相近尺寸(48.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：香港佳士得，2020年10月8日，lot 340 價格：HKD 250,000（相當於今日EUR 30,000） 描述：晚清/民國粉彩九桃紋天球瓶 專家評論：請注意相近尺寸(51.8 厘米)。
A STONE FIGURE OF VISHNU, PRE-ANGKOR PERIOD, PHNOM DA STYLEAncient region of Funan, Mekong Delta, 7th century. Well carved standing, holding a conch and disk in his uppermost hands, each connected by carved brackets to the cylindrical headdress, wearing a pleated sampot, the serene face with almond-shaped eyes and full lips forming a calm smile, flanked by long pierced pendulous earlobes.Provenance: From a notable collector in London, United Kingdom.Condition: Excellent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Dimensions: Height 50 cm (excl. base) and 75 cm (incl. base)Mounted on an associated base. (2)The present figure encapsulates the subtle elegance of the late Funan style; the confident, noble presentation represents an established local aesthetic, although some aspects of its appearance recall the Indian Gupta tradition. Nevertheless, the embellishment one would find in north Indian sculpture of the period is absent, enhancing the svelte physique and cerebral strength, without reducing the sense of majesty. The slender body form replicates the ethnic Southeast Asian appearance, being both fine boned but physically powerful. Vishnu stands in a slightly relaxed pose, with his right knee bent; his chest and shoulder muscles are enlarged to accommodate the four arms and the effect is elegant both at the front and the back, illustrating an understanding of human anatomy, which is not always evident in sculptures of the period. The short, thick neck is widened further by the long ears and strengthens the otherwise vulnerable area around the head. The face has strong features, arched eyebrows and a generous, sensitive mouth encapsulating the beauty of the finest Funan images.Vishnu wears a knee-length garment, a practical local fashion, unlike the long robes of earlier sculptures that maintain the Gupta, Indian tradition. This garment, the sampot can kpin, is created from a long length of cloth wound once around the body and then pleated to form a scarf that passes between the legs from back to front, fastening at the waist. The central pleat provides additional reinforcement to the sculpture. Stone images from the late Funan period reflect an extraordinary degree of confidence and technical expertise; this suggests that sculptors followed prototypes evolved during earlier centuries that have not survived. Unlike their Indian contemporaries, who preferred to work in the relatively easily carved sandstones, Funan's sculptors seem to have deliberately chosen hard, difficult-to-work stones. There was a shortage of workable stone in the region; the earliest stone sculptures were possibly fashioned from boulders retrieved from the River Mekong and carried downstream during the annual floods. Later on, stone was carefully sourced and brought to the delta region.Almost all found stone sculptures in the Phnom Da style seem to belong to the realm of Vishnu and his incarnations, like this example. The Phnom Da style also seems rather homogenous compared to other stylistic phases.Expert's note: A detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Vishnu images in the Mekong Delta, and showing many further comparisons to examples in both public and private collections, is available upon request. To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison:Compare a related sandstone figure of Vishnu, attributed to Southern Vietnam and dated late 6th to early 7th century, 56 cm high, in the collection of the Fine Arts Museum, Ho Chi Minh City, reference number BTMT 187, exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014-July 27, 2014, cat. no. 67. Compare a closely related stone figure of Vishnu, dated to the second half of the 7th century, 96.5 cm high, also originally with structural supports between the crown and attributes which are lost, in the Metropolitan Museum of Art, accession number 1992.53. Compare a related stone figure of Harihara, dated to the first half of the 8th century, 94 cm high, in the Metropolitan Museum of Art, accession number 1993.387.5.Auction result comparison: Type: Closely related Auction: Christie's Paris, 20 November 2003, lot 407 Price: EUR 43,475 or approx. EUR 63,500 adjusted for inflation at the time of writing Description: A sandstone figure of Vishnu, pre-Angkor, Phom Da style, 7th century Expert remark: Note that the figure is carved from soft sandstone (unlike the present lot) and is of slightly smaller size (43 cm). 13% VAT will be added to the hammer price additional to the buyer’s premium – only for buyers within the EU.
AN UNDERGLAZE-BLUE AND COPPER-RED 'FIVE MONKEYS' SNUFF BOTTLE, DAOGUANG MARK AND PERIODChina, Jingdezhen kilns, 1820-1850. Of cylindrical form with straight neck, finely painted in cobalt blue and copper red with four monkeys seated on craggy rocks below a further monkey peeking out from the branches of a pine tree, their faces with comical expressions, circular eyes, and long noses. The recessed base with an underglaze-blue six-character mark da Qing Daoguang nianzhi and of the period.Provenance: Swiss trade. Condition: Very good condition with minor wear, the stopper with minor nibbling.Stopper: Stained bone in imitation of coral, good spoonWeight: 57.9 gDimensions: Height including stopper 99 mm. Diameter neck 13 mm and mouth 8 mmThe homophone for monkey, hou, one of the twelve zodiac animals, is 'nobleman' or 'high official' as well as 'descendants'. The monkey therefore represents the wish for the success of one's descendants.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 25 May 2011, lot 88Price: HKD 50,400 or approx. EUR 8,300 converted and adjusted for inflation at the time of writingDescription: A blue and white porcelain 'monkeys' snuff bottle, Jingdezhen, 1800-1860Expert remark: Compare the related form and motif. Note the lack of copper-red and the fact that there is no reign mark.道光款及年代青花紅彩五猴鼻煙壺中國，景德鎮，1820-1850年。圓柱形，直頸，青花礬紅彩，四隻猴子坐在岩石上，另一隻猴子從松樹枝上探出頭來，表情滑稽，圓眼睛，長鼻子。圈足内“大清道光年製”六字款。來源：瑞士古玩交易。 品相：狀況極好，有輕微磨損，蓋子有輕微磨損。 壺蓋：仿珊瑚骨蓋，小勺 重量：57.9 克 尺寸：含蓋高99 毫米，頸部直徑13 毫米，頸部直徑8 毫米 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2011年5月25日，lot 88 價格：HKD 50,400（相當於今日EUR 8,300） 描述：青花百猴圖鼻煙壺，景德鎮，1800～1860 專家評論：比較相近的外形和主題。請注意此瓶沒有礬紅彩和年代款。 We will support it soon! Click 2k/4k to download videos first. Pro $ 2.99 / month 1000+ embedded vimeo player sites supported Support video downloading in more resolutions e.g. 4k, 2k, 1080p, etc. Support for downloading private videos Support for extracting audio Support for downloading subtitles Unlimited downloads Tip：Please refresh the page after the payment is successful We will support it soon! Click 2k/4k to download videos first. Pro $ 2.99 / month 1000+ embedded vimeo player sites supported Support video downloading in more resolutions e.g. 4k, 2k, 1080p, etc. Support for downloading private videos Support for extracting audio Support for downloading subtitles Unlimited downloads Tip：Please refresh the page after the payment is successful #byimperialcommandsnuffbottles
A RARE BLUE AND WHITE 'DRAGON' CENSER, WANLI MARK AND PERIODChina, 1573-1619. Heavily potted, the body of rectangular form with four graduated square in-curved legs, the body applied with two animal mask handles, lively painted with twelve five-clawed dragons amongst clouds and flames, the stepped cover with bands of ruyi scrolls and trigrams, below a pierced dragon finial. The base with an underglaze-blue six-character mark da Ming Wanli nianzhi within a double rectangular and of the period.Provenance: From the estate of Ivar Bjoernberg (1934-2021), who was a noted art director from Stockholm, Sweden. He was friends with Victoria Lindstroem, a reputed dealer and collector of Chinese art, also based in Stockholm at the time. Bjoernberg worked at her gallery at a young age and when he eventually started his own collection, she mentored him. His collection was an academic one and it showed his keen eye, discerning taste and great passion for the aesthetics of Chinese art. Condition: The vessel with smoothened losses to mask handles and small chips to edges, both with old fills and touchups. The lid with one section of the cover broken off and reattached, associated overpainting, and small chips to edges with old fills and touchups.Weight: 757 g Dimensions: Height 13.5 cm, Length 13.5 cmLiterature comparison: See a similar censer, but lacking a cover, in the Idemitsu Museum of Arts, illustrated in Imperial overglaze - Enamelled Wares in the Late Ming Dynasty, Osaka, 1995, pl. 735, and another from the collection of Gustaf Hillestrom, Stockholm, included in the exhibition Ming Blue-and-white, The Museum of Far Eastern Antiquities, Stockholm, 1964, cat. no. 75.Auction result comparison: Type: Closely related Auction: Christie's New York, 17 March 2017, lot 1187 Price: USD 25,000 or approx. EUR 27,500 converted and adjusted for inflation at the time of writing Description: A rare blue and white rectangular censer, Wanli six-character mark within a double rectangle and of the periodExpert remark: Compare the closely related form, decoration, and mark, as well as the near-identical size (13.5 cm). Note that the vessel has condition issues (ring handles missing, firing crack to corner with associated shallow chips, one re-stuck, shallow chip to one rim corner, and another shallow chip above one foot, expected small glaze flakes, frits and burst bubbles). Also note the missing cover. Auction result comparison: Type: Closely related Auction: Sotheby's London, 4 November 2009, lot 68 Price: GBP 39,650 or approx. EUR 64,000 converted and adjusted for inflation at the time of writing Description: A blue and white dragon censer and cover, Ming dynasty, Wanli mark and periodExpert remark: Compare the closely related form, decoration, and mark. Note the slightly larger size (16.2 cm). Also note that this piece has significant condition issues and is extensively restored, the condition report is available online.