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Lot 1179
A box of assorted antique & vintage ceramics, to include cheese dish, plates, feeding cups and vases. Lot includes: a pair of Gibson & sons, Burslem, Windsor Art Ware vases; Spode & Coalport plates, Dresden flow blue feeding cup and unmarked ceramic cheese dish with pink rose transfer pattern.
Lot 677
WAGNER RICHARD: (1813-1883) German Composer. A good A.L.S., Richard Wagner, one page, 8vo, Biebrich am Rhein, 26th July 1862, to his editor Hermann Muller, Director of the Meser edition company in Dresden, in German. Wagner asks his correspondent to book a copy for him of the `Fliegende Hollander´ (“The Flying Dutchman”) for the direction of the Stadttheatre of Leipzig, and to send it, against reimbursement, as soon as the conductor, Rudolf Wirsing will request it. Two very small tears to the bottom edge with a light corner crease, and left edge very slightly trimmed, otherwise G to VG Fliegende Hollander (“The Flying Dutchman”) is an opera with libretto and music by Richard Wagner (1843)
Lot 1330
NAPOLEON I: (1769-1821) Emperor of France 1804-14, 1815. A good L.S., `Np´, one page, 4to, Elysée, 2nd of April, 1813, in Italian. The partially printed document, being a decree, bears a large printed heading “Napoleone, by the grace of God and by the Constitution, Emperor of the French, King of Italy”. The decree extends one more year the deadline granted to the Italians in February 1812, allowing them to request the French nationality, and contains two articles stating in part `…I nostri sudditi Italiani, che erano già naturalizzati in Paise estero ed in servizio di estera Potenza, per ottenere la nostra autorizhazhione mediante Lettere Patenti…´ (Translation: `…Our Italian subjects, who were already naturalized in a foreign country and at the service of a foreign power, to obtain our authorization through Patent letters..´) Signed at the base by Napoleon who prepares his Saxe military campaign and looks for new enlistments. Napoleon will leave Paris and go to Dresden less than two weeks later. VG Two days before the present letter was written, a Regency council was established, Marie-Louise becoming regent, and Régis de Cambacérès appointed secret adviser.The day after the present letter was written Napoleon enlisted 180,000 additional men.
Lot 683
GRIEG EDVARD: (1843-1907) Norwegian composer and pianist. A very fine content A.L.S., Edvard Grieg, three pages, to two separate sheets, grid paper, 8vo, Rudolstadt, 3rd September 1883, to Dr. Max Abraham, Director of the edition company Peters, in German. Grieg thanks his correspondent for his help regarding England, although he has still not received further news. Grieg also confirms that he will be playing his piano concerto on the 4th of December at Cologne, that he will conduct the two melodies for string orchestra and that he will play the sonata for violoncello and piano at Leipzig beginning of November but do not know yet who will play with him. Grieg further comments how tired he is to still be at Rudolstadt and expresses his joy because of his return shortly to Leipzig, stating `Unter der Voraussetzungs, das Sie jetzt zurückgekehrt sind, adressire ich diese Zeilen nach Leipzig, um Ihnen für Ihre Bemühungen, England betreffend, meinen besten Dank zu sagen. Ich habe nach Ihren Rath zugesagt, habe aber seitdem nichts gehört. Das Resultat von einer Correspondance mit den Herren Reinecke uund Hiller ist, das ich in Cöln am 4ten December mein Klavierconcert spiele, und die beiden Melodien für Streichorchester dirigire, und in Leipzig Anfang November die Cellosonate in der Kammermusik spiele, - mit wem, weiss ich noch nicht. Über die Eulenburgische Arrangements weiss ich noch nicht. Ich habe jetzt Rudolstadt bald satt und freue mich, wieder nach Leipzig zu kommen…´ Bearing a collection stamp to the upper left corner. Overall creasing, with two small tears to the upper and right edges and with trimmed left edges. G Provenance: from Max Abraham (1875-1922); his nephew Henri Hinrichsen (1868-1942) who died at Auchwitz; after the nazi expoliation was later stored at the Sachsische Landesbibliothek in Dresden, and finally returned to the Hinrichsen inheritors.
