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Lot 183
Disegno su carta rosa, firmato in basso a sinistra G. Sciltian, H cm 32x24 Al retro reca iscrizione per autentica ‘Confermo che questo disegno a carboncino e lapis è da me eseguito in Milano negli anni ‘50./Gregorio Sciltian/3-IX-83/Morgnaga del Garda’. Provenienza: Collezione Tamassia - Modena.
Lot 35
China e acquerello su carta, al retro titolo, data e monogramma dell’artista, H cm 48x36 Opera accompagnata da certificato di autenticità a firma Ontani, Bali 2000. Bibliografia di riferimento: “Ontani. Del buttare porcellini d’India a perline d’Italia”, Galleria Poggiale e Commerciale Forconi - Firenze, gennaio 2001, testo di Aldo Busi, opera pubblicata a piena pagina.
Lot 151
Bassorilievo su lastra d’argento 925/1000 dorata, firma in basso a destra Dalì, numero di tiratura in basso a sinistra 62/99, reca punzone in basso a destra, H mm 230x175 Opera accompagnata da certificato di autenticità e garanzia Istituto Poligrafico Italiano Arte Moderna, Roma e certificato di garanzia Les Heures Claires - Italia.
Lot 24
Tecnica mista su carta, firmato in alto a sinistra P. Borra, H cm 16x11.5 Al retro reca timbro e firma Galleria La Scaletta, etichetta Arte Fiera con data 1-2-99. Invito originale dell’Art Club per l’inaugurazione a Milan, al retro dell’opera testo dell’invito. Opera accompagnata da certificato di autenticità su fotografia a firma del nipote in data 28/01/1999.
Lot 181
Olio su tela, firmato in basso a sinistra e numeri romani, H cm 60x40 Al retro reca iscrizione per autentica ‘Roma 8-12-1989/Questo quadro è stato dipinto da G. Sciltian mio marito/Elena Sciltian’ e iscrizione sul telaio ‘per l’esposizione a Ferrara’. Provenienza: Collezione Tamassia - Modena; Casa Sciltian - Roma.
Lot 17
Andalusian School, XVIII century."Saint Rosalia".Oil on canvas.Measurements: 51,5 x 52 cm; 83 x 65 cm (frame).Devotional painting representing St. Rosalia of Palermo, wearing a crown of flowers and taking in his hands a stick with lilies that approaches his heart. With her gaze looking upwards, her rounded features are ecstatic. From the whiteness of her face, slightly flushed on her cheeks, emanates a light that turns into golden shades projecting on the background, so that her flesh seems to radiate divine light. The robe has been skillfully draped, contributing to the dynamism of the portrait. The palette is rich in carmine, ochre and mauve tones that accompany the soft shades of the flesh tones and the gilding of some details.Rosalia of Palermo was an Italian saint of the 12th century, whose cult was promoted by the Benedictines. She is considered a protector against infectious diseases, such as the plague, and is also invoked to seek her protection in difficult times. Rosalia lived in solitude, poverty and penance, and according to her hagiography she performed miracles such as the extinction of the plague that ravaged her native Sicily. Patroness of Palermo, she enjoys great devotion in Sicily. Saint Rosalia was an important subject in Italian Renaissance and Baroque painting, particularly in the sacre conversazioni (group images of saints flanking the Virgin Mary) of artists such as Riccardo Quartararo, Mario di Laurito, Vincenzo La Barbara and possibly Antonello da Messina. But it was the Flemish master Anthony Van Dyck (1599-1637), who was caught in Palermo during the plague of 1624, who produced the largest number of paintings of her. Saint Rosalia is usually depicted as a young woman with flowing hair, wearing a Franciscan hood or a crown of flowers and leaning toward the city of Palermo in her peril.