萬曆款與年代青花龍紋爐中國，1573-1619年。厚胎，器身長方形，四足內勾，器身施獸面紋，描繪十二條五爪雲龍戲珠，階梯蓋繪如意八卦紋，在穿孔的龍尖下方。底部青花“大明萬曆年製”六字款。 來源：知名瑞典斯德哥爾摩藝術經銷商Ivar Bjoernberg (1934-2021年)舊藏。他與著名的中國藝術品經銷商和收藏家Victoria Lindstroem是好友，後者當時也居住在斯德哥爾摩。 Bjoernberg 年輕時在她的畫廊工作，當他最終開始自己的收藏時，她給了他很多建議。 他的收藏是學術性的，顯示了他敏銳的眼光、挑剔的品味和對中國藝術美學的極大熱情。 品相：邊緣有缺損但已變得平滑，有小修補和填充。蓋子的一部分曾斷裂並重新連接，邊緣有填充和小修。 重量：757 克 尺寸：高 13.5 厘米，長13.5 厘米 文獻比較： 一件相似的沒蓋香爐，收藏於Idemitsu Museum of Arts，見《Imperial overglaze - Enamelled Wares in the Late Ming Dynasty》，大阪，1995年，圖735。另一件來自斯德哥爾摩Gustaf Hillestrom收藏，展覽於《Ming Blue-and-white，The Museum of Far Eastern Antiquities》，斯德哥爾摩，1964年，圖錄編號75。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2017年3月17日，lot 1187 價格：USD 25,000（相當於今日EUR 27,500） 描述：明萬曆青花雙龍戲珠紋方爐，雙圈六字楷書款 專家評論：比較非常相近的外形、裝飾和款識，以及幾乎相同的尺寸(13.5 厘米)。請注意該方爐存在品相問題（環形手柄缺失，將裂紋射到角落並伴有相關的淺切屑，一個重新卡住，淺切屑到一個邊緣角，另一個淺切屑在一隻腳上方，預計會出現小釉片，熔塊和爆裂氣泡），以及蓋子遺失。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2009年11月4日，lot 68 價格：GBP 39,650（相當於今日EUR 64,000） 描述：萬曆款及年代青花雙龍戲珠紋方爐 專家評論：比較非常相近的外形、裝飾和款識。請注意尺寸稍大(16.2 厘米)。請注意此方爐有明顯的品相，以及大面積地修補過。 #byimperialcommand
A BLUE AND WHITE 'SCHOLARS AND BOYS' JAR, GUAN, WANLI MARK AND PERIOD China, 1573-1619. Superbly painted in shades of cobalt blue with a continuous scene depicting scholars engaged in leisurely pursuits and boys at play, including a scholar seated by a large painted screen and holding a fan as well as a young boy flying a kite, all amid trees, rockwork, and flowers, framed by a ruyi-head band at the shoulder and a lappet band above the foot, the short neck with a band of freely painted scroll. The base with an underglaze blue six-character mark da ming wanli nianzhi within double circles and of the period.Provenance: British trade. Condition: Minor old wear and some expected firing irregularities. Several stabilized cracks, running from the shoulder to the foot, across the base and extending upwards to the middle section of the jar. Please request a video, shot under strong blue light, for further documentation of the exact condition of this lot. Despite these issues, displaying remarkably well.Weight: 394.8 g Dimensions: Height 11 cm, Width 13 cmAuction result comparison: Type: Closely related Auction: Christie's New York, 25 September 2020, lot 1563 Price: USD 40,000 or approx. EUR 43,500 converted and adjusted for inflation at the time of writing Description: A small blue and white 'Daoist immortals' jar, Wanli six-character mark in underglaze blue within a double circle and of the periodExpert remark: Compare the related form and decoration. Note the height (16.2 cm).Auction result comparison: Type: Closely related Auction: Sotheby's New York, 23 September 2020, lot 517 Estimate: USD 50,000 or approx. EUR 54,000 converted and adjusted for inflation at the time of writing Description: A small and rare blue and white 'Daoist immortals' jar, Wanli mark and periodExpert remark: Note the diameter (12.1 cm) Auction result comparison: Type: Related Auction: Christie's Hong Kong, 30 May 2018, lot 3106 Price: HKD 625,000 or approx. EUR 81,000 converted and adjusted for inflation at the time of writing Description: A blue and white 'Daoist immortal and lantern' bowl, Wanli six-character mark in underglaze blue within a double circle and of the periodExpert remark: Note the diameter (15.5 cm).萬曆款及年代青花人物場景罐中國，1573-1619年。青花彩繪，園中文人閒遊、童子嬉戲場景。頸部飾卷葉紋，肩部飾如意紋，足部飾垂飾帶。 圈足内雙圈青花“大明萬曆年製”六字款。 來源：英國古玩交易。 品相：輕微磨損，幾條裂縫，從肩部延伸到腳部，穿過底部，向上延伸到罐子的中部。請聯繫索取在強藍光下拍攝的視頻，以進一步確定該拍品的狀況。 重量：394.8 克 尺寸：高 11 厘米，寬 13 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2020年9月25日，lot 1563 價格：USD 40,000（相當於今日EUR 43,500） 描述：明萬曆青花八仙過海圖小罐，雙圈三行六字楷書款 專家評論：比較相近的外形和裝飾。請注意高 (16.2 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2020年9月23日，lot 517 估價：USD 50,000（相當於今日EUR 54,000） 描述：明萬曆青花仙人祝壽圖小罐，《大明萬曆年製》款 專家評論：請注意直徑 (12.1 厘米) 。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2018年5月30日，lot 3106 價格：HKD 625,000（相當於今日EUR 81,000） 描述：明萬曆青花道教人物圖盌，雙圈六字楷書款 專家評論：請注意直徑 (15.5 厘米)。 #byimperialcommand
A RARE WUCAI 'MONTH' CUP, KANGXI MARK AND PERIOD China, 1662-1722. Delicately potted with deep rounded sides rising from a short foot to a flared rim, superbly enameled around the exterior with a red-flowering peach tree with small blossoms among scant leaves, representing the third month, the reverse inscribed in underglaze blue with a poem followed by a seal mark, the recessed base with an underglaze-blue six-character mark da Qing Kangxi nianzhi and of the period.Inscriptions: To one side, 'Fenghua xinshe yan / shijie jiuchun nong' (The swallow returns when the blossoms sway in the breeze / It is the season in late spring when farmers return to their fields). One seal, 'Shang' (appreciation). Provenance: From the collection of Carl Gustav Kjellin, acquired in Shanghai during the 1940s, and thence by descent in the family. Carl Gustav Kjellin (1910-1990) was a Swedish diplomat who was stationed in China until 1945 and thereafter at the Swedish embassy in Tokyo. He acquired most of his collection of Chinese porcelain and works of art during his time in Asia. Condition: Perfect condition with only minor wear. Minimal firing irregularities, including a microscopic glaze blister of less than 2 mm to the rim. Weight: 28.5 g Dimensions: Diameter 6.5 cmThis finely potted cup is one of the so-called 'month cups', made at the imperial kilns during the Kangxi reign. One was made for each month of the lunar calendar. As in the case of the current example, these cups are so thinly potted that the blue of the inscription on the exterior can be seen through the porcelain from the interior of the vessel. Their decoration is characterized by very delicately painted decoration in underglaze blue and wucai enamels. Each of the cups has on one side a floral design appropriate to a particular month, and on the other side a poem which complements the design. Each of the cups also bears an underglaze blue seal character after the poem, which can be read as 'shang' (appreciation).Literature comparison: Compare a closely related cup included in the Oriental Ceramic Society exhibition Enamelled Polychrome Porcelain of the Manchu Dynasty (1644-1912), London, 1951, cat. no. 253. The Percival David Foundation in London has one of the few complete sets of cups for all twelve months, now in the collection of the British Museum, registration number PDF.815. The design on the current cup is very similar to the third month cup in the Percival David Foundation and bears the same poem, see Rosemary Scott, For the Imperial Court - Qing Porcelain from the Percival David Foundation of Chinese Art, New York, 1997, pp. 82-83, no. 23. The Palace Museum, Bejing owns at least two sets, illustrated in Chugoku toji zenshu (Complete works on Chinese ceramics), Kyoto, 1981-86, vol. 21, pl. 61, and in Kangxi, Yongzheng, Qianlong - Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, page 65, no. 48. One is in the Idemitsu Museum of Art, Tokyo, illustrated in Idemitsu Bijutsukan zohin zuroku, Chugoku toji (Chinese Ceramics in the Idemitsu Collection), Tokyo, 1987, pl. 221. One set in the Hong Kong Museum of Art was included in the exhibition 'The Wonders of the Potter's Palette', Qing Ceramics from the Collection of the Hong Kong Museum of Art, 1984-5, cat. no. 15.Auction result comparison: Type: Near identical Auction: Sotheby's London, 6 November 2019, lot 149 Price: GBP 112,500 or approx. EUR 149,000 converted and adjusted for inflation at the time of writing Description: A rare wucai 'month' cup, Kangxi mark and period Expert remark: Compare the near identical form, decoration, enamels, and size (6.5 cm).Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 May 2013, lot 1911 Price: HKD 2,670,000 or approx. EUR 393,000 converted and adjusted for inflation at the time of writing Description: A fine famille verte 'peach blossom' cup, Kangxi six-character mark within double-circles and of the period Expert remark: Compare the near identical form, decoration, enamels, and size (6.5 cm). Note that the enamels on this month cup are described as 'famille verte'. It appears that for these month cups, the terms 'famille verte' and 'wucai' are interchangeable, however to this author, the term 'wucai' seems more accurate due to the presence of underglaze-blue decoration. Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 3 April 2012, lot 45 Estimate: HKD 18,000,000 or approx. EUR 2,756,000 converted and adjusted for inflation at the time of writing Description: An extremely rare set of twelve wucai 'month' cups, marks and period of Kangxi Expert remark: Note that this lot comprises a complete set of twelve wucai month cups, the third month cup being near identical to the present lot.康熙款五彩桃花花神杯中國，1662-1722年。撇口、深腹、淺圈足、胎體輕薄、器型精巧絕倫，造型規整優美，胎質乳白、器薄如紙、晶瑩剔透；外壁用一年十二個月中的三月桃花來裝飾，並配以相應的詩句。圈足青花“大清康熙年製”六字款。 款識：風花新社鷰，時節舊春農；印：賞 來源：Carl Gustav Kjellin私人收藏，購於上世紀四十年代，之後在同一家族保存至今。Carl Gustav Kjellin (1910-1990) 是一名瑞典外交官，1945 年之前出使中國，此後在瑞典駐東京大使館工作。他收藏的大部分中國瓷器和藝術品都是在亞洲期間獲得的。 品相：狀況完美，只有輕微磨損。燒製不規則性，如邊緣小於 2 毫米的微觀釉泡。 重量：28.5 克 尺寸：直徑 6.5 厘米 康熙十二花卉杯上的花卉以水仙花開始，然後以此為迎春花、桃花、牡丹花、石榴花、荷花、蘭花、桂花、菊花、芙蓉花、月季花和梅花，一杯一花，腹壁一面繪畫，另一面題詩，詩句出自唐詩。每隻杯上繪一種應時花卉，指代歷史上的著名女性，併題上相應的詩句，慣稱“十二月花神杯”。 文獻比較： 比較一件非常相近的花卉杯，收藏於東方陶瓷學會，展覽於 《Enamelled Polychrome Porcelain of the Manchu Dynasty (1644-1912)》，倫敦，1951年，圖錄編號253。倫敦的Percival David基金會擁有為數不多的整套十二花神杯之一，現藏於大英博物館，圖錄編號 PDF.815。收藏於Percival David基金會的第三個月花神杯，有相似的設計和相同的詩句，見Rosemary Scott，《For the Imperial Court - Qing Porcelain from the Percival David Foundation of Chinese Art》，紐約，1997，頁82-83，編號23。北京故宮博物院擁有兩套十二花神杯，見《中國瓷器全集》，京都，1981-86年，卷21，圖61，和《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，頁65，編號48。一套收藏於東京出光美術館，出版於《出光美術館藏品圖錄：中國陶瓷》，東京，1987年，圖221。一套在香港藝術博物館，展覽於《香港藝術館藏清代陶瓷：清瓷薈錦》，1984-5年，圖錄編號15。 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦蘇富比，2019年11月6日，lot 149 價格：GBP 112,500（相當於今日EUR 149,000） 描述：清康熙五彩桃花花神杯 《大清康熙年製》款 專家評論：比較幾乎相同的外形、裝飾、琺瑯和尺寸 (6.5 厘米)。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2013年5月29日，lot 1911 價格：HKD 2,670,000（相當於今日EUR 393,000） 描述：清康熙五彩「桃花」花神盃，雙圈六字楷書款 專家評論：比較幾乎相同的外形、裝飾、琺瑯，和尺寸 (6.5 厘米)。請注意，這件花神月杯上的琺瑯被描述為“粉彩”和“五彩”似乎可以互換使用，但在筆者看來，由於飾有青花釉，因此描述為“五彩”似乎更為準確。 拍賣結果比較： 形制：非常相近 拍賣：香港蘇富比，2012年4月3日，lot 45 估價：HKD 18,000,000（相當於今日EUR 2,756,000） 描述：康熙款及年代五彩十二花神杯 專家評論：請注意此組為完整的五彩十二花神杯，第三個月的花神杯和我們的拍品幾乎相同。 #byimperialcommand
AN EXCEEDINGLY RARE PAIR OF INCISED YELLOW-GLAZED 'FLORAL MEDALLION' BOWLS, KANGXI MARKS AND PERIOD China, 1662-1722. Each bowl is incised on the exterior with four floral roundels divided by cloud scrolls above petal lappets around the foot, the interior with another floral medallion in the center enclosed within a double circle, covered inside and out with an egg-yolk yellow glaze, save for white base. Each bowl with an underglaze-blue six-character mark within a double circle da Qing Kangxi nianzhi and of the period. (2)Provenance: The VWS Collection, acquired by the previous owner's father (1890-1977) in China during the 1930s and thence by descent within the family. Each bowl with an old collection label, 'VWS'. One bowl with an old label, '62'. French trade, acquired from the above. The VWS collection tells the extraordinary story of a family fleeing the Tsarist Empire in Russia. Their journey began in 1903 as the Chinese Eastern Railway, the eastern branch of the Trans-Siberian Railway, was completed. Fleeing, like others, a climate of political persecution and anti-Semitism, the family settled in Harbin, the most northerly city in China and started to develop its businesses from 1906 onwards. Like many others, they were attracted to this cosmopolitan place, then a major economic and cultural center in Manchuria, because of its large Jewish community. In Harbin, the father, a cultured, open-minded and multilingual man, felt at home and his early successes in business earned him respect. By 1932, he and his family were forced to flee again, following the Japanese invasion of Manchuria, and found a new home in Shanghai. From there, his businesses took him to Hong Kong, North America, and other Asian countries, where the family would remain for many years. They began collecting art in China during the 1930s and these artworks have remained with the family heirs ever since.Condition: Superb condition with only minor wear and firing irregularities: The first bowl with a faint glaze line to the rim, the second bowl with three faint glaze lines to the rim, all of which are inherent to the manufacture. None of these glaze lines are visible to the naked eye, or even under the strongest blue light. Also, they are not noticeable to the touch.Weight: 162.1 g and 147.6 g Dimensions: Diameter 12 cm (each)Literature comparison: Compare a closely related yellow-glazed incised bowl, 12 cm high, also with a Kangxi mark and of the period, sold at Christie's London, 13 December 1976, lot 55, and illustrated by Regina Krahl, Chinese Ceramics from the Gulexuan Collection, p. 128, no. 97. A bowl of this design from the Elphinstone collection in the Percival David Foundation, London, is listed in the Foundation's Illustrated Catalogue of Ming and Qing Monochrome Wares, London, 1989, no. A599. Another bowl of this design from the Kostolany collection was included in the exhibition Monochrome Porcelain of the Ming and Manchu Dynasties, Oriental Ceramic Society, London, 1948, cat. no. 188.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 26 November 2014, lot 3291 Price: HKD 325,000 or approx. EUR 46,000 converted and adjusted for inflation at the time of writing Description: An incised yellow-enameled 'floral medallion' bowl, Kangxi six-character mark in underglaze blue within a double circle and of the periodExpert remark: Compare the closely related form, decoration, Kangxi mark, and size (11.8 cm). Note that the lot comprises only one bowl.Auction result comparison:Type: Near identicalAuction: Christie's New York, 23 March 2023, lot 901Price: USD 21,420 or approx. EUR 19,885 converted and adjusted for inflation at the time of writingDescription: A yellow-glazed 'Medallions' bowlExpert Remark: Please note that unlike the present lot this item has suffered significant damage and was subsequently restored康熙款及年代一對黃釉暗刻團花碗中國，1662-1722年。碗直口，深腹，圈足略高，器型規整。內外滿施黃釉為地。口沿外及足牆均飾兩道弦紋，外壁以暗刻技法飾四朵團花，間以如意雲紋，近底足刻變體蓮花瓣紋，紋飾簡潔生動。圈足內白地青花雙圈“大清康熙年製”款。 (2) 來源：VWS 收藏，前主人的父親 (1890-1977)於上世紀三十年代在中國購得，保存在同一家族至今。每個碗上都有一個收藏舊標籤 'VWS'；一個碗上有標籤 '62'；法國古玩交易，購於上述收藏。The VWS collection收藏講述了一個家庭逃離沙皇俄羅斯帝國的非凡故事。他們的旅程始於 1903 年，當時西伯利亞大鐵路東部支線中東鐵路竣工。和其他人一樣，為了逃離政治迫害和反猶太主義的環境，全家定居在中國最北端的城市哈爾濱，並從 1906 年開始發展業務。像許多其他人一樣，他們被這個國際化的城市吸引，因為這裡有龐大的猶太社區，當時這裡是滿洲的主要經濟和文化中心。 在哈爾濱，父親是一個有教養、思想開放、會說多種語言的人，他早年在商業上的成功為他贏得了尊重。1932 年，日本入侵滿洲後，他和家人再次被迫逃離，並在上海找到了新家。 從那裡開始，他的生意將他帶到了香港、北美和其他亞洲國家，他的家人在那裡待了很多年。他們於 1930 年代開始在中國收藏藝術品，這些藝術品自此一直由家族繼承人保管。 品相：品相極佳，只有輕微磨損和燒製不規則：一個碗的邊緣有一條微弱的釉裂，第二個碗的邊緣有三條輕微的釉裂，這些釉紋沒有一條是肉眼可見的，甚至在最強烈的藍光下也是如此。此外，它們觸摸起來並不明顯。 重量：分別爲162.1克與147.6克 尺寸：直徑12 厘米 (每個) 文獻比較： 比較一件非常相近的康熙款及年代黃釉暗刻碗，售於倫敦佳士得，1976年12月13日，lot 55，也見Regina Krahl，《Chinese Ceramics from the Gulexuan Collection》，頁128，編號97。一件相同設計的碗，來自 Elphinstone collection in the Percival David Foundation，倫敦，被列在基金會的圖錄《Catalogue of Ming and Qing Monochrome Wares》，倫敦，1989年，編號A599。另一件相同設計的碗，來自Kostolany collection，展覽於《Porcelain of the Ming and Manchu Dynasties》，東方陶瓷學會，倫敦，1948年，圖錄編號188。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2014年11月26日，lot 3291 價格：HKD 325,000（相當於今日EUR 46,000） 描述：康熙款及年代一對黃釉暗刻團花碗 專家評論：比較非常相近的外形、裝飾、康熙款和尺寸(11.8 厘米)。請注意此僅有一個碗。 #byimperialcommand
A RARE PAIR OF MING-STYLE GREEN-ENAMELED 'DRAGON' BOWLS, KANGXI PERIODChina, 1662-1722. Each with deep rounded sides supported on a short foot and rising to an everted rim, the exterior finely incised with two five-clawed dragons amid flames and clouds, reserved on the biscuit and covered with green enamel, the interior similarly decorated with three clouds.Provenance: From an old German private collection, acquired in 1980 and thence by descent in the same family. German trade, acquired from the above. Condition: Excellent condition with only very minor old wear and some firing irregularities.Weight: 338 g and 345.9 g (excl. stands) Dimensions: Diameter 18.7 and 18.9 cmThe recessed bases each with an apocryphal underglaze-blue six-character mark da Ming Chenghua nianzhi within a double circle.Each bowl with a finely carved zitan stand, dating from the Qing dynasty. (4)Imperial porcelain bowls decorated with green-enameled dragons first appeared in the Chenghua period, with and sometimes without reign marks, and either enameled with dragons over the glaze or over the biscuit. More were manufactured in later periods of the Ming dynasty, particularly during the Hongzhi and Zhengde reigns, where they were always inscribed with their corresponding reign marks. This motif, which is also found on matching saucer dishes, required each vessel to be fired twice: First the design was incised on the biscuit and covered with a layer of wax, which would melt during the first firing and reveal the pinkish buff body underneath. This was later filled with green enamel and fired a second time at a much lower temperature. The result is rather spectacular, because the dragons appear as if they are literally leaping off the surface of the bowls.Literature comparison: For the Chenghua prototype of this design, see two bowls with dragons enameled over the biscuit silhouettes, in the National Palace Museum, Taipei, included in the Museum's exhibition Chenghua ciqi tezhan (Special Exhibition of Ch'eng-Hua Porcelain Ware), Taipei, 2003, cat. nos. 110 and 111. Porcelain wares decorated with green dragons continued to be produced in the Qing dynasty, from the Kangxi to the Guangxu reigns, such as a dish with an apocryphal Hongzhi mark, in the Palace Museum, Beijing, illustrated in Miscellaneous Enameled Porcelains, Plain Tricolour Porcelains. The Complete Collection of Treasures in the Palace Museum, Shanghai, 2009, pl. 75. Furthermore, compare with entry 5 in Marchant, 90th Anniversary Exhibition, Qing Porcelain from Private Collections. Auction result comparison: Type: Closely related Auction: Christie's London, 20 February 2020, lot 134 Price: GBP 23,750 or approx. EUR 31,000 converted and adjusted for inflation at the time of writing Description: A green-enameled 'dragon' bowl, 18th centuryExpert remark: Compare the closely related form, incised and green-enameled dragon design, apocryphal Ming reign mark, and near-identical size (18.4 cm)康熙一對明代風格綠釉龍紋碗中國，1662-1722年。