Full title: A pair of Dutch Delft blue and white tobacco jars with the royal British coat of arms, late 18th C.Description:H.: 25 cm Provenance:- A French private collection. Each jar is marked BP on the base for the 'De Vergulde Blompot' workshop, Delft, active from 1616 to 1841. They are numbered No. 17 and No. 18, below the Royal British coat of arms, inscribed HONY SOIT QUI MALY PENS (sic.), above the motto DIEU ET MON DROIT. Armorial Delftware tobacco jars are rare. Examples are known bearing the Great Seal of the United States (External link available on rm-auctions.com), the arms of Philip II of Spain (External link available on rm-auctions.com), the arms of the city of Amsterdam (External link available on rm-auctions.com), Rotterdam (External link available on rm-auctions.com) or of the province of Zeeland (External link available on rm-auctions.com). An example is also known bearing the Dutch royal coat of arms (External link available on rm-auctions.com). The present pair must have been commissioned by a British tobacco marchant, or a Dutch merchant with strong ties to Great-Britain.Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.
We found 4230 price guide item(s) matching your search
There are 4230 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
4230 item(s)/page
Full title: A varied collection of monochrome white and blue and white Dutch Delftware, 18th C.Description:Dia.: 34,5 cm - H.: 5,5 cm (the largest dish)Dia.: 29 cm - H.: 7 cm (the lobed dish)L.: 23 cm - H.: 19 cm (the cow milkers figure)H.: 8 cm (the smallest vase)Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.
Full title: Twelve white Delftware ointment jars and miniature albarelli, 17th C.Description:H.: 6 cm (the tallest)Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.
Full title: A rare Chinese famille rose holy water stoup and cover, QianlongDescription:H.: 21 cm Provenance:An old Portuguese private collection. Ref.: - Bonham's, Cohen & Cohen 50 - Years of Chinese Export Porcelain, New York, January 24, 2023, for another example. (sold USD 6.375) (External link available on rm-auctions.com) The lot essay states:Stoups are intended to hold small quantities of holy water for people to dip their fingers in before making the sign of the cross. They were often placed at the entrances to churches or holy sites.The form is known in Delftware, faience and metalwork but is rare in Chinese export porcelain. Dias, 1996, suggests that the presence of a cover means it was probably for private use rather than in a church where continual daily use negated its need. A pair of the same type and decoration as this can be found in the Museu da Fundação Ricardo do EspÃrito Santo Silva, Lisbon. A few examples are known in blue and white of similar shape, marked IHS to the back plate, for usy by Jesuits. Further references: Antunes, 2000, p. 55, no. 39, a pair identical to this example, in the collection of Ricardo do EspÃrito Santo Silva, also published Antunes, 1999, p. 91; Dias, 1996, p. 52-3, discussion of such pieces; Sargent, 2012, p. 310, a blue and white example in the Peabody Essex Museum, Salem, MA (AE85322.ab) purchased from Cohen & Cohen in 1996 and reference to a second example in the museum (E82867) purchased from Cohen & Pearce in 1990; a fragment of a blue and white back plate, now in the Bangkok National Museum, Thailand, was excavated in 1984 from San Petro, a Dominican church destroyed by the Burmese in 1767, at Ayutthaya, a former Portuguese settlement; Cohen & Cohen, 2014, no. 22, a further blue and white example; Sapage, 1992, cat. 24, a blue and white example of different shape with back-plate in the form of a crucifix, and inscribed IHS; Pinto de Matos, 2011, Vol. 3, p. 194, no. 492, a blue and white cruciform stoup.Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.