Lot 10
GREAT BRITAIN. George II, 1727-60. Gold half-guinea, 1759. - A very high-grade example of a difficult series.- Graded NGC MS63, there are just a handful of examples graded finer.- Featuring an accomplished bust by the great John Croker.Old laureate head left; GEORGIVS · II · DEI · GRATIA · [George II, by the grace of God]. / Crowned, garnished shield of arms; date divided above; · M · B · F · ET · H · REX · F · D · B · ET · L · D · S · R · I · R · A · T · ET · E · [King of Great Britain France and Ireland, defender of the Faith, Duke of Brunswick and Lüneburgm, Arch-Treasurer and Elector of the Holy Roman Empire].In secure plastic holder, graded NGC MS 63, certification number 2124450-021. A choice example, with a good strike, minimal wear and considerable lustre. Very rare in this condition. NGC Census in this grade: 4.NGC Census in higher grade: 5Total NGC Census: 29Reference: Bull-660; Fr-349; KM-587; MCE-365; S-3685Diameter: approx. 21 mm.Weight: 4.12 g. (AGW=0.1237 oz.)Composition: 916.0/1000 Gold.Edge: MilledDesigner/engraver: John Croker (1670-1741)The CoinThe half guineas of George II are a series plagued with surface issues, with a large number of examples having been found in water and exhibiting related surface problems. This coin features no such issues and with just a handful of examples graded higher (undoubtedly including resubmissions) this is one of the best examples of the issue available to collectors. The coin has beautiful surfaces that glint and glimmer with a subtle, swirling lustre - extremely rare on these issues. The strike is good for the issue and Croker’s strong and characterful design exists here proudly. A world-class example of a problematic series.John Croker (1670-1741)Johann Croker, who later anglicised his name to John, was born in Dresden, Saxony in 1690. As a child, Croker lost his father, an accomplished cabinet maker, and was then taken under the wing of his goldsmith and jeweller godfather. The budding artist flourished under this apprenticeship and upon its completion made his way to England, via the Netherlands, where he worked as a jeweller and medallist until becoming an assistant to Henry Harris, Chief Engraver of the Royal Mint, in 1697 – not long after a not-yet-knighted Isaac Newton joined the mint as Warden. In 1705, the same year Mr Newton became Sir Isaac, Croker was appointed as Chief Engraver. Croker, working closely with Newton, engraved nearly all dies of Queen Anne, King George I, and many of George II. Few engravers have left as great an impact on British coinage as John Croker. In 1729, a 24-year-old John Sigmund Tanner (1705-75) was appointed his assistant. With Croker’s death in 1741, Tanner carried on the torch of Chief Engraver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. No other fees, including live bidding. Delivery cost will be added to your order.This lot is exempt from VAT. Payment can be made in EUR, CHF, or USD for an exchange fee. Please contact us to find out more.
Lot 368
An American early 20th century Art Nouveau sapphire, peridot and enamel brooch by Marcus & Co., fashioned as a delicate foliate spray with plique-à-jour enamelled leaves, the arching design mounted with sapphire and peridot bead ‘fruits’, mounted to textured gold branches, reverse stamped ‘MARCUS & CO 18K’, dimensions 42 x 55mm, length 43mm. £2,000-£3,000 --- Marcus & Co. Herman Marcus (1828-1899) was born and raised in Germany and began his jewellery career at the court jewellers Ellemeyer in Dresden. In 1850 he emigrated to New York, first finding work with Tiffany & Co., then later with Ball, Black & Co., before going into partnership in 1864 with Theodore Starr. The company traded under the name of Starr & Marcus until 1877, when Herman returned to work for Tiffany & Co. In 1884, he joined his son William in business with George Jacques, the company trading as Jacques & Marcus. After Jacques’s retirement in 1892, the company was renamed Marcus & Co. and within a few years, his second son George joined the family business. Marcus & Co. continued to rise in profile. In 1897 the firm exhibited over 40 pieces in the Society of Arts and Crafts in Boston. Herman’s time in Dresden had taught him technical skills of craftsmanship including plique-à-jour enamelling, and around the turn of the century, some of the firm’s finest work incorporated the use of these delicate translucent enamels in their Art Nouveau flower jewels, often using the so called ‘neglected’ gemstones in their work - such as chrysoberyl, zircon, tourmaline, opal and peridot. In 1899, Herman died and his two sons continued the business, working in the Art Nouveau and Arts and Crafts styles which remained popular in America as late as the 1920s, as well as keeping in touch with emerging fashions. In 1939 Marcus & Co. were one of only five jewellers to exhibit their jewellery designs in the ‘House of Jewels’ at the New York World Fair alongside Tiffany & Co., Cartier, Udall & Ballou and Black, Starr & Frost, showing the high level of prestige with which their jewellery was regarded. The Second World War proved too challenging a time for the company, and in 1941 the firm was sold to Gimbells, the department store, which merged in 1962 with Black, Starr & Frost. Today, Marcus & Co. are considered one of the outstanding early 20th century American jewellers. Condition Report General surface abrasion evident to many of the gemstone beads. Some small chips visible. Scratched indistinct numerals to one of the gold branches visible to the reverse. Gross weight 11.9gm.