敞口，略外撇，深弧腹，圈足。外壁暗刻綠釉一對五爪龍，雲中戲珠；碗中三朵綠色雲紋。 來源：德國私人老收藏，於 1980 年入藏，並由同一家族繼承；德國古玩交易，購於上述收藏。 品相：狀況極佳，只有非常輕微的磨損和一些燒製不規則現象。 重量：分別為338 克與 345.9 克 (不含底座) 尺寸：直徑 18.7與18.9 厘米 圈足內青花“大明成化年製”。 每個碗都有一個精雕細刻的紫檀座，可追溯至清代。(4) 綠釉龍紋碗最早出現於成化年間，有或無年號，或在釉上或在素胎上繪龍紋。明朝後期，特別是弘治、正德年間，多會使用相應的年號。龍紋也出現在配套的碟子上，每個容器都需要燒製兩次：首先，將設計刻在素胎上並覆蓋一層蠟，在第一次燒製時蠟會融化，露出下面的淺黃色體 。之後用綠釉填充，並在低溫下進行第二次燒製。龍看起來栩栩如生。 文獻比較： 此設計的成化原型，見兩個碗，上面有琺瑯彩龍，收藏於臺北故宮博物院，《故宮成化瓷器精選》，臺北，2003年，圖錄編號110和111。清代從康熙至光緒年間持續出產綠龍紋瓷器，例如一件北京故宮博物院偽弘治款瓷盤，見《故宮博物院藏文物珍品全集》，上海，2009年，圖75。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2020年2月20日，lot 134 價格：GBP 23,750（相當於今日EUR 31,000） 描述：清十八世紀白地綠彩五爪龍紋碗 專家評論：比較非常相近的外形、淺刻和綠色琺瑯彩龍紋，偽弘治款，以及幾乎相同的尺寸(18.4 厘米)。
AN UNDERGLAZE-BLUE AND COPPER-RED 'FISHERMAN' BEEHIVE WATER POT, TAIBAI ZUN, YONGZHENG MARKChina, 18th-19th century. Of classic form with rounded sides rising to a short and flaring neck, painted to the exterior in cobalt blue and copper red with a humorous scene depicting a fisherman chasing a bird that has just snatched a large clam from him, a fishing basket and rod attached to his belt, further with a pine tree and rockwork. The recessed base with an underglaze blue six-character mark da Qing Yongzheng nianzhi. Provenance: English trade, by repute formerly in the collection of Salisbury Langton Dennis (b. 1906) and thence by descent within the same family. The base with an old label, 'Yung Cheng 1723-1735'. Condition: Excellent condition with minor wear and few manufacturing flaws including pitting and dark spots.Weight: 258.0 g Dimensions: Diameter 10.1 cmWater pots of this form are known as Taibai zun, after the Tang dynasty poet Li Bai (also named Li Taibai, 701-762) who is often depicted leaning against a large wine vat of this shape. They are also known as jichao zun because their shape resembles that of a basketwork chicken coop that is woven with a small opening at the top through which the chicks are fed.雍正款青花釉裏紅《漁夫》太白尊中國，十八至十九世紀。太白尊小口微撇，圓唇，短頸，半球狀腹。外壁青花釉裏紅描繪了一位漁夫追趕一隻剛從他手中奪走大蛤蜊的鳥的幽默場景，他的腰帶上繫著一個魚籃和魚竿，背後有一棵松樹和假山。圈足内青花六字款“大清雍正年製”。 來源：英國古玩交易，據説來自Salisbury Langton Dennis (出生於1906年) 收藏，在同一家族保存至今。 底部有一標籤 'Yung Cheng 1723-1735'。 品相：狀況極佳，輕微磨損與製造缺陷，包括點蝕和黑點。 重量：258.0 克 尺寸：直徑10.1 厘米 這件水丞也叫太白尊，因形似唐朝私人李太白手中的酒壇而得名。又因形似雞罩，而得名“雞罩尊”。
A COPPER-RED GLAZED DISH, QIANLONG MARK AND PERIODChina, 1736-1795. The shallow rounded sides supported on a short foot. The interior and exterior covered in a rich glaze of crushed-strawberry tone, the rim and base with a clear colorless glaze, the base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From an old private collection in the United Kingdom, acquired in Shanghai and Hong Kong from the 1930s onwards, and thence by descent within the same family. The base with an old label, 'No. (9) 178'. Condition: Excellent condition with only minor wear and expected firing irregularities.Weight: 193.5 g Dimensions: Diameter 15.8 cmAuction result comparison: Type: Closely related Auction: Sotheby's Paris, 10 June 2021, lot 64 Price: EUR 13,860 or approx. EUR 15,000 adjusted for inflation at the time of writing Description: A very fine copper-red glazed saucer dish, seal mark and period of QianlongExpert remark: Compare the closely related copper-red glaze. Note the near-identical size (16.5 cm). Auction result comparison: Type: Closely related Auction: Christie's New York, 23 September 2022, lot 908 Price: USD 37,800 or approx. EUR 35,000 converted at the time of writing Description: Qianlong Six-Character Seal Mark in Underglaze Blue and of the Period (1736-1795)Expert remark: Compare the closely related copper-red glaze. Note the larger size (20.9 cm).乾隆款及年代紅釉盤中國，1736-1795年。胎質細滑，敞口，圈足。內外壁施梅紅釉，釉色凝厚瑩亮。盤口沿處色淺，呈白色，對比鮮明。圈足修削工整，底作白釉，青花“大清乾隆年製”六字款。 來源：英國私人老收藏，上世紀三十年代購於上海和香港，自此保存在同一家族至今。底部有收藏老標籤'編號(9) 178'。 品相：狀況極佳，只有輕微磨損和燒製不規則。 重量：193.5 克 尺寸：直徑15.8 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎蘇富比，2021年6月10日，lot 64 價格：EUR 13,860（相當於今日EUR 15,000） 描述：清乾隆紅釉盤 《大清乾隆年製》款 專家評論：比較非常相近的紅釉。請注意幾乎相同尺寸(16.5 厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2022年9月23日，lot 908 價格：USD 37,800（相當於今日EUR 35,000） 描述：清乾隆霽紅釉盤六字篆書款 專家評論：比較非常相近的紅釉。請注意尺寸(20.9 厘米)較大。 #byimperialcommand
A COPPER-RED GLAZED DISH, WITH A LIVER-RED GLAZE POOLING IN THE WELL, QIANLONG MARK AND PERIODChina, 1736-1795. The shallow rounded sides supported on a short foot. The interior and exterior covered in a rich glaze of crushed-strawberry tone, transmuting to a deep liver-red pooling in the well, the rim and base with a clear colorless glaze, the base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From an old private collection in the United Kingdom, acquired in Shanghai and Hong Kong from the 1930s onwards, and thence by descent within the same family. The base with an old label, 'No. 178 (9)'. Condition: Excellent condition with minor wear and expected firing irregularities.Weight: 178.9 g Dimensions: Diameter 15.7 cmAuction result comparison: Type: Closely related Auction: Sotheby's New York, 22 June 2021, lot 1 Price: USD 35,280 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing Description: A copper-red-glazed dish, Seal mark and period of QianlongExpert remark: Compare the closely related copper-red glaze with similar liver-red glaze transmutation pooling in the well. Note the near-identical size (16.4 cm).乾隆款及年代紅釉盤中國，1736-1795年。造型端莊周正，胎質細滑。內外壁施紅釉，釉色凝厚瑩亮。盤口沿處色淺，呈白色，形成“燈草口”效果，對比鮮明，饒有意趣。圈足修削工整，底作白釉，青花“大清乾隆年製”六字款。 來源：英國私人老收藏，上世紀三十年代購於上海和香港，自此保存在同一家族至今。底部有收藏老標籤 '編號178 (9)'。 品相：狀況極佳，輕微磨損和製作瑕疵。 重量：178.9 克 尺寸：直徑15.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2021年6月22日，lot 1 價格：USD 35,280（相當於今日EUR 33,000） 描述：清乾隆紅釉盤 《大清乾隆年製》款 專家評論：比較非常相近的紅釉。請注意幾乎相同尺寸(16.4 厘米)。 #byimperialcommand
A RARE BLUE-GROUND POLYCHROME-DECORATED 'DRAGON' BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. Superbly potted with deep rounded sides rising from a straight foot to a gently flared rim, the exterior vividly enameled with two ferocious dragons, one in green enamel, the other iron-red, racing through green, yellow and iron-red flames in pursuit of flaming pearls positioned above cruciform clouds, resting on a band of overlapping petals, all reserved on a washed underglaze-blue ground, the interior with a central medallion enclosing a similar green dragon. The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period.Provenance: From a private collection in North Yorkshire, United Kingdom. Condition: Very good condition with expected wear and shallow surface scratches, minimal firing irregularities, few barely visible glaze lines. Weight: 227.8 g Dimensions: Diameter 14 cmLiterature comparison: A Kangxi-marked bowl of this same design was included in the exhibition Joined Colors, Decoration and Meaning in Chinese Porcelain, Ceramics from Collectors in the Min Chiu Society, Hong Kong, illustrated by L.A. Cort and J. Stuart, Catalogue, Hong Kong, 1993, p. 84, pl. 13. Qianlong-marked bowls of this type are relatively rare, examples include one sold at Christie's New York, 28 March 1996, lot 363, and another at Sotheby's Hong Kong, 1 December 1977, lot 648.Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 29 May 2013, lot 1924 Price: HKD 870,000 or approx. EUR 132,000 converted and adjusted for inflation at the time of writing Description: A rare blue-ground polychrome-decorated 'dragon' bowl, Qianlong six-character seal mark and of the periodExpert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in excellent condition. Auction result comparison: Type: Near identical Auction: Christie's Hong Kong, 28 May 2014, lot 3456 Price: HKD 475,000 or approx. EUR 72,000 converted and adjusted for inflation at the time of writing Description: A Rare Blue-Ground Polychrome-Decorated 'Dragon' Bowl, Qianlong Six-Character Seal Mark and of the Period (1736-1795)Expert remark: Note the near identical form, decoration, reign mark, and size (14 cm). Also note that this lot is in restored condition.乾隆款及年代罕見青花藍地紅綠彩龍紋碗中國，1736-1795年。胎體緊緻，碗口略外撇，深弧腹。碗外壁青花藍地，分別用紅彩與綠彩描繪兩條矯健雲龍戲珠，被綠色、黃色和鐵紅色火焰環繞。腹底飾一圈重疊花瓣紋。碗內開光内藍地綠彩雲龍。足底青花“大清乾隆年製”款。 來源：英國北約克郡私人收藏。 品相：品相極好，有磨損和表面劃痕，製造瑕疵，少量不明顯的釉面裂紋。 重量：227.8 克 尺寸：直徑14 厘米 文獻比較： 一件相同設計康熙款碗，見Joined Colors，《Decoration and Meaning in Chinese Porcelain，Ceramics from Collectors in the Min Chiu Society》，香港，見L.A. Cort和J. Stuart，圖錄，香港，1993年，頁84，編號13。一件乾隆款碗，售於Christie's New York，1996年3月28日，lot 363，以及售於香港蘇富比，1977年12月1日，lot 648。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2013年5月29日，lot 1924 價格：HKD 870,000（相當於今日EUR 132,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗品相極佳。 拍賣結果比較： 形制：幾乎相同 拍賣：香港佳士得，2014年5月28日，lot 3456 價格：HKD 475,000（相當於今日EUR 72,000） 描述：清乾隆藍地紅綠彩龍紋盌，六字篆書款 專家評論：請注意幾乎相同的外形、裝飾、款識和尺寸 (14 厘米)。請注意此碗曾修復過。 #byimperialcommand