Lot 69
LUCA GIORDANO (Naples, 1634 - 1705)."Madonna and Child".Oil on canvas.Measurements: 75 x 62 cm (frame).Through a simple pyramidal composition of classical character, the author places the three characters that make up the scene inscribed in the pyramid. As a base the figure of the Virgin, rotunda, and monumental that serves as a shelter and support for the children. Slightly displaced to the left the small Jesus, completely naked carrying the Cross in one of his hands and finally, located in the lower left zone San Juanito, in profile to the spectator praying, and accompanied by his faithful lamb that contemplates the scene. The work presents certain similarities with the painting of Luca Giordano, located in the Church Dei Cappuccini, of Noci, located in the south of Italy.Luca Giordano, the most prominent Neapolitan painter of the late seventeenth century, and one of the main representatives of the late Italian Baroque.painter and engraver, known in Spain as Lucas Jordan, Giordano enjoyed great popularity during his lifetime, both in his native Italy and in our country. However, after his death his work was often criticized for its speed of execution, opposed to the Greco-Latin aesthetics. It is believed that he was formed in the environment of Ribera, whose style he followed at first. However, he soon traveled to Rome and Venice, where he studied Veronese, whose influence has been felt ever since in his work. This trip was key to the maturation of his style, as well as the influences of other artists such as Mattia Preti, Rubens, Bernini and, above all, Pietro da Cortona. At the end of the 1670s Giordano began his great mural decorations (Montecassino and San Gregorio Armeno in Naples), which were followed from 1682 by other projects, including the mural paintings in the gallery and library of the Palazzo Medici Ricardi in Florence. In 1692 he was called to Madrid to carry out mural works in the monastery of El Escorial, where he worked from 1692 to 1694. Later he also painted the office and bedroom of Charles II in the Royal Palace of Aranjuez, and after these he undertook the paintings of the Casón del Buen Retiro (ca. 1697), the sacristy of the cathedral of Toledo (1698), the royal chapel of the Alcázar and San Antonio de los Portugueses (1699). However, royal commissions ceased with the arrival of Philip V in 1701 and the beginning of the War of Succession, so Giordano returned to Naples in 1702, although from there he continued to send paintings to Spain. Today Giordano's works are kept in the most important art galleries around the world, including the Prado Museum, the Hermitage in St. Petersburg, the Louvre in Paris, the Kunsthistorisches in Vienna, the Metropolitan in New York and the National Gallery in London.
Lot 43
Nikos Hadjikyriakos-Ghika (Greek, 1906-1994)École de danse signé et daté 'Ghika/ 65' (en base à droite)huile sur toile65 x 91.5cm (25 9/16 x 36in).Peint en 1965.signed and dated (lower right)oil on canvasFootnotes:ProvenanceD. Pierides collection, Athens. Private collection, Athens. ExposéAthens, Benaki Museum, N. Hadjikyriakos-Ghika, the Apollonian - the Dionysian, November 22, 2006 - January 15, 2007, no. 272 (illustrated in the exhibition catalogue, p. 164).LittératureDemetris Z. Pierides Collection of Contemporary Greek Painting and Engraving, Athens 1982, no. 63 (listed and illustrated).Tachydromos magazine, no. 1501, February 17, 1983, p. 48 (illustrated).K.C. Valkana, Nikos Hadjikyriakos-Ghika, his Painting Oeuvre, Benaki Museum, Athens 2011, p. 209 (discussed and illustrated).In one of the most insightful essays ever written on Ghika, poet Kimon Friar elaborated on the idea of the artist as composer, discussing his paintings in terms of music and rhythm: 'The works of Ghika are composed: that is, they contain the elements of both composition and composure. They are a designer's compositions in line, colour and space; they are the work of a musical composer; and their final resolution is a composure which the classical artist imposes on the recalcitrant materials of life to create a cosmos for which we all long and dream but which only the artist may invoke.'1 These perceptive remarks written in 1946 perfectly apply to École de danse, a pictorially complex exploration of youthful energy painted almost twenty years later. Indeed, rhythm, musical