A good Brislington delftware tulip charger, circa 1700-20Of attractive small size, boldly painted in blue, green, yellow and red, with a formal spray of tulips and other flowers stemming from a neat grassy mound, the border of blue and yellow concentric lines below a blue dash rim, 29.3cm diamFootnotes:A similar charger from the Olive Collection was sold by Bonhams on 31 January 2019, lot 70. See Michael Archer's catalogue of Delftware in the Fitzwilliam Museum (2013), pp.42-44, figs.A65-68 where four similar chargers are attributed to Brislington. These examples are all larger than the present lot, which is of appealing neat proportions.For further information on this lot please visit Bonhams.com
A rare English delftware punch ladle, circa 1750With a round bowl applied with a long slender handle, painted in blue with trailing foliage, the handle with blue dashes, 17.5cm longFootnotes:Punch ladles were made in silver and other materials, with a curled over terminal on the handles that allowed the ladles to be hung on the rim of a punchbowl. Related shapes are known in glass from the 18th century. A white saltglaze punch ladle was sold by Garry Atkins, An Exhibition of Five Hundred Years of English Pottery, (1992), p.18, no.46. No other English delftware punch ladle is apparently recorded. However, an interesting parallel might be drawn from the decoration on a Liverpool delftware bowl from the Olive Collection, sold by Bonhams on 31 January 2019, lot 118, contemporary with the present lot. The bowl is painted with a detailed scene after William Hogarth's 'A Midnight Modern Conversation' where the central figure ladles punch from a ceramic punch bowl, the ladle of indeterminate material.For further information on this lot please visit Bonhams.com
A very rare Liverpool (Samuel Gilbody) cornucopia wall pocket, circa 1758-60Of spirally fluted form, the flared lobed rim moulded in low relief with berried leaves left in the white against a blue ground, the spiral moulding picked in blue with trailing foliage, 20.8cm highFootnotes:ProvenanceWatney Collection, Phillips, 10 May 2000, lot 668Illustrated by Bernard Watney, Liverpool Porcelain (1997), p.57, fig.216 and exhibited at Phillips Liverpool Exhibition in the same year. A similar example is illustrated by Maurice Hillis, Liverpool Porcelain (2011), p.306, fig.7.70, where the author notes its extreme rarity. Related shapes are found in contemporary English pottery. A delftware wall pocket dated 1748 and most likely made in Liverpool is illustrated by Louis L Lipski, Dated English Delftware (1984), p.356, no.1568. However, a more direct influence may be from English saltglaze. See Arnold R Mountford, Staffordshire Salt-glazed Stoneware (1971), fig.34 for a block mould for a cornucopia with a very similar border to the present lot.For further information on this lot please visit Bonhams.com
A Dutch Delftware tobacco jar and brass cover, De Drie Klokken (The Three Bells) factory, second half 18th centuryOf ovoid form, painted in blue with a framed rectangular scene of a tobacco plantation depicting the preparation and packing in barrels of tobacco leaves, titled above 'DE TABAKSPLANTAGIE' and with an oval frame flanked by leaves below inscribed 'No 5', the slightly domed brass cover with a ball finial, 31cm high, 'three bells' mark in blue (glaze losses to edge of rim)Footnotes:Provenance:Acquired in 1987Literature:D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 1;D. Gage, A Quintessential Art Rediscovered, in The Antique Collector Magazine, June 1988, pp. 71-75, fig. 3;S. Fellner, Die lasterhafte Panazee (1992), no. I/71Exhibited:London, The International Ceramics Fair and Seminar, The Dorchester Hotel, Special Loan Exhibition, The British-American Tobacco Company Collection of Tobacco Containers & Accessories, 10-13 June 1988;Vienna, Österreichisches Tabakmuseum, Die lasterhafte Panazee 500 Jahre Tabakkultur in Europa, 11 June-4 October 1992The potters at Delft were among the earliest to produce large tobacco jars with a large capacity that were intended for shops and tobacco producers rather than for personal use. Many such jars are inscribed with numbers or the names of different tobacco and some also bear the V.O.C, monogram of the Dutch East India Company.For further information on this lot please visit Bonhams.com
A Dutch Delftware tobacco jar and brass cover, De Drie Klokken (The Three Bells) factory, second half 18th centuryOf ovoid form, painted in blue with a tobacco plantation scene depicting the preparation and packing of tobacco leaves, within a rectangular frame titled 'DE TABAKSPLANTAGIE' above 'No. 4' within an oval frame at the base, with a brass, slightly domed cover with ball finial, 26.5cm high (excluding cover); 32cm high including cover, three bells mark in blueFootnotes:Provenance:Acquired in 1991For further information on this lot please visit Bonhams.com
Turquoise with lustre finish and branch patterning. Gold toned rim. Golden Delftware sticker on exterior."Hand Painted Delftware With Brass Accents" states sticker on bottom. This item has no reserve. Dimensions: 6.75"L x 4.25"W x 4"HManufacturer: DelftCountry of Origin: HollandCondition: Age related wear.