A FAMILLE ROSE WATER POT, JIAQING MARK AND PERIODChina, 1796-1820. Delicately potted, of beehive form, brightly painted to the exterior with large lotus blossoms interspersed with smaller similar blooms, all borne on leafy scrolls, the rim framed by a band of yellow and blue ruyi-heads, all against a white ground. The recessed base with an iron-red six-character mark da Qing Jiaqing nianzhi and of the period.Provenance: British trade. Condition: Fine condition with old wear and traces of use. A minuscule star crack forming several small hairlines, all barely visible to the naked eye. Light rubbing to the enamels and minor manufacturing flaws, including the expected microscopic bubbles typical for these wares. Overall displaying remarkably well.Weight: 82.0 g Dimensions: Diameter 6.9 cmAuction result comparison:Type: Near identicalAuction: Christie's London, 6 November 2012, lot 248Price: GBP 12,500 or approx. EUR 20,500 converted and adjusted for inflation at the time of writingDescription: A small famille rose water pot, Jiaqing iron-red seal mark and of the periodExpert remark: Compare the closely related form, enamels with similar wear, and size (6.8 cm)Auction result comparison: Type: Near identical Auction: Sotheby's London, 10 November 2010, lot 130Price: GBP 22,500 or approx. EUR 36,500 converted and adjusted for inflation at the time of writingDescription: A 'famille rose' waterpot, Jiaqing mark and period Expert remark: Compare the closely related form, enamels, motif, and size (7 cm)嘉慶款及年代粉彩纏枝蓮紋水丞中國，1796-1820年。胎體細膩緊致，外壁粉彩描繪纏枝蓮花，頸部黃地青花如意紋。圈足内礬紅釉“大清嘉慶年製”六字款。 來源：英國古玩交易。 品相：狀況良好，有磨損和使用痕跡。一道細小的裂縫，形成了數條細小的細紋，肉眼幾乎看不出來。琺瑯有輕微摩擦和製造缺陷，包括微小氣泡。 整體表現非常出色。 重量：82.0 克 尺寸：直徑6.9 厘米 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦佳士得，2012年11月6日，lot 248 價格：GBP 12,500（相當於今日EUR 20,500） 描述：粉彩纏枝蓮紋小水盂礬紅六字篆書款 專家評論：比較非常相近的外形、琺瑯有輕微磨損，以及尺寸(6.8 厘米)。 拍賣結果比較： 形制：幾乎相同 拍賣：倫敦蘇富比，2010年11月10日，lot 130 價格：GBP 22,500（相當於今日EUR 36,500） 描述：嘉慶款及年代粉彩纏枝蓮紋水丞 專家評論：比較非常相近的外形、琺瑯、主題，以及尺寸(7 厘米)。 #byimperialcommand
4 bottles Collection Fine Vintage & Aged Tawny Port and S.African Vintage Tawny 4 bottles Collection Fine Vintage & Aged Tawny Port and S.African Vintage Tawny comprising : 1 bottle Graham’s ‘Malvedos’ Vintage Port 1996 (i/n), 1 bottle Graham’s ‘More than 40 years’ Aged Tawny (bottled 1990) (i/n), 1 bottle Da Silva ‘Dalva’ 20 Year Old Tawny (bottled 2002) (i/n) together with 1 bottle KWV 1939 Vintage Boberg Tawny
Jean-Michel Basquiat (American, 1960-1988)Étude académique de la figure masculine, d'après Da Vinci, 1983 sérigraphie en noir sur papier de riz Okiwaraepreuve non signée (mis à part l'édition de 20)avec le cachet sec de l'imprimeur, New City Editions, Venise, Californiefeuille 100.6 x 79.6cm (39 1/4 x 31 1/4in).screenprint in black on Okiwara rice paperunsigned proof (aside from the edition of 20)with the blindstamp of the printer, New City Editions, Venice, CaliforniaFor further information on this lot please visit Bonhams.com
Grillo, Gaetano (geb. 1952), "Storia di una pittura sedotta da Cupido durante il suo volo nel cielo di Molfetta", Acryl und Collage in Buchform auf Holz, rückseitig datiert, signiert und bezeichnet gaetano grillo 1981 Milano, rückseitig Etikett Fondazione F.P.Michetti und Künstleretikett, 63 x 78 cm
A cased Bell & Howell Filmo 70-DA 16 mm cine camera body, having a three lens turret mounted with a Kodak Cine Ektar Lens (Type C) 25 mm f / 1.9, a Taylor & Hobson Cooke Ivotal Anastigmat 2 inch f / 1.4 and a Kinotel 3 inch f : 2.5 16 mm movie lens C, camera body circa 1923 - 1933, together with a box of Kodak Ektachrome Video News film and a film reel
Banco Nacional Ultramarino, Mozambique, specimen 5 Mil Reis, 2 January 1908, no serial number, ship seal Type I, Alfredo Mendes da Silva signature, perforated SPECIMEN, in PMG holder 67 EPQ, superb gem uncirculated, absolutely exceptional grade for type, the finest of only six notes graded by PMG BNU MZ26s3, Pick 31s £800-£1,000
Banco Nacional Ultramarino, Mozambique, printers archival specimen 1000 Reis, 1 March 1909, serial number range 350001 to 400000, Luis Diogo da Silva signature, ship seal Type I, perforated CANCELLED, order date inked in top margin, in PMG holder 64, choice uncirculated BNU MZ30ls, Pick 32s £240-£300
Banco Nacional Ultramarino, Mozambique, printers archival specimen 20 Mil Reis, 1 March 1909, serial number range 38334 to 41667, Luis Diogo da Silva signature, ship seal Type I, perforated SPECIMEN, order number and delivery date inked in top margin, mounting traces, in PMG holder 55, about uncirculated, very scarce BNU MZ38es, Pick 40s £400-£500
Banco Nacional Ultramarino, Portuguese Guinea, printers archival specimen 1000 Reis, 1 March 1909, serial number range 70001 to 95000, Luis Diogo da Silva signature, ship seal Type I, perforated CANCELLED, order number and date inked in top margin, in PMG holder 58, choice about uncirculated, very scarce BNU PG1hs, Pick 1s £260-£320
Banco Nacional Ultramarino, Portuguese Guinea, printers archival specimen 5 Mil Reis, 1 March 1909, serial number range 30001 and 32500, Luis Diogo da Silva signature, ship seal Type I, perforated CANCELLED, order number and date inked in top margin, in PMG holder 64, choice uncirculated, rare BNU PG5ds, Pick 3s £360-£420
Banco Nacional Ultramarino, Portuguese India, printers archival specimen 20 Rupias, 1 January 1906, serial number range 40001 to 45000, Alfredo Mendes da Silva signature, ship seal Type III, perforated CANCELLED, order date inked in top margin, previously mounted, in PMG holder 63, choice uncirculated, extremely rare, with only three print runs and six specimens produced in total for this second issue TBB B303es, Pick 17As £6,000-£8,000
Banco Nacional Ultramarino, St Thomas & Prince, printers archival specimen 1000 Reis, 1 March 1909, serial number range 25001 to 35000, Luis Diogo da Silva signature, ship seal Type I, perforated CANCELLED, order number and date inked in top margin, in PMG holder 64, choice uncirculated, rare, with only 10 archival specimens produced for this entire issue BNU ST10ds, Pick 7as £300-£400
A LONGPARK TORQUAY EARTHENWARE 4 PIECE TEA SERVICE - painted with crocus, teapot 11cms H, china fairing 'A Pastoral Visit by Reverend John Jones' 11cms H, two Welsh Costumes tea cups and saucers, a Goss jug 'Bore Da Snowdon', 8cms H, ETC, and ROYAL WORCESTER BLUSH IVORY CLARET JUG - decorated with floral sprays, the neck with Prunus in low gilt relief, the body with two ribbed bands and molded branch handle, transfer mark in puce Pattern No 1047, 26cms H
Die kleinsten Goldmünzen der Welt, Spezialschatulle mit insgesamt ca. 43 g fein, 38 Stück, zumeist je ca. 1,24 g fein vs. 1/25 oz/Stück, bestehend aus: Ukraine 2 Hryvnias 2005 Gold der Skythen, Kanada 1/20 oz. Maple Leaf 2005, 1/25 oz. Cowboy 2006, Mongolei 1000 Togrog 2005 Uhu, Togo 1500 Francs 2005 Basiliuskathedrale Moskau, 1500 Francs 2005 Colosseum Rom, 1500 Francs 2005 Towerbridge London, 1500 Francs Mozart, Kiribati 10 Dollars 2005 Weihnachtsengel, Liberia 25 Dollars 2005 Moric Benovsky, Lettland 1 Lats 2005 Jugendstil in Riga, Somalia 50 Shillings 2004 Cäsar, 50 Shillings 2004 Kleopatra, Pitcairn-Inseln 5 Dollars 2005 Bounty-Bibel, Samoa 10 Dollars 2005 FIFA WM Deutschland 2006, Vanuatu 50 Vatu 2005 Captain Kidd, Salomonen 10 Dollars 2005 Goldwäscher, Kanada 1/25 oz. 2004 Kanadischer Elch, Benin 1500 Francs 2005 Leopard, Laos 1000 Kip 2005 Wat Phu Champasak, Nauru 10 Dollars 2005 Germanisches Museum, Kanada 1/25 oz. 2005 Kanu, Kasachstan 100 Tenge 2004 Seidenstraße, Tristan da Cunha 1 Pfund 2005 Lord Horatio Nelson, Togo 1500 Francs 2005 Basiliuskathedrale Moskau, Togo 1500 Francs 2005 Colosseum in Rom, 1500 Francs 2005 Towerbridge London, Kongo 1500 Francs 2006 Dresden, Salomonen 10 Dollars 2005 John Lennon, Australien 1/25 oz. Opernhaus Sydney, Irland 20 Euro 2006 Samuel Beckett, Kongo 20 Francs 2003 Papst Johannes Paul II. Dazu Cookinseln 1 Dollar 2007 50 Jahre Röm. Verträge Monaco, Medaillenprägungen Max Planck, Franz Kafka, Carl Spitzweg, Gorch Fock, Die Himmelsscheibe. Steuerbefreit nach § 25c UStG| The smallest gold coins in the world, special case with a total of approx. 