effect, composure, sense of space and proportion, Dionysian movement and Apollonian order all come together in a well thought out, tightly designed and dynamically balanced composition, where spirit is transformed into rhythm and vice versa. As noted by D. Iliopoulou-Rogan who curated the artist's 2006 major retrospective in the Benaki Museum, Athens, 'this spirit-rhythm duality is not disassociated from flesh and bodily pleasures, as his works call upon both the senses and the intellect.'2 This is indicated by the presence of marble sculpture alluding to lofty humanistic aims, and by the choice of subject for the easel painting in the centre which refers to more mundane interests. 'The whole point is to find the balance,' Ghika once told the art critic Dora Vallier. For him proportion was the fundamental condition for a work of art.3 Reflecting the artist's long involvement with the design of sets and costumes for Rallou Manou's legendary 'Hellenic Choreodrama' dance group4 and echoing many of Degas's complex multi-figure paintings of ballerinas set in rehearsal studios practicing their steps, Ghika's young dancers inhabit the large space haphazardly, creating casual patterns of movement and gesture that would never be seen on stage (compare E. Degas, Ballet dancers, c. 1890-1900, National Gallery, London).Moreover, demonstrating Ghika's extremely broad and varied range of artistic concerns, this exquisite canvas features a host of references to the history of art ranging from Hellenistic and Byzantine conventions to cubist experimentations and surrealism's poetic metaphors and subversively irrational visions. The sculptural figure on the right echoes André Masson's famous Gradiva, while the enigmatic dancer on the left, captured simultaneously as stone and flesh, alludes to mythical Galatea, the statue that came to life and became a surrealist muse (compare Salvador Dali, Galatea of the Spheres, 1952). This compelling duality reflects Ghika's two-sided nature: 'the one, the methodical man restrained by reason, the other, the man whom the senses restore to the centre of human life. We would be wrong to imagine that either one is struggling to dominate the other. Rather, they unite his strengths in a spirit of collaboration, not rivalry, to achieve a victory that belongs equally to both of them.'5 1 K. Friar, 'Ghika as Composer,' in Paintings by Hadjikyriakos-Ghika, exhibition catalogue, British Council, Athens 1946. 2 D. Iliopoulou-Rogan, N. Hadjikyriakos-Ghika, the Apollonian-the Dionysian, exhibition catalogue, Benaki Museum, Athens 2006, p. 60.3 D. Vallier, 'Portrait of the artist', Art News and Review, no. 157, February 1955.4 See Iliopoulou-Rogan, Parallels, N. Hadjikyriakos-Ghika [in Greek], Polyplano editions, Athens 1980, p. 41.5 C. Zervos, article from Cahiers d'Art, December 1952.Dans l'un des essais les plus pénétrants jamais écrits sur Ghika, le poète Kimon Friar développe l'idée que l'artiste est un compositeur, et décrit ses peintures en termes de musique et de rythme : « Les œuvres de Ghika sont composées ; autrement dit, elles contiennent les éléments à la fois de la composition et de la maîtrise. Ce sont des compositions dans leur ligne, leurs couleurs et leur espace ; elles sont l'œuvre d'un compositeur de musique ; et leur réalisation finale témoigne de la maîtrise que l'artiste classique impose aux matériaux récalcitrants de la vie, afin de créer un cosmos dont nous rêvons tous depuis longtemps mais que seul l'artiste peut invoquer. Ces remarques très pertinentes, écrites en 1946, s'appliquent parfaitement à l'École de danse, qui est une exploration picturale complexe de l'énergie juvénile, peintes près de vingt ans plus tard. En effet, le rythme, l'effet musical, la composition, le sens de l'espace et de la proportion, le mouvement dionysiaque et l'ordre apollonien, tout concourt à une œuvre très bien pensée, dessinée d'un trait ferme et équilibrée sur le plan dynamique, où l'esprit est transformé en rythme et vice versa. Comme l'a noté D. Iliopoulou-Rogan, curateur de la grande rétrospective consacrée à l'artiste en 2006 au Musée Benaki à Athènes, cette dualité esprit-rythme n'est pas dissociée des plaisirs de la chair et du corps, étant donné que ses œuvres font appel à la fois aux sens et à l'intellect. Il suffit, pour s'en convaincre, de citer la présence