An early 19th century Delftware apothecary jar, blue and white floral decorated and inscribed. 18.5 cm high (see illustration). CONDITION REPORT: This drug jar is in poor condition, there is much loss to the glaze. There are also many chips, the most noticeable one that is +/- 1.5 cm wide to the base and then a number of shallow but visible chips to the rim of the top. The structure also has the occasional hairline crack. This is in used and dirty condition.
Full title: Nine Dutch Delft polychrome dishes and plates and a black Delftware sweetmeat dish, 18th/19th C.Description:Dia.: 36,5 - 30,5 cm (the largest and the smallest dish) Dia.: 22,5 - 16,5 cm (the largest and the smallest plate) 10,5 x 8,5 cm (the heart-shaped dish)Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com
Isis Pottery (Oxford) tin-glazed delftware blue and white flower brick, of rectangular form, pierced with apertures, painted with neo-classical landscapes, with painted marks, 13cm wide and a pair of Rosenthal Studio-Line trumpet-shaped faceted candlesticks glazed in white, 7.5cm high, printed marks (3)
A collection of 18th century and later blue and white ceramics including Delftware tiles. The lot to comprise a pewter handled and lidded Willow pattern jug with two ring mark to base, an early 20th century Japanese stoneware ginger jar with two character mark to base, ten Delft tiles each featuring an animal central design, some with wolves, some dogs and some lions, and a majolica style tin glazed plate with maker's mark to base. Teapot to measure approx. 17cm tall.
James Gow, RBA, British, d.1886- His First Message; oil on canvas, 49.5 x 40 cm. Provenance: Private Collection, UK. Note: Gow specialised in painting genre scenes, exhibiting fifteen of his works at the Royal Academy between 1852 and 1884. The present work may well be the painting entitled 'The first message', which was exhibited at the Royal Academy in 1862 (no.416). The maternal subject matter exhibits a strongly 19th-century preoccupation with feminine morality, emphasising the importance of a woman's role as a mother and care-giver. The Delftware plate to the left of the composition gestures towards the Dutch interior scenes by artists such as Pieter de Hooch (1629-1684), which clearly provided inspiration for the present work.
An Amsterdam plaque depicting Winter, circa 1730-45Decorated with an elegant couple ice skating, surrounded by smaller figures, some smoking from long pipes, a small dog or 'Keeshondje' dancing around the couple, an imaginary city cropping up behind the couple, 28cm wide x 2cm deep x 38.5cm high, (11in wide x 0 1/2in deep x 15in high) (some restored sections to the rim)Footnotes:ProvenanceWith H.C. van Vliet, Amsterdam; Sotheby's, Amsterdam, 10 October 1978.ExhibitedAmsterdam Historisch Museum (now the Amsterdam Museum), Delfts uit de provincie. Aardewerk uit Hollandse tegelfabrieken (Delft From The Province. Pottery From Dutch Tile Factories), 3 September 1999 - 9 January 2000.LiteratureJ.D. van Dam, Delfts uit de Provincie, Vormen uit Vuur, vol. 168/169 (1999) , p.53, cat. no. 51.Another polychrome plaque with the same depiction, also attributed to Amsterdam, is illustrated by Van Dam (op.cit. p. 53, cat.no. 51a), however its whereabouts today are unknown.In the last 50 years there has been much added to the research into the exact historic locations of the Dutch Delftware factories in the city of Delft, but also outside of this main centre of production. We know that tiles and plaques were made in Rotterdam, and that Utrecht and particularly Amsterdam, too, were locations for smaller but interesting factories. Jan Daniel van Dam published an important account in the newsletter of Dutch Ceramics, called Vormen uit Vuur in 1999 under the title 'Delftware from the Provinces (op.cit.). Here, Van Dam discusses the necessity for Amsterdam and Rotterdam makers who up until the first quarter of the 18th century mainly produced tiles, to re-invent their trade with the decline of demand for tiled interiors in the Netherlands and beyond. It may be that the present plaque is the result of such an adaptation, feeding a market hungry for less costly but impressive pieces of Delftware for the interior. Van Dam argues that as a result, the rims and borders around these Amsterdam or Rotterdam plaques often show a less refined finishing than those produced in Delft, often