43 g fine, 38 pieces, mostly approx. 1.24 g fine vs. 1/25 oz/piece, consisting of: Ukraine 2 Hryvnias 2005 Gold of the Scythians, Canada 1/ 20 oz. Maple Leaf 2005, 1/25 oz. Cowboy 2006, Mongolia 1000 Togrog 2005 Owl, Togo 1500 Francs 2005 St. Basil's Cathedral Moscow, 1500 Francs 2005 Colosseum Rome, 1500 Francs 2005 Tower Bridge London, 1500 Francs Mozart, Kiribati 10 Dollars 2005 Christmas Angel, Liber Latia 25 Dollars 2005 2005 Moric Benovsky , Latvia 05 Moric Benovsky , Latvia 01 Art Nouveau in Riga, Somalia 50 shillings 2004 Caesar, 50 shillings 2004 Cleopatra, Pitcairn Islands 5 dollars 2005 Bounty Bible, Samoa 10 dollars 2005 FIFA World Cup Germany 2006, Vanuatu 50 Vatu 2005 Captain Kidd, Solomon Islands 10 dollars 2005 gold panners, Canada 1/25 oz. 2004 Canadian Elk, Benin 1500 Francs 2005 Leopard, Laos 1000 Kip 2005 Wat Phu Champasak, Nauru 10 Dollars 2005 Germanisches Museum, Canada 1/25 oz. 2005 Canoe, Kazakhstan 100 Tenge 2004 Silk Road, Tristan da Cunha 1 Pound 2005 Lord Horatio Nelson, Togo 1500 Francs 2005 St. Basil's Cathedral Moscow, Togo 1500 Francs 2005 Colosseum in Rome, 1500 Francs 2005 Tower Bridge London, Congo 1500 Francs 2006 Dresden, Solomon Islands 2 105 Dollars John Lennon, Australia 1/25 oz. Sydney Opera House, Ireland 20 Euro 2006 Samuel Beckett, Congo 20 Francs 2003 Pope John Paul II. In addition Cook Islands 1 Dollar 2007 50 Years Rom. Contracts Monaco, medal minting Max Planck, Franz Kafka, Carl Spitzweg, Gorch Fock, the sky disk. Tax exempt according to § 25c UStG
Die kleinsten Goldmünzen der Welt, 2. aber kleinerer Teil mit 14 Münzen, insgesamt ca. 19,5 g fein, bestehend aus: Österreich 1/10 oz. Philharmoniker 2004, Kuba 5 Pesos 2005 Legende der Azteken, Mexiko 2 Pesos 1999 Azteken, Mongolei 1000 Togrog 1999 Leonardo da Vinci, Kongo 20 Francs 2003 Eule von Athen, Nördl. Mariannen 5 Dollars 2004 Albert Einstein, 5 Dollars 2005 Kaiser Wilhelm II., Kongo 1500 Francs 2004 Dresdner Frauenkirche, Australien 4 Dollars 2004 FIFA WM Deutschland 2006, Andorra 5 Diners 2004 Vereinte Nationen, Togo 1500 Francs 2005 Goethe, Kongo 1500 Francs 2005 Sphinx von Giseh, Benin 1500 Francs 2005 Albert Schweitzer und Somalia 50 Shillings 2002 Gold der Pharaonen. Übertwiegend PP, gekapselt, in Edelholzbox, steuerbefreit nach § 25c UStG| The smallest gold coins in the world, 2nd but smaller part with 14 coins, total approx. 19.5 g fine, consisting of: Austria 1/10 oz. Philharmoniker 2004, Cuba 5 pesos 2005 Legend of the Aztecs, Mexico 2 pesos 1999 Aztecs, Mongolia 1000 Togrog 1999 Leonardo da Vinci, Congo 20 Francs 2003 Owl of Athens, Nördl. Mariannen 5 Dollars 2004 Albert Einstein, 5 Dollars 2005 Kaiser Wilhelm II., Congo 1500 Francs 2004 Dresden Frauenkirche, Australia 4 Dollars 2004 FIFA World Cup Germany 2006, Andorra 5 Diners 2004 United Nations, Togo 1500 Francs 2005 Goethe, Congo 1500 Francs 2005 Sphinx von Giseh, Benin 1500 Francs 2005 Albert Schweitzer and Somalia 50 Shillings 2002 Gold of the Pharaohs. Mainly proof, encapsulated, in precious wood box, tax-exempt according to § 25c UStG
(Fucine (TN) 1851 - Cles (TN) 1923)Cm 62x100 | In 24.41x39.37Oil on canvasOn February 6, 1851, Bartolomeo Teofilo Ismaele Bezzi, son of Domenico Bezzi, a surveyor and great art lover, and Luigia Taraboi, was born in Fucine d'Ossana in Val di Sole. In 1862 he was orphaned by his father. He left Fucine to seek his fortune as a peddler. After a few years, in 1870, tired of that kind of life, thanks to savings and the help of a cousin and his uncle Don Ambrogio, a priest in Pellizzano in Val di Sole, he decided to enroll in the Brera Academy of Fine Arts. Here he became a pupil of Giuseppe Bertini and in the course of his studies he soon made a name for himself and, already in his second year, managed to obtain mentions and medals with his works. During these years he also frequented a group of young artists with a renewing and anti-academic spirit and took an active part in debates on French Impressionism. In 1876 he has his first exhibition at the annual group show prepared by the academy. He presents Landscape and Impression. The following year he exhibits At the Well and Val Solandra. Two years later, he gained recognition with his work Valle di Rabbi, which impressed the commission with its colors that succeeded in making even those sharp and steep alpine landscapes softer and softer. In 1879 he was forced to abandon his academic studies because of his poor health. But not even the illness prevented him from continuing his work as an artist, enjoying enormous success, heartened by his friends, admirers, collectors and art lovers. During these years he opened his own studio in Milan but spent several days in Trent, where he portrayed the city on a canvas of vast proportions. This is also a testimony to how Bartolomeo Bezzi remains affectively attached to Trentino. Recurring episodes will be in the capital city as well as in Val di Non and Val di Sole. In Turin he was present at the Fourth National Exhibition of Fine Arts with the works Sul Tonale, Una via di Trento, La vigna, and Una frana in Val d'Adige. In 1881 at the National Exhibition in Brera he exhibited Il mio paesello, Ricordo dei bagni, again Sul Tonale and Confidenze. At age thirty-one, in 1882, he won his first major prize in Milan: the Fumagalli Prize. A few months later he received 4,000 liras for the work Pescarenico, purchased by Prince Ruspoli. During these years he lived between Verona and Milan. During the Verona period he painted several landscape-related works and some of them were exhibited at the Esposizione di Belle Arti in Rome: Verona along the Adige, Un mattino a Verona, Pescarenico, Mulini sull'Adige and Giornata d'Autunno. Here he finds great success but, of all his paintings, the one that receives the most attention is: Mulini sull'Adige. The work Mulini a Verona was purchased by the National Gallery of Modern Art. In 1884 in Turin, at the Italian National Exhibition organized by the Società Promotrice di Belle Arti, he presented Venice, Roman Campagna, Autumn, Memories of Rome, Gray Weather in Venice, Evening. At the Brera exhibition he exhibited Bambocci, Sito alpestre and Acqua morta, purchased by Count Aldo Annoni of Milan. Shortly thereafter he became an honorary member of the Brera Academy. He exhibited Sulle rive dell'Adige, in Milan in 1885 and the following year at a group exhibition in Berlin and finally in Venice in 1887 where he was purchased by King Umberto. In 1886 he participated in the inaugural exhibition of the newly formed Society for Fine Arts and Permanent Exhibition in Milan with A Chioggia, Mulini a Verona, Paesaggio, Betulle and with the sketch Pescarenico. The following year he exhibited six works at the National Exhibition in Venice: Riva di Trento, Studio, Mestizia, Sulle rive dell'Adige, Paesaggio and Bosco ceduo, the latter painting, known as Bosco di birulle, in 1890 would be purchased for 500 florins by the Trento City Hall and placed in the city's Historical Museum. In 1888 at the Paris Exhibition he was awarded a prize for his work Falling Sun on Lake Garda, which would later be purchased by the Revoltella Museum in Trieste. The following year, he participated in an exhibition in Rome with Venezia che dorme, Armonie della sera, Raggio di luna and Amori dell'aria. He participated for the first time in the Universal Exhibition in Paris with Les bords d'un rivière. The same year he is named a Knight of the Order of St. Michael of Bavaria. He moved to Venice, where he lived on the Fondamenta delle Zattere, a neighborhood at the time frequented by many artists, poets and writers. Here he met realist and post-macchiaioli painters such as Guglielmo Ciardi, Luigi Nono, Silvio Rota, Alessandro Milesi and Mario de Maria. It was during this period, influenced by the Venetian artistic environment and especially by the works of Giacomo Favretto, that he abandoned, albeit briefly, landscape painting to devote himself to genre painting. Another important encounter is with the artist Pietro Fragiacomo and his fascinatingly luminous lagoon landscapes. In Venice, he lays the foundations of a project for an International Art Exhibition, which will materialize in the Biennale. Bezzi participated in all editions, from the first, in 1895, to that of 1914. Membership in the organizing committee enabled him to make numerous trips abroad, in 1897 to Scotland and England, in 1898 and 1901 to Germany, Austria and France, during which he came into contact with different international artistic languages. In 1891 he exhibited his work Spiaggia del Lido at the Brera Triennale in Milan. This painting is later awarded a silver medal at the 1893 Rome exhibition by the city's City Hall. In Munich he won the gold medal for the work Spring Night. In 1892 he went to Trent, where he was part of the jury to determine who should be entrusted with the creation of the monument to Dante in the square of the same name. Here he befriended Cesare Battisti and devoted himself to irredentist