de la sculpture de marbre qui évoque des aspirations humanistes élevées, ainsi que le choix du sujet sur le chevalet qui figure au centre, qui évoque des intérêts plus banals. Le tout est de trouver l'équilibre, comme Ghika l'a dit un jour à la critique d'art Dora Vallier. Pour lui, la proportion était la condition fondamentale de toute œuvre d'art. L'artiste a longtemps créé des décors et des costumes pour le groupe de danse légendaire de Rallou Manou 'Hellenic Choreodrama' ; cette expérience se retrouve dans l'École de danse, qui fait également écho à beaucoup d'œuvres de Degas, qui représentent des ballerines s'exerçant dans des studios de répétition. Les jeunes danseurs de Ghika habitent le vaste espace au hasard, créant des chorégraphies aléatoires et des gestes que l'on ne verrait jamais sur scène (comparer avec E. Degas, Danseuses de ballet, vers 1890-1900, National Gallery, Londres).En outre, cette toile exquise atteste de l'éventail extrêmement large et varié des préoccupations artistiques de Ghika, et fait de nombreuses références à l'histoire de l'art, depuis les conventions hellénistiques et byzantines jusqu'aux expérimentations cubistes, aux métaphores poétiques surréalistes et aux visions irrationnelles subversives. La figure sculpturale sur la droite fait écho à la célèbre Gradiva d'André Masson, tandis que le da... For further information on this lot please visit Bonhams.com
Lot 326
A LARGE BRONZE PLAQUETTE OF THE ECSTACY OF ST. CECILIA, AFTER RAPHAEL, ITALIAN, PROBABLY LATE 16TH CENTURY rectangular, the patron saint of music holding a portative organ and standing before a "viola da braccio", cymbals, tambourine, triangle and recorder on the ground, flanked by SS Augustine, John, Paul and the Magdalen, a choir of angels in the clouds above, labels to front of frame and reverse "J.E. Taylor Collection / 47" 24 x 17cm, 35.5 x 28cm including ebonised frame with giltwood mount Provenance: Collection of John Edward Taylor (1830-1905); sold Christie, Manson & Woods, London, "The Renowned Collection of Works of Art, Chiefly of the Mediaeval and Renaissance Times… formed by the Late John Edward Taylor, Esq.", 1 July 1912, lot 47 (to Ballard for 16"16|); Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* J. E. Taylor was a prolific art collector, as well as the proprietor of the Manchester Guardian, the newspaper his father had founded. He started his collection in around 1849, having returned to England after a couple of years on the continent. Following the death of his widow, the collection was sold over several days at Christie"s for a total of £358,500. Alongside his passion for early Works of Art, Taylor loved English watercolours. |Among the collection were twenty-four works by J. M. W. Turner, and seven by Blake. He gave more than sixty watercolours to the Victoria and Albert Museum, and to the British Museum a complete set of Turner"s Liber Studiorum.| (Dictionary of National Biography, September 2004) Rather than following the widely disseminated print by Marcantonio Raimondi (c. 1470/82 - c. 1534), which differs in several respects, the present composition closely follows Raphael"s altarpiece, commissioned for a chapel dedicated to St. Cecilia in the Augustinian church of San Giovanni in Monte in Bologna, completed around 1516/17.
Lot 349
A BRONZE PLAQUETTE OF CUPID SLEEPING, PSEUDO FRA ANTONIO DA BRESCIA (ACTIVE 1487-1514) circular, pierced and with suspension ring; together with another after Pseudo Fra Antonio da Brescia, circular, of a Bacchante and fawns, pierced to top, with corded rim (2) 7cm and 5.5cm respectively Provenance (cupid): Dr Hildburgh Collection; Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Cupid: Molinier 122; Bange 643 & 645; Kress 188 & 189; Scaglia III.17 & 18; Warren Ashmolean 335 & 336
Lot 350
A BRONZE MEDALLION OF ABUNDANCE AND A SATYR, PSEUDO FRA ANTONIO DA BRESCIA, 16TH CENTURY the reclining naked Abundance holding a cornucopia and raising her right hand as an ithyphallic satyr approaches blowing a cornett, buildings and a hill in the background, filled piercing 6cm diameter Provenance: Sotheby"s, London, 17 November 1970, part lot 55; Bernard Kelly, London. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* Kress 189; Bange 644; Scaglia III.19; Warren Ashmolean 334
Lot 309