the plaques we now identify as Amsterdam have a rim that is later applied rather than moulded from the outset like in Delft.This plaque is likely composed using several print sources, the most prominent being the print of Winter from a series of the Seasons by Hendrick Goltzius (1558 – 1617), which were in turn copied by Jan Saenredam (1565 – 1607) in 1601.Image credit: Rijksmuseum, RP-P-OB-10.616This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An oval Dutch Delft plaque, circa 1730-50Painted with several birds perched on a lush arrangement of flowers in a two-handled Dutch Delftware vase decorated with a female portrait, the scene adorned with small insects including two spiders and a butterfly, all based on print sources likely after Jean-Baptiste Monnoyer, as published by Pieter Mortier, Amsterdam 1690-1700, 33cm diam x 2cm deep x 38cm high, (12 1/2in diam x 0 1/2in deep x 14 1/2in high) (tiny chips to the left of the plaque, 1x0.5cm)Footnotes:ProvenanceChristie's, New York, The Thomas Mellon Evans Collection, June 1998, lot 230;Salomon Stodel, Amsterdam, where purchased 1999.ExhibitedSalomon Stodel, TEFAF Maastricht, 1999.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Dutch Delftware oval plaque, circa 1750Decorated in polychrome colours with a rare interior scene of a spices shop, the initials ATV EK just to the right of the window, the interior scene enclosed by a wide polychrome shaped band of formal scrollwork and flowers in Kakiemon style alternated by four cartouches enclosing hares and single flower sprays, 34cm wide x 3cm deep x 37.8cm high, (13in wide x 1in deep x 14 1/2in high)Footnotes:ProvenancePrivate collection, Czech Republic (until 2008); Aronson Antiquairs (paper labels to reverse), where purchased in 2009.LiteratureAronson, R. and Lambooy, S., Dutch Delftware Plaques: A Blueprint on Delft, cat. no. 25, p. 51.The most famous overview of 17th century Dutch professions is 'Het Menselyk Bedryf' or the Book of Trades by Jan Luyken (1649-1712) published in 1695 and illustrating 100 professions and trades. Another 114 woodcuts by Jost Amman (1539-1591) illustrating the 'Staendebuch' (Eygentliche Beschreibung aller Stande auff Erde) or 'description of all the professions known on this earth'. For others see S. Lambooy, Dutch Delftware Plaques, a Blueprint of Delft, Aronson, 2009, p. 48.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Dutch Delftware plaque, circa 1760Decorated with a chinoiserie figure in long flowing robes and stylised landscapes with rocks, flowering shrubs and birds, within elaborate scrollwork cartouches reserved with a green band enclosing cartouches with exotic birds and seated figures, 37cm wide x 2.5cm deep x 42cm high (14 1.2in wide, 1in deep x 16 1/2in high)Footnotes:ProvenanceWith Nicolier (paper label to the reverse);With Aronson Antiquairs, where purchased 1995.ExhibitedAronson Antiquairs, TEFAF, 1995.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Dutch Delftware bottle vase or double-gourded vase ('knobbelvaas')Early 18th centuryThe double-gourded vase decorated in blue, iron-red and green with large sprays of flowers in flower vases and insects alternated with pierced rockwork and prunus flowers, all in an Imari palette, various auspicious objects scattered around, a small crab in the foreground, all under scrollwork panels again enclosing simplified scenes of the same nature, and with large exotic birds, perhaps referring to phoenix, in the air, 21cm wide x 47cm high (8in wide x 18 1/2in high)Footnotes:ProvenanceJoseph M. Morpurgo, Amsterdam.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Bouquetière en faïence anglaise dans le goût de Delft, probablement Bristol, circa 1750An English delftware flower brick, circa 1750Probably Bristol, of rectangular shape with twelve smaller and one larger hole to place flowers, painted in blue with Japanese-inspired landscapes with banded hedges, a bird and flower sprigs, the sides with similar sprigs, 15cm high (some typical chips to the edge)For further information on this lot please visit Bonhams.com