propaganda, participating in artistic events aimed at affirming the Italian character of Trentino. A few months later, during a visit to the home of Counts Cesarini Sforza in his homeland, he met Isabella Dal Lago of Cles and married her on September 26, 1892. The Ministry of Education awards him a gold medal for the painting Paesaggio trentino o Da Cles exhibited at the Turin exhibition. Three years later he was present at the first International Art Exhibition of the city of Venice with S. Michele all'Adige and Giorno di magro. In 1896 he participated in the Munich Secession Exhibition presenting the work Canal Grande in Venice. During this period he became acquainted with Secessionist floral art and Art Noveau however, he was not influenced by this vision of landscape softened by plant lines and decorative colors. Bezzi continued to cultivate a lyrical, twilight representation of nature that would characterize his production until about 1910. In 1897 he presented Prelude of the Evening at the Second Venice Biennale, and three years later he received a silver medal at the Universal Exhibition in Paris for the painting Day of the Skinny, executed in 1895. In 1899 he participated in the Third International Art Exhibition in Venice. At the 1901 Venice Biennale he presented the works, Autumn Vagueness, In the Evening and Night Calm. Two years later, at the Fifth Biennale: Morning on the Lake, Clear Night, The Trees, On the Shore of Lake Garda and First Snow. In 1905 his nervous illness began to worsen, but he still participated in the sixth Venice Biennale, presenting Fantasie dell'aria, Pescarenico and Acqua morta. Two years later his only solo art exhibition while alive is organized in Trent. In the same year he is in Turin with Notte di luna, in Venice with Sulle rive del Ticino, Mattino d'autunno, Tramonto and also travels abroad: to Buenos Aires, Montevideo and Valparaiso with the works Prima neve a Desenzano and Quiete del lago. In 1909 he participated in t [...]
(Salerno 1858 - Sala Consilina (SA) 1911)Cm 35x48 | In 13.78x18.90Oil on canvasHaving learned his first rudiments from Gaetano D'Agostino, he was a student at the Reale Istituto di Belle Arti of Filippo Palizzi, Domenico Morelli and Stanislao Lista. His classmates were Giuseppe Avallone, Vincenzo Migliaro, Vincenzo Caprile, Giuseppe De Sanctis, Paolo Vetri, and Vincenzo Volpe, to whom he was also linked by affinity of taste. Present in almost all the exhibitions of the Promotrice Napoletana, starting in 1875, with a Studio dal vero, purchased by Enrichetta Vonwiller, he established himself in the 1877 National Exhibition with three genre paintings. At the promoters he presented: in 1876, the painting "A Moment of Sadness" and "Tunisian Sailor"; in 1882, "Va" and "Simm'arrivate," much appreciated by Francesco Netti, who, however, saw in them the danger of a "painting for painting's sake." in 1884 out of catalog, "Peppariello," which fell to Vincenzo Volpicelli; in 1885 "Chi vuol bene vede senza essere veduto"; in 1894 "In chiesa" and "Ricordo di Napoli"; in 1906 "La Grotta delle Ninfe" and "Palazzo Donn'Anna." In "1880" to compete for the pension, he had executed two sketches, "Christ Presented to the People" and "Christ and the Children" (Naples, Galleria dell'Accademia), as well as the large canvas "Christ Blesses the Children," exhibited in Turin in 1880 and purchased by the Ministry of Public Education for the Galleria dell'Accademia in Naples. He often used subjects of children in his genre paintings, letting himself be influenced by the patheticism of Antonio Mancini and his interest in rags and the material rendering of color. The color, however, in Esposito, while very rich, is polished and graduated in precious and accurate chiaroscuro, in the manner of Edoardo Dalbono. It is especially in the portraits, and particularly in the female pastel portraits, that the painter displays great virtuosity in mastering the tonal technique of seventeenth-century derivation. Among his portraits are that of "Architect Pisante," (1876; Naples, Galleria dell'Accademia), the somewhat rough one of "Vincenzo Migliaro" (Naples, formerly Casciaro Collection, now Banco di Napoli), that of "Architect Curri," and that of "Giacinto Gigante," taken from the portrait painted by Domenico Morelli in 1865. A famous painting, which is affected at the same time, by his skill as a portrait painter, and his experience as a "generalist" is: "In church," exhibited in Rome in 1893, in Munich in 1896 and in Milan in 1897 (formerly Naples, Casella Collection; now Salerno, Private Collection). A coeval work is then: "Waiting" (Naples, formerly Chiarandà Collection, now, D'Angelo Collection), which recalls, as a composition, Gioacchino Toma's "The Two Mothers." In the years straddling the two centuries he devoted himself to decorative paintings of some commitment, such as the frescoes at the Naples Chamber of Commerce or the decoration of the "plafond" of the Garibaldi Theater in Santa Maria Capua Vetere, with the "Apotheosis of Poetry." He was present in various national and international exhibitions, in Rome in 1883 with the work: "Da Posillipo", in Turin in 1884, among others with: "Primi palpiti"; in Milan in 1894 with: "Zingari", in Venice in 1895, in Rome in 1896, in St. Petersburg in 1898, in Rome in 1901, in London in 1904, in Milan in 1906. Awarded several times: in Florence (1896-1897), in St. Petersburg (1902, gold medal for the painting "In the Port of Naples"). He was among the exhibitors of the Neapolitan Society of Artists (later Circolo Artistico), but does not appear among the members from 1888 to 1891. He appears, however, briefly among the members of the "Circolo dei "Vomeresi,"" formed in opposition to the Circolo Artistico in the early twentieth century. In carefully observing seventeenth-century Neapolitan painting, Esposito was especially attracted to Jusepe de Ribera known as the Spagnoletto and Massimo Stanzione. From these studies, he derived a real painting of "values, in works such as, "From the Scoglio di Frisio," also known as "Palazzo Donn'Anna" (awarded and purchased at the 1893 Rome Fine Arts Exhibition for the National Gallery of Modern Art. That unfinished Baroque palace, the subject of numerous legends, where Esposito had fixed his abode as an authentic "deraciné," was one of his favorite themes, investigated to the point of obsession. He portrayed it, in fact, at various times of the day and in different weather conditions. The search for various effects of light never affected, however, the plastic firmness of the forms and he kept himself far from the coeval experimentalisms of avant-garde art. His life ended prematurely at only 53; feeling responsible for the death of a young model, Venturina Castrignani, whose love he had not reciprocated, he ended it by committing suicide. Works in public collections include: "Interior of the church of the Certosa di San Martino" (Naples, City Hall), "Temptation" (1883; Naples, formerly the Chiarandà Collection, today, Banco di Napoli, various "Studies" (Naples, Galleria dell'Accademia), "The Fisherman's Family" (Piacenza, Ricci-Oddi Gallery), "Return from Fishing" (Salerno, Provincial Council), "Old Fisherman" (Salerno, Provincial Museum), "Pacchiana and Mumarellara" (Salerno, City Hall). Two retrospectives were dedicated to him in the First Salerno Exhibition of 1927 and the Second of 1933. He died in Sala Consilina, Salerno, on April 7, 1911. Some works Oil paintings: Profile of a woman (1876) Prayer (1887) Harpist (1884) Portrait of a young woman (1884) Interior of a stable (1885) Puttino (1886) Betende Frau (1887) In the stable (1888) Küstenlandschaft (1892) Young woman with fan (1892) Corazziere (1903) Figura di donna (1894) Nella stalla (1895) A rocky coastal Landscape (1908) Portrait of a man with fur lapel (1910) Head of a child (1910) Landschaft bei Capri (1926) Italienische Strassenszene (1926) Naples, Palazzo Donn'Anna Country house An Italian Beauty I fidanzatini Marina di Capri con accomodatori di reti Peasant girl with a horse Young woman Bust of girl Bâteaux de pêche Une rue sous la pluie The violin lesson Castel dell'ovo, Naples Rocky coast. Drawings and watercolors: Portrait of man with hat (1875), ink Untitled (1883), mixed media Spanischer Dampfer "Puertoriqueno" (c.1885), gouache Scugnizzo (1887), pastel Italian Lake Scene (c.1890), watercolor The British merchant steamer Trelyon in a heavy swell (1891) Transitional Cargo Vessel in open Sea (1892), gouache H.M.S. Nile at sea (1893), gouache Palazzo Donn'Anna (1896), watercolor Battleship at Sea (1898), watercolor H.M.S Galatea (1899), watercolor L'enfant assis. (1899), charcoal A sail and steam ship leaving Valetta, Malta (1899), gouache The Battleship H.M.S Hood in a heavy Swell (1901), gouache Marine à bateau à vapeur (1901), watercolor HMS Hibernia off Fort St Angelo Grand Harbour, Malta (1902), watercolor H.M.S Caesar in the Mediterranean off Grand Harbour, Valetta (1903), gouache Portrait of a Girl (1905), pastel.