A LEAD PLAQUETTE OF CHRIST BEFORE PILATE, VALERIO BELLI (C.1468-1546), 16TH CENTURY trapezoidal, Christ surrounded by soldiers and disciples brought before Pilate sitting on a dais and washing his hands, signed to the side of the platform "VALERIVS BELLV VICETINVS FA", a classical colonnade in the background, pierced 6.5 x 9.5cm Provenance: Collection of Alfred Spero (1886-1973), London, from whom acquired by Bernard Kelly between 1967-1969. *See lot 309 for Introduction to the Bernard Kelly Collection and Selected Bibliography* This scene is one of a series of similarly shaped Belli plaquettes of The Passion of Christ. Bange 766; Kress 14; Belli 56 LOTS 309 - 490: THE BERNARD KELLY COLLECTION OF PLAQUETTES TO BE SOLD WITHOUT RESERVE, PART PROCEEDS TO BENEFIT WESTMINSTER ABBEY Every so often, if increasingly rarely these days, a collection emerges onto the market that takes you back to another age. The interesting and varied collection of Renaissance and later plaquettes being offered here is therefore a major event. Although some have a more recent provenance, notably from Sylvia Phyllis Adams, whose collection was sold at Bonham"s in 1995, the nucleus of the collection on offer represents the private collection formed by the dealer Alfred Spero, mainly between 1911 and 1936. Spero began trading in London around the beginning of the twentieth century and his career, which lasted into the 1960s, bridged the late Victorian art world and the modern post-War market. Although today a largely forgotten figure, a glance at almost any marked-up catalogue of European sculpture and decorative arts sales in London from the 1920s to the 1960s will reveal Alfred Spero as one of the most active and consistent presences at the auction. Spero was able to benefit from the abundance of Renaissance small bronze sculptures, maiolica, glass and, of course, plaquettes and medals, that were then available on the market during what, for collectors and museums, must have been a golden age of opportunity. Alfred Spero"s own collection of plaquettes contained works stated to have come from some of the great collections of the nineteenth and early twentieth century, Adalbert von Lanna, whose vast collections were sold in Prague in 1911, J.E. Taylor, sold at Christie"s in 1912 and the banker Henry Oppenheimer, a series of sales in 1936, again at Christie"s. There are also plaquettes formerly belonging to two supporters of great museums, Thomas Whitcombe Greene, who gave many of his plaquettes to the British Museum in 1915, and Dr W.L. Hildburgh (1876-1955), one of the Victoria & Albert Museum"s greatest benefactors. Alfred Spero also had a close relationship with the V&A, which as a museum must have been close to his heart. He made a number of gifts to the museum and also sold it various bronzes and other works of art. Purchases and gifts from Spero helped the V&A build its preeminent collection of European Baroque ivories, whilst in 1964 the museum bought from him a masterpiece of Renaissance bronze sculpture, the exquisite figure of Venus removing a thorn from her foot of c. 1560-70 by the French sculptor Ponce Jacquiot. Small-scale, usually single-sided cast metal reliefs, plaquettes began to be made from the mid-fifteenth century and flourished in their purest form only for a limited period of around one hundred years, although they continued to be made into the seventeenth century and beyond. Their subject matter is varied, from designs after the antique to mythological and religious scenes, whilst some plaquettes are important records of designs originally made in precious metal, which have otherwise disappeared. When Alfred Spero began his professional career, plaquettes were eagerly collected and studied, but they have since become a somewhat unjustly neglected art form. At their best, plaquettes are extraordinarily inventive and beautiful works of art, which in their choice and treatment of subject matter are truly emblematic of the Renaissance rebirth of the arts. Dr Jeremy Warren, FSA Honorary Curator of Sculpture, Ashmolean Museum, Oxford Selected Bibliography * Attwood - Philip Attwood, "Italian Medals c. 1530-1600 in British Public Collections", 2 vols., London 2003 * Bange - E.F. Bange, "Staatliche Museen zu Berlin. Die italienischen Bronzen der Renaissance und des Barock. II: Reliefs und Plaketten", Berlin 1922 * Belli - Howard Burns, Marco Collareta and Davide Gasparotto, eds., "Valerio Belli Vicentino 1468c.