Important vase couvert à deux anses en faïence de Nevers, circa 1700A large Nevers faience two-handled vase and cover, circa 1700With two large serpent handles, decorated in blue and magenta with elaborate Chinoiserie scenes, the domed cover with a similar continuous scene, 67cm high M. in blue to the base (finial restuck, haircrack to foot)Footnotes:The famous French Court garden-architect Le Nôtre's gardens were scattered with earthenware orange tree pots, bowls and covered pots often produced in Nevers. Very few withstood the elements. This was not an uncommon use of earthenware and faience, and in fact Delftware was also integrated in the gardens of the Royal Palace of Het Loo as published by S. Lambooy, 'Royal Blue: William and Mary's Finest Delftware / Koninklijk Blauw: Het mooiste Delfts aardewerk van Willem en Mary' (2020).For further reading on the role of large Nevers vases in French formal gardens see C. Leprince, 'La faience baroque francaise et les jardins de Le Notre' (2014).For further information on this lot please visit Bonhams.com
Exceptionnel service en porcelaine de Meissen Hausmaler, circa 1725An exceptional Meissen Hausmaler service, circa 1725Of superb quality, decorated in the workshop of Sabina Aufenwerth, depicting various Arcadian landscape scenes including shepherd scenes, cattle scenes and stages of a coach ride, likely after Nicolaes Berchem, painted en grisaille and in pink tones, each finely detailed scene set within gilt strapwork borders under a c scroll rim, comprising:six cups and saucers;a slop bowl;a sugar box and cover;a teapot and cover likely from an associated contemporary service (the cover attached by a chain);a silver-gilt-mounted coffee pot and cover (the mounts marked for Elias Adam, Augsburg, 1722-26) the coffee pot: 22.5cm high (19)Footnotes:Provenance:The Rosa Alba Collection of Meissen PorcelainLiterature:U. Pietsch/K. Jakobsen, Frühes Meissener Porzellan (1997), no. 71Exhibited:Düsseldorf, Hetjens-Museum, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 19 January-6 April 1997;Dresden, Staatliche Kunstsammlungen Dresden, Porzellansammlung im Zwinger, 'Frühes Meissener Porzellan Kostbarkeiten aus deutschen Privatsammlungen', 7 May-13 July 1997Nicolaes Pietersz. Berchem (1622-1683) was a prolific Dutch painter and draughtsman, producing over 800 paintings and at least 57 etchings. His work was greatly esteemed and prints after him are numerous. These prints were used as wall decoration, were collected in books but also were used by artists as models. Prints by or after Berchem have been among the most predominant and recognisable graphic sources used on furniture, porcelain and delftware. Prints and engravings greatly increased an artist's visibility and popularity, and Berchem undoubtedly benefitted from this strategy. According to the art historian Gerdien Wuestman, 'There is hardly a Dutch artist whose oeuvre generated so many prints as Nicolaes Berchem.' (Gerdien Wuestman, 'Nicolaes Berchem in Print: Fluctuations in the Function and Significance of Reproductive Engraving,' in Netherlands Quarterly for the History of Art 24, no. 1 (1996): 19–53 p. 19.)Another teapot by the same hand was offered at Galerie Koller, Zurich, 19 March 2007, lot 1506 (si ringrazia Alessandro Biancalana per il riferimento).For further information on this lot please visit Bonhams.com
A GROUP OF SIX NAVAL COMMEMORATIVE JUGS, 19TH-20TH CENTURYcomprising small jug in lavender Parian ware by Samuel Alcock representing Captain Sir William Sidney Smith at the Siege of Acre, 5in. (13cm.) high; a lusterware pottery jug decorated with the action between “The United States and Macedonian”, 5in. (13cm.); a lusterware pottery jug representing the action of “The Hornet sinking the Peacock”, 4in. (10cm.); a Delftware jug commemorating “Cockburn for Ever”, 6½in. (16.5cm.); a Liverpool creamware representing sailors celebrating, 5½in. (13.5cm.); and a Royal Doulton Nelson commemorative type, 5½ in.(14cm.)(6)No apparent chips, minor paint loss only
A Delft Posset Pot, London or Bristol, circa 1710, of ovoid form with flared neck and strap handles, painted in blue with chinoiserie foliage beneath a scroll border25cm wideFor a similar example see Archer (Michael) Delftware: The Tin Glazed Earthenware of the British Isles, pg.264Cover lacking. Chips and fritting to the circumference of the rim. Fritting and abrasions to the sides of the handles and tip of the spout. Internally the spout hole with glaze chipping and a small pin prick in the belly of the spout. Two large conjoined pieces broken out of the rim and profesionally restored. Another section broken out and restored, extending between the handle terminals.