Winfred Gaul (1928 Düsseldorf - 2003 ebenda) (F)'5-1-59', Öl auf Leinwand, 140 cm x 100 cm, verso signiert, 59 datiert, betitelt, partiell leicht craqueliert, Provenienz: Galerie Änne Abels, Köln (verso Galerieetikett), Galerie Marianne Hennemann, Bonn (verso Galerieetikett)Winfred Gaul war ein deutscher Maler, der an der Universität Köln Kunstgeschichte und Germanistik studierte, sowie anschließend (1949-53) an der Stuttgarter Akademie Malerei bei Willi Baumeister. Während der 1950er Jahre wurde seine Kunst vom Informel beeinflusst, dessen Phase das von uns präsentierte Werk '5-1-59' durchaus zuzuordnen ist. Die Kunst des Informel ist geradezu als Sammelbezeichnung für eine abstrakte Kunstrichtung, die sich um 1945 in Paris formierte und sich durch die Ablehnung einer organisierten Formstruktur von der sogenannten Abstraktion abhebt, anzusehen. Die Bezeichnung dieser Stilrichtung, die in sich selbst den Tachismus, Action Painting und Art Brut hervorgebracht hat, geht auf eine Wortprägung des französischen Kritikers Michael Tapié zurück, der erstmals von der "Bedeutsamkeit des Formlosen" sprach. Wirklich formlos ist das Werk Gauls jedoch nicht, da es durchaus in den Farbverwirrungen und der wirbelartigen Struktur eine Form in sich trägt, die sich durch eine spontane Rhythmik beweist - was das angebotene Werk zu einem impulsstarken und unmittelbaren Ausdruck der Farbverläufe von blau und grün sowie weiß und schwarz macht. In den darauf folgenden Dekaden entwickelte Gaul seine eigene Kunst, die er zu artikulieren wusste. Vom Vokabular der Verkehrszeichen angeregte und starkfarbige abstrakte Signalbildsprache, die er als Hieroglyphen einer neuen Großstadtkunst versteht. Seine neueren Arbeiten setzen sich im Sinne der Analytischen Malerei mit den Phänomenen der Farbe und der Form in Zeichnungen und Malereien auseinander.Winfred Gaul (1928 Düsseldorf - 2003 ibid.) (F)'5-1-59', oil on canvas, 140 cm x 100 cm, signed on verso, dated 59, titled, partly slightly craquelured, Provenance: Galerie Änne Abels, Cologne (gallery label on verso), Galerie Marianne Hennemann, Bonn (gallery label on verso)Winfred Gaul was a German painter who studied art history and German language and literature at the University of Cologne and (1949-53) painting under Willi Baumeister at the Stuttgart Academy. During the 1950s, his art was influenced by Informel, to which phase the work we are presenting, '5-1-59', can certainly be assigned. The art of Informel can be regarded as a collective term for an abstract art movement that formed in Paris around 1945 and stands out from so-called abstraction because of its rejection of an organised formal structure. The designation of this style, which in itself gave rise to Tachism, Action Painting and Art Brut, goes back to a coinage of words by the French critic Michael Tapié, who first spoke about the ''significance of the formless''. Gaul's work is not really formless, as it certainly carries a form in its colour tangles and swirl-like structure that proves itself through a spontaneous rhythm - which makes the work an impulsive and immediate expression of the colour gradients of blue and green as well as white and black. In the decades that followed, Gaul developed his own art, which he knew how to articulate. Inspired by the vocabulary of traffic signs and strongly coloured abstract signal imagery, he understands them as hieroglyphs of a new metropolitan art. His more recent works deal with the phenomena of colour and form in drawings and paintings in the sense of analytical painting.
Werner Berges (1941 Cloppenburg - 2017 Schallstadt) (F)'See me', Acryl auf Leinwand, 100 cm x 80 cm, verso signiert, Nr. Juli 73/456/35 datiert und nummeriert, betitelt, partiell leicht fleckig, Provenienz: Galerie Regio, Freiburg, Ausstellungen: 1974 Mannheim (Kunstverein Mannheim), Ausstellung Werner BergesWerner Berges wurde 1941 in Cloppenburg geboren und war ein deutscher Pop-Art-Künstler, der durch seine Druckgrafiken, Skulpturen und Gemälde bekannt wurde. Von 1960 bis 1963 studierte er an der Kunstschule Bremen Gebrauchsgrafik mit dem Schwerpunkt Mode-Design, woran er sein Studium der freien Malerei an der staatlichen Hochschule für Bildende Künste in Berlin anschloss. Der Künstler wandte sich der figurativen Malerei zu, wobei eben jene Figuren zunächst aus unterschiedlichen Formen entstanden und somit einen geradezu surrealen Eindruck erweckten. In den 1970er Jahren stand die Pop-Art im Vordergrund und Werner Berges wurde durch sein Verständnis dieser Stilrichtung und der Verknüpfung zur Werbung vor allem durch sein Hauptmotiv - der Frau - bekannt. "Eine schöne Frau ist für mich immer noch das Vollkommenste, das ich mir vorstellen kann: Der ideale Gegenstand der Kunst." Berges präsentierte den aus der Werbung bekannten Typus der Frau, aber er entfernte die Werbefigur aus ihrem Kontext und präsentierte sie dem Betrachter in einem völlig neuen Licht. Dabei arbeitete Berges jedoch anders als Andy Warhol und Roy Lichtenstein, die das kollektive Bewusstsein ansprachen und Ikonen der Popkultur für Ihre Werke auserkoren. Bei Berges stand das Anonyme im Fokus. So wurde das von uns präsentierte Werk 'See me' betitelt und spricht den Betrachter direkt an, doch ist die abgebildete stilisierte junge Frau keiner wahrhaftigen Person zuzuschreiben. Wie auf dem Cover eines Fashion-Magazins ziert die Frau das Bild, das in Acryl auf Leinwand gehalten ist. Sie ist schlank, verdeckt ihren wohl freien Oberkörper grazil mit den eigenen Armen und ihre langen Haare wehen zur Seite, der Blick ist durch die Farbstreifen zum Betrachter gerichtet. Ähnlich einem Spektralwesen, welches sich aus reiner Energie heraus zusammensetzt und dadurch keine materielle Existenz besitzt, taucht die Frau zwischen dem Farbraster auf der Leinwand auf. Festgehalten wird sie nicht, da sie keinerlei Umrisslinien um sich zieht. Dennoch ist sie durch die Prinzipien der Optik sichtbar. In klaren Konturen setzt der Künstler das Modell in das Farbraster ein und lässt die Dame in den Lücken des grafischen Gerüstes entstehen.Werner Berges (1941 Cloppenburg - 2017 Schallstadt) (F)'See me', acrylic on canvas, 100 cm x 80 cm, signed on verso, no. July 73/456/35 dated and numbered, titled, partly slightly stained, Provenance: Galerie Regio, Freiburg, Exhibitions: 1974 Mannheim (Kunstverein Mannheim), exhibition Werner BergesWerner Berges was born in Cloppenburg in 1941 and was a German Pop-Art artist who became known for his prints, sculptures and paintings. From 1960 to 1963 he studied commercial art with a focus on fashion design at the Bremen School of Art, which was followed by his studies in free painting at the Staatliche Hochschule für Bildende Künste in Berlin. The artist turned to figurative painting, whereby those very figures were initially created from different forms and created an almost surreal impression. In the 1970s, Pop-Art came to the fore and Werner Berges became known for his understanding of this style and its link to advertising, especially for his main motif - the woman. ''A beautiful woman is still for me the most perfect thing I can imagine: The ideal object of art.'' Berges presented the type of woman familiar from advertising, but he removed the advertising figure from its context and presented it to the viewer in a completely new light. In doing so, Berges worked differently from Andy Warhol and Roy Lichtenstein, who appealed to the collective consciousness and chose pop culture icons for their works. For Berges, the focus was on the anonymous. The work, we are presenting, is titled 'See me' and speaks directly to the viewer, but the stylised young woman depicted cannot be attributed to any real person. Like on the cover of a fashion magazine, the woman adorns the picture, which is set in acrylic on canvas. She is slender, covers her probably free upper body gracefully with her own arms and her long hair blows to the side, her gaze is directed towards the viewer through the colour stripes. Similar to a spectral being, which is composed of pure energy and has no material existence, the woman appears on the canvas between the colour grid. She is not held in place, as she does not draw any outlines around her, but she is visible through the principles of optics. With clear contours, the artist inserts the model into the colour grid and allows the lady to emerge in the gaps of the graphic framework.
An Elizabeth II 2012 Jersey/Guernsey and Tristan da Cunha, "Diamond Jubilee Collection" fifty pence coin collection, Westminster, twenty-four 24ct. gold plated copper commemorative coins, 38.61mm, enamelled portrait to reverse, all in capsules with COA, together with the Elizabeth II 2012 Cook Islands "Diamond Jubilee Collection" 1 dollar coin collection, Westminster, eight 24ct. gold plated copper commemorative coins, 38.61mm, enamelled portrait to reverse, all in capsules with COA. (32 coins in Westminster case)
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