-1546", Vicenza 2000 * Bernardi 1989 - Valentino Donati, "Pietre Dure e Medaglie del Rinascimento. Giovanni da Castel Bolognese", Ferrara 1989 * Bernardi 2011 - Valentino Donato, "L"Opera del Giovanni Bernardi da Castel Bolognese nel Rinascimento", Faenza 2011 * Bowdoin - Andrea S. Norris and Ingrid Weber, "Medals and Plaquettes from the Molinari Collection at Bowdoin College", Brunswick, Maine 1976 *Jones - Mark Jones, "A Catalogue of the French Medals in the British Museum. II. 1600-1672", London 1988 *Kress - John Pope-Hennessy, "Renaissance Bronzes from the Samuel H. Kress Collection: Reliefs, Plaquettes, Statuettes, Utensils and Mortars", London 1965 *Molinier - Émile Molinier, "Les Bronzes de la Renaissance. Les Plaquettes. Catalogue Raisonné", 2 vols., Paris 1886 *Norris/Weber - A.S. Norris and I. Weber, "Medals and Plaquettes from the Molinari Collection at Bowdoin College", Brunswick, ME 1976 *Planiscig - Leo Planiscig, "Kunsthistorisches Museum Wien: Die Estensische Kunstsammlung, I: Skulpturen und Plastiken des Mittelalters und der Reanaissance", Vienna 1919 *Scaglia - Francesco Rossi, "La Collezione Mario Scaglia. Placchette", 3 vols., Bergamo 2011 *Toderi Vannel - Giuseppe Toderi and Fiorenza Vannel, "Le Medaglie Italiane del XVI secolo", 3 vols., Florence 20004 *Warren
Lot 2199
FOUR CHINESE BRONZE ITEMS MING DYNASTY AND LATER Comprising: a bronze figure of Avalokitesvara standing and holding a spray of willow and a bottle, with a five character mark which reads Ren Shou yuan nian zhi, a gilt-bronze figure of a standing deity wearing long flowing robes, a quatrelobed bronze jardinière, with two mythical beast handles, set on bracket feet, a gilt-bronze mythical beast-shaped bronze rhyton, with a six character mark which reads Da Tang Zhengguan qi nian, 342g, 1.89kg, 2.8kg, 1.2kg, and 37.5cm max. (4)
Lot 465
The Royal Mail The Victorian Stamp Ingot Collection containing six silver proof stamp ingots: Penny Black, Embossed Shilling, Halfpenny Red, Penny Lilac, Five Pound Orange and Jubilee Shilling, (each with silver hallmark, 925 grade, 102g gross), also an Edward VII penny silver ingot, a Westminster Mint History of the RAF 50th Anniversary of the Battle of Britain Memorial Flight Flown Silver Coin Cover with GIBRALTAR silver proof five pounds 2007 coin on Mercury cover, limited edition number 716 of 950 in issue wallet, a Westminster Mint Royal British Legion Mulberry Harbours and D-Day Landings two-coin set with silver proof GIBRALTAR five pounds 2004, and a London Mint Office TRISTAN DA CUNHA silver crown 2014 commemorating the 100th year anniversary of the start of WWI, each in issue cases or carded, (eleven ingots and coins in total, each 925 grade silver, 226g gross)
Lot 480
Y IWC, DA VINCI RATTRAPANTE, REF. 3751A LIMITED EDITION PLATINUM PERPETUAL CALENDAR SPLIT SECONDS CHRONOGRAPH WRST WATCH WITH MOONPHASE, NO. 3418/500, CIRCA 1995Movement: Automatic chronographCase: Platinum case, stamped with platinum common control markDial: Silvered Strap: IWC black crocodile strap with pin buckleSize: 38mmSigned: Case, dial, movement, crown, strap, buckleAccessories: IWC box, guarantee card, instruction book, information bookCondition Report: Movement is currently functioning. The chronograph counts one minute, but the hour counter has not been tested due to time constraints. We have been unable to gain access to the movement to be able to report its condition. Dial appears to be in an average condition with some light marks and scratches when viewed under a 4x loupe. Hands appear to be in a generally good condition.Glass has some scratches and marks when viewed under a 4x loupe. Case shows light scratches and marks. Crown has light scratches when viewed under a 4x loupe. Strap shows marks and creasing. Buckle appears to be in good condition with minor marks and scratches when viewed under a 4x loupe.This lot comes with a box and papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. We recommend this watch is tested by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
Lot 538