* A large collection of mixed ceramics, including a large Staffordshire vase/figure of a cow suckling her calf, 28 cm high, a pair of Staffordshire figures each holding a young child within a garden setting, 29 cm high, a blue and white earthenware plate, showing an early version of Willow Pattern, chipped, 28. 5 cm diameter, An English Delftware plate, circa 1780, hand painted with blue Chinese landscape, cracked ice pattern with a Chinese inspired building to the central panel beneath a weeping willow border intersected by the cracked ice motif, 23 cm diameter, a Poole pottery volcano vase, 11 cm high, plus other itemsQTY: (23)
Assorted items of pottery and porcelain including an English mid-18th century delftware blue and white plate, London or Bristol, painted with Oriental flower sprays, a 19th century French faience polychrome dish painted with flowers and leaves within blue linear borders, two Pratt Ware pot lids, one titled 'Strathfield Saye, the seat of the Duke of Wellington', another with crowned bear, cockerel and a lion, a pair of Staffordshire pottery greyhounds, a Tuscan china crested figure of a monkey, three Japanese dishes, two in the Imari palette and one in the Kakiemon palette, and other items Condition ReportAddition photos uploaded
Two Bristol Delftware plates, circa 1760, both with bianco sopra bianco borders, the centres in manganese, yellow and blue with Chinese landscapes, 22cm diameter/Provenance: from the Henry Sandon Study Collection CONDITION REPORT: - landscape plate with a flat rim chip at 6 o'clock and the end of one rim lobe at 2 o'clock. Pagoda plate with flat rim chip at 8oclock. Some glaze crazing.
A collection of 18th or 19th century blue and white Delftware tiles depicting various exotic wild animals to include lions, rhinoceroses, elephants, leopards, and further domesticated animals to include sheep, cattle, deer, a cat, a squirrel, etceach tile approximately 15cm squareQty: 25The tiles consisting of a lion, four lionesses, two leopards, two stags, a cat, two horses, a coyote, two sheep, two bulls, a cow, two elephants, two rhinoceroses, two wolves and one squirrel with its nuts all with some dirt and marks where removed from a fireplace, with some chips and minor losses to the edges. Each tile with some signs of plaster to the reverse.
A collection of 18th or 19th century Delftware tiles depicting courtly figures, figures from the bible, Oriental figures, etceach tile approximately 15cm squareQty: 31Two tiles broken and in need of repair. Further tiles with dirt, wear and marks where removed from a fireplace. Some chips to the edges. Some with slight alterations in size.
A collection of thirty four 18th-century Liverpool delftware titles with manganese decoration, twenty border tiles with foliate decoration, fourteen decorated with various subjectsthe border tiles 12.5cm x 6.5cm; the others 12.5cm x 12.5cmQty: 34Some biscuit chipping to the edges of the border tiles. One with a repair to the corner. Similar biscuit chipping to the square tiles, one with losses to the corner.
ANTIQUE CERAMICS REFERENCE BOOKS: incl. Cushion (J & M.) A Collector's History of British Porcelain, dw; Morton Nance (E.) The Pottery & Porcelain of Swansea & Nantgarw, dw; Hallesy (H. L.) The Glamorgan Pottery, Swansea 1814-38, dw; Van Lemman (H.) Delftware Tiles, dw (4)Provenance: private collection MonmouthComments: all generally clean and tidy.