ROSSI (GIACOMO GIOVANNI), a hand coloured engraved map titled 'Isola Di Malta, Gozzo Comino E Cominotto cauata dalle piu recenti notitie e da ta in luce da Gio. Giacomo de Rossi dalle sue stampe in Roma alla Pace con Priu del S. Pont l'anno 1686' [Islands of Malta, Gozzo Comino And Cominotto informed by the most recent news and highlighted by Gio. Giacomo de Rossi from his prints in Rome to Peace with Priu. del S. Pont in the year 1686], with lower inset 'Valetta And Its Fortifications' with surrounding key to thirty seven locations, 40.5cm x 54cm, framed and glazed
Lot 99
16 Danbury Mint FDC with Stamps and FDI Postmarks (all Include A Mint Stamp) plus 5 Assorted FDC, Mint Stamps 2 x Block of 3 two and halfpence pre decimal Stamps, 8 x Mint 1990 Island Stamps, Pitcairn, Bahamas, Barbados, British Antarctic Territory, Tristan Da Cunha, Ascension, St Helena, British Indian Ocean Transport, 4 x Gem Series small packs of used Stamps, Danbury Covers Include, Germany Renounces 1935 Agreement with Britain, Siege of German Graf Spee, Congress Amends Neutrality Law, First British Troops Arrive in France, Russia Invades Poland, Pact of Steel Signed by Germany and Italy, FDR Urges Conciliation to Avoid War, German Troops Crossed Into Czechoslovakia, Molotov Named Soviet Foreign Minister, Einstein Alerts FDR To Potential of Atom Bomb, Churchill Proposes British / Russian Alliance, Hitler Offers Friendship To Britain, Germany Invades Poland, First Allied Offensive, Britain and France Declare War on Germany, Russia Proposes Three way Alliance, Danbury Covers also has Certificate of Authenticity, 5 Assorted FDC Include Sir Isaac Newton 1987, Insects 1985, British Philatelic Bureau 1997, Cattle 1984. Good condition. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 2022
SUN HU (QING DYNASTY) GUANYIN An album of ten paintings, containing calligraphy of the Heart Sutra, depicting Guanyin, title-slip reads: Sun Hu jin hui Guanyin da shi tu ce, with one artist's seal, ink and colour, depicting scenes of Guanyin amongst clouds, in rocky landscapes with boys and attendants, mounted within brocade covers, signed Sun Hu, with two artist's seals and two collectors' seals, each 24.3cm x 15.3cm. Provenance: formerly in the collection of Madame Safia Sassi, Paris.孫祜（清） 觀音大士圖冊設色絹本 十一開冊署簽：孫祜敬繪觀音大士圖冊。鈐印：子夫秘玩款識：臣孫祜沐手恭繪。鈐印：恭繪、臣孫祜藏印：八千卷樓藏書之記（丁國典）、一印漫漶不辨註：孫祜（生卒不詳），江蘇人，善人物及山水，宗法王原祁，乾隆年間供奉內廷，為宮廷畫家，乾隆元年（1736）曾與陳枚、金昆等繪《清明上河圖》手卷，由乾隆審題。其傳世作有《雪景故事》現藏故宮博物院。
Lot 100
A MIRROR PAIR OF TURQUOISE GROUND DAYAZHAI ‘MAGPIE AND WISTERIA’ FAMILLE ROSE PORCELAIN VASESChina, Late Qing Dynasty, 19th centuryPainted to the exterior in famille rose enamels on a turquoise ground with a magpie perched on a wisteria vine overlapping a rose branch rising from the foot. The shoulders has a three-character inscription in iron-red “dayazhai” (da ya zhai, 大雅齋) followed by an oval seal with the six-character mark “tian di yi jia chun” that may be translated as "Spring throughout heaven and earth". The belows inscribed in iron red with the mark “Yongqing Changchun” (永慶長春).H: 27,2 cmNote: The mark Dayazhai (Studio of the Greater Odes) has been associated with the Dowager Empress Cixi. Although no such hall has been identified, a wooden framed plaque has been found in the Imperial workshops, bearing the characters Dayazhai and with one of two seals reading Tiandi Yijia Chun: see Guo Xingkuan and Wang Guangyao, Guanyang Yuci, Beijing, 2007, pp.145-147.一对“喜鹊与紫藤”大雅斋粉彩瓷花瓶中国，晚清，19世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- short firing cracks to the belows;- possibly a tiny minor chip to both the finial’s tops.
Lot 141
A PARCEL GILT CHINESE EXPORT SILVER FOLIATED DISH BY DA XING / DAXING / 大興 OF CANTONChina, Canton / Guangzhou, Qing Dynasty, 19th centuryThe central part with four medallions in reserve, the central one depicting a coiled dragon, that one surrounded by four, two depicting phoenix, two depicting flowers. The wing all covered with a woven pattern on which are eight medallions in reserve, alternatively squares and circles, adorned with deers, pheasants, cranes, qilings and other animal and flower species. Two medallions inscribed with 苑生 / Yue Chen. The below of the dish inscribed with two hallmarks, one unidentified, the other one, i.e. the maker’s mark, reading 大興 for DA XING of Canton. D: 25,7 cmWeight: 375 grams Note: Compare with a large silver dish offered at Christie’s New York, 2014/10/16-20, lot 32, sold for USD12.500 BP inc.中国出口鎏金银叶盘中国，广州，清代，19世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- scratches and wears;- faded gilt to several points.