Full title: An extremely rare Dutch Delft blue and white posset pot, early 18th C.Description:L.: 27,5 (incl. the cover) - H.: 22 cm Marked LVE on the base for Lambertus van Eenhoorn, the 'De Metaale Pot' workshop, Delft, 1691-1724. Signed by master painter Johannes Peridon, dating the piece between 1700 and 1710.Delftware posset pots are more commonly found in English Delftware, as the tradition of making posset was more common in Britain. Provenance: An important Belgian private collection. Ref.: - Museum Boijmans Van Beuningen, Rotterdam, Accession no. A 3322 a-b (KN&V), for the only other recorded example. (direct link available on rm-auctions.com)- Two other Dutch Delft posset pots are known, one in blue and manganese, previously with Aronson Antiquairs, Amsterdam (direct link available on rm-auctions.com) and one in the Museum fur Angewandte Kunst, Cologne, Germany. Both are signed SVE for Samuel van Eenhoorn, the brother of Lambertus.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Full title: A rare Dutch Delft blue and white coffeepot, dated 1732Description:H.: 30 cm Marked IML on the base and the inside of the cover, the base also dated 1732.Dutch Delftware coffeepots are rare, only a small number have survived.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
A WHITE-GLAZED JAR, TANG DYNASTYChina, 618-907. Of globular form, the body rising from a narrow foot to voluminous rounded shoulders with a short waisted neck surmounted by a rolled rim. The interior and exterior covered in a translucent creamy white glaze above a white slip. Parts of the lower body and the flat base unglazed, thus exposing the pale buff body with its characteristic pinkish hue.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age, showing some old wear and minor manufacturing irregularities, including glaze recesses and dark spots. Expected glaze flaking, minor losses, light scratches.Weight: 1018.1 gDimensions: Height 16.5 cm Literature comparison:Compare a related jar in the Idemitsu Museum of Arts, illustrated in Selected Masterpieces from the Idemitsu Collection, Tokyo, 1996, no. 90; and in Mayuyama, Seventy Years, Tokyo, 1976, p. 83, no. 219. Compare a related white-glazed pottery jar illustrated by Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, pp. 138-139, no. 229. Compare four related jars of varying sizes (14.3 to 25.5 cm. high), illustrated in Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 97, pl. 261 and p. 83, pls. 219-22.Auction result comparison: Type: Closely relatedAuction: Christie's 29 March 2006, lot 394Price: USD 3,600 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A white-glazed baluster jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (20.9 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 20 March 2023, lot 4Price: USD 7,013 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: Two white glazed pottery vessels, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.5 cm) and that this lot also comprises a shallow bowl.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 24 Mar 2023, lot 1002Price: USD 6,300 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A glazed white ware jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.4 cm). 唐代白釉罐中國，618-907年。侈口，短頸，豐胸，弧腹，平底。 通體覆蓋著半透明的白色釉。足部無釉，露淺黃色胎。來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008 年從上述人士手中收購，並自此在同一家族傳承。 品相：品相良好，有一些磨損和輕微的製造缺陷，包括釉面凹陷和黑點，輕微缺損與劃痕。 重量：1018.1 克 尺寸：高 16.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2006年3月29日，lot 394 價格：USD 3,600（相當於今日EUR 5,100） 描述：唐代白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(20.9厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2023年3月20日，lot 4 價格：USD 7,013（相當於今日EUR 6,500） 描述：唐白陶萬年罐及白陶壁足碗各一 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.5厘米)，以及此有一件淺碗。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2023年3月24日，lot 1002 價格：USD 6,300（相當於今日EUR 5,900） 描述：唐白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.4厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
A HENAN RUSSET-SPLASHED BLACK-GLAZED JAR, NORTHERN SONG TO JIN DYNASTYChina, 960-1234. The globular body rising from a short straight foot to a cylindrical neck with a lipped rim, set with a pair of strap handles. Covered to the horizontally ribbed interior and the exterior with a lustrous black glaze splashed with russet around the rim and handles, the glaze falling well short of the foot and pooling attractively in thick drops to reveal the buff-colored body.Provenance: From the collection of Grahame Clarke, and thence by descent within the same family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Very good condition with expected old wear and manufacturing irregularities, including glaze recesses, the foot chipped.Weight: 776.9 gDimensions: Height 10.8 cm Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 15 September 2018, lot 1414Price: USD 9,375 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: A russet-splashed black glazed jar, Northern Song/Jin dynastyExpert remark: Compare the related form and glaze with similar pooling and russet splash. Note the size (11.6 cm). 北宋至金河南黑釉鐵鏽斑雙耳罐中國，960-1234年。直口，削肩，雙繫耳，圈足。內外施有光澤的黑釉，邊緣和雙耳有鉄鏽斑色釉，釉料到罐身中間不問形成釉滴，露出淺黃色的身體。足下露胎。 來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008 年從上述人士手中收購，並自此在同一家族傳承。Grahame Clarke（1940-2014）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 Highland Stoneware。 在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：狀況非常好，有磨損和製造不規則，包括釉面凹陷、腳部缺口。 重量：776.9 克 尺寸：高 10.8 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2018年9月15日，lot 1414 價格：USD 9,375（相當於今日EUR 10,500） 描述：北宋 / 金黑釉醬斑雙繫罐 專家評論：比較相近的外形和褐黑色滴釉釉面。請注意尺寸(11.6厘米)。
A SMALL QINGBAI CENSER AND COVER, NORTHERN SONG DYNASTYChina, 960-1127. Standing on a short tapered foot, the deep rounded sides carved with overlapping petals. The domed cover of the incense burner is pierced with three rows of apertures encircling the central bud finial, all above an openworked pattern of radiating petals. The white ware of the censer and cover is glazed with a vitreous, bubble-suffused pale-blue glaze.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974, he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts. Condition: Very good condition with minor old wear and expected firing irregularities, few shallow chips, some of which have smoothened over time.Weight: 158.8 g Dimensions: Height 8.9 cm Literature comparison: Compare a related Qingbai censer with an openwork cover, 6 cm high, dated to the Northern Song dynasty, in the Art Institute of Chicago, accession number 2013.190. Compare a related tripod censer with pierced cover which was excavated in 1981 from a site near Jingdezhen in Boyang county and is now in the Jiangxi Provincial Museum, illustrated in Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty), Volume 8, Shanghai, 2000, no. 171. Compare a related Qingbai censer, illustrated in Selected Masterpieces of the Manno Collection, Osaka, 1988, no. 84. Compare a related Qingbai openwork censer, illustrated in Chinese Ceramics from the Meiyintang Collection, Volume I, London, 1994, page 329, no. 611. 北宋青白小蓋爐中國，960-1127年。香爐的圓蓋中央有花蕾鈕，穿有三排小圓孔。爐身外壁刻有重疊花瓣紋。香爐通體施青白色釉，釉色瑩潤。 來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008年 年從上述人士手中收購，並自此在同一家族傳承。Grahame Clarke（1940-2014年）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 高land Stoneware。在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：狀況極好，有輕微磨損、製造不規則和小缺口。 重量：158.8 克 尺寸：高 8.9 厘米 文獻比較: 比較一件相近的北宋青白小蓋爐，高6 厘米，收藏於芝加哥藝術博物館，館藏編號2013.190。比較一件相近的三足爐，1981年出土於景德鎮 ，現藏於江西博物館，見《Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty)》，卷8，上海，2000年，編號171。比較一件相近 Qingbai censer，illustrated in Selected Masterpieces of the Manno Collection，Osaka，1988，編號84. 比較一件相近的青白小蓋爐 ，見《Chinese Ceramics from the Meiyintang Collection》，卷 I，倫敦，1994年，頁329，編號611。
A set of three 19th Century Dutch Delft blue and white floral and foliate decorated shallow bowls 23 cm diameter, an 18th Century tin glazed Urbino style plate with floral spray decoration 22 cm diameter, a 19th Century Delftware blue and white plate decorated with courting couple beneath a tree with shepherd and sheep in background inscribed within an oval medallion "Meÿ" 23.3 cm diameter, a 19th Century Dutch Delft bowl with floral decoration 19 cm diameter and a tin glazed two handled pot with chinoiserie figure decoration (no lid) 15 cm wide handle to handle x 7 cm deep
A Dutch blue and white delftware model of a longcase clock containing a late 18th Century watch movement the case painted with figures in landscapes and flower sprays, the movement by Thomas Haley, London, the circular enamel dial signed Lis Woirol, Paris, the case late 19th century, 31.5cm. high [some damage].
Loading...-
4230 item(s)/page