Lot 2
*A FINE AND RARE WHITE JADE 'DA JI' DOUBLE-GOURD PLAQUEChina, Qing Dynasty, Attributed to Qianlong periodThe flattened section of very even white stone attractively carved around the edges with thin borders of small double gourds on a continuous leafy branch, the top with a pierced loop for suspension, the obverse carved in crisp shallow relief with the auspicious characters “da ji” (大吉), the reverse also “tian xi” (天喜), 'Heavenly bliss',carved in crisp shallow relief with the auspicious characters mounted within a wooden table screen also set with a carnelian plaque.Dimensions:- the plaque: H: 8 cm – w: 5 cm – thick.: 5 mm- the table screen: 22,4 cmWeight (the jade): 50 gramsNotes:1. The inscription “dà jí” means “good fortune” while the inscription “tiān xǐ” means “Heavenly Bliss”.2. The Chinese name for gourd (葫芦 hulu) also contains a homophone for words for protection or guard (护 hu) and also for blessing (祜 hu). The gourd is popular as a charm symbol to ward off evil spirits and disease because its first character (hulu 葫芦) has the same pronunciation as the word to "protect" or "guard" (hu 护) and also the word for "blessing" (hu 祜). In some dialects, the Chinese word for gourd (hulu 葫 芦) sounds the same as fulu (福 禄) which means "happiness and rank (as in attaining a high government office)". Trailing gourd vines are described in Chinese as man (蔓). This character can also be pronounced as wan and has the exact same pronunciation and meaning as 万 which means "10,000". Because the gourd contains many seeds, the Chinese associate the gourd with "10,000 children". In ancient China, parents hoped for many sons and grandsons so the gourd became an important symbol for a family with many children.3. A related jade plaque from the Qing Court Collection is illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Hong Kong, 2008, no.71. Another related but smaller jade plaque was sold at Christie's New York on 22-23 March 2012, lot 1927. Also see a related plaque at Bonham’s London, United Kingdom, 2012/05/17, lot 41 sold for €57.656 BP incl.上乘珍稀白玉“大吉”双葫芦牌中国，清乾隆年间*This lot is under temporary importation. An extra VAT will be applied to the final invoice. Please contact our office (yuchen@adams.ie) for further information. [INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Minor natural veins and inclusions in the stone.
Lot 1049
TWO CHINESE KO-SOMETSUKE DISHES FOR THE JAPANESE MARKET TIANQI 1621-27 Both decorated in underglaze blue with a deer underneath a pine, a crane in flight above, the rims with typical mushikui frits and both raised on a short foot, one dish inscribed Da Ming Chenghua nian zhi to the base, 20.8cm and 20.4cm. (2) Crane, deer and pine are all symbols of longevity and were depicted on these dishes for their auspicious meaning.
Lot 1048
A CHINESE BLUE AND WHITE SHONZUI-STYLE 'HARE' DISH FOR THE JAPANESE MARKET TIANQI 1621-27 The well decorated with a central medallion enclosing a plump rabbit within four radiating fan-shaped panels, variously painted with key fret, scales, cell diaper, or Y-pattern, with four cash symbols to the cavetto and a border of formal scrolling tendrils, the rim with typical mushikui frits, the underside with two flower sprays and butterflies, inscribed Da Ming Chenghua nian zhi to the base, 20.5cm. Cf. Princessehof Museum, Chinese Porcelain, The Transitional Period (1620-1683): a selection from the Michael Butler Collection, p.29, no.17, for a comparable dish. Also, see Christie's London, The Peony Pavilion Collection: Chinese Tea Ceramics for Japan (c.1580-1650), 12 June 1989, lot 219 for another example. The authors explain that the style is in the manner of shonzui wares, with complex geometric patterns.
Lot 1064
A SMALL COLLECTION OF JAPANESE IMARI PIECES MEIJI PERIOD AND LATER, 19TH AND 20TH CENTURY Comprising: three pairs of dishes, two with a mark reading Da Ming Jiajing nian zhi; a large bowl and a smaller footed one, marked Da Ming Chenghua nian zhi, all painted in polychrome enamels and variously decorated with mythical creatures, flowers, brocade patterns and other auspicious designs, 24.8cm max. (8)
Lot 1058
SIX JAPANESE PORCELAIN ITEMS EDO AND MEIJI PERIOD, 18TH AND 19TH CENTURY Comprising: a pair of foliate dishes, each decorated with a small butterfly fluttering by a cluster of grapes and vines; a pair of rectangular dishes with the Three Friends of Winter, the pine, prunus and bamboo issuing from rockwork, both with a mark to the base reading Da Ming Chenghua nian zhi; and a pair of circular bowls decorated in Kakiemon-style polychrome enamels with sprays of flowers and paulownia mon, 21cm max. (6) Cf. The Kyushu Ceramic Museum, Complete Catalogue of Shibata Collection, no.3681 for a related dish with vines and butterfly. The authors date it as c.1780-1810.
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