Lot 306
CHINA & GLASSWARE, A MIXED COLLECTION - to include Royal Doulton hand painted floral plate, 26.5cms diameter, a pair of Hammersley & Co Dresden Sprays circular plates, 23.5cms diameter, a Delft blue and white circular shallow dish with white metal swing handle, 8cms diameter, various 'Nursery ware' dishes, coloured glassware, six tankards decorated with pheasants, ETC
Lot 192
A Large Pair of Early 20th Century Dresden Porcelain Figures, of a Courting Couple, bearing faux Meissen marks to base, tallest 47cmGentleman - numerous chips to the floral elements. Firing flaw to the right ankle. Glaze chip to the right shoe tip. Left middle two finger tips chipped. Some paint scratches throughout. Lady - numerous chips to the floral elements. One or two firing flaws. Otherwise Ok.
Lot 540
'RED AND WHITE COTTON ROSES', A PAIR OF SILK PAINTINGS AFTER LI DI (C. 1100-AFTER 1197)China, 19th century. Ink and watercolors on silk, with Japanese silk brocade frames and mounted as hanging scrolls. Each finely painted with two hibiscus blossoms borne on leafy stems, one depicting the flowers in the morning when they are white and the other showing them later in the day, as they gradually turn first pink and finally crimson red.Inscriptions: To each painting, upper left, inscribed 'Painted by Li Di in the Year of Dingsi in the Qingyuan era' (corresponding to 1197). Each scroll with a Japanese seal reading 'Divine Class, Copy by Shimbi Shoin'.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. The wood storage box with two old labels from the Shimbi Shoin, Tokyo, another inscribed '2/16/-', and a fourth with an illegible inscription. Shimbi Shoin was a Japanese publisher, active between ca. 1899 and 1938, noted as the premier venue for art reproductions that were highly acclaimed for their superior quality and technical excellence. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa. Condition: Good condition with minor wear, some creasing, small tears and losses.Dimensions: Image size 24.3 x 25.2 cm (each), Size incl. mounting 126.5 x 39 cm (each)With an old wood storage box. (3)Hibiscus mutabilis, also known as the cotton rose, is a plant long cultivated for its showy flowers. Floral color change occurs in H. mutabilis when flowers are white in the morning, turning pink during noon, and red in the evening of the same day. In Japan, they are also known as 'drunk cotton roses' (suifuyo) due to this color change from white to red, as depicted on these two hanging scrolls. Li Di (c. 1100 - after 1197) was a Chinese imperial court painter in the Song Dynasty. He was born in Heyang (present-day Meng County in Henan Province) and was noted for painting flowers, birds, bamboo, and animals in motion. Di was a member of the Academy of Worthies (Jixianyuan). Evidence that he was active as a painter during the latter half of the twelfth century is provided by the dates he wrote on some of his works and also from the career of his son, Li Demao (active late twelfth - early thirteenth centuries), who, not surprisingly, also became a painter in the Imperial Painting Academy.Literature comparison:The original pair of hanging scrolls depicting cotton roses by Li Di is in the Tokyo National Museum, object number TA-137.李迪(約1100-1197年後) 風格《紅白芙蓉圖》中國，約十九世紀，絹本水墨設色，日本裝幀，掛軸。色彩富麗，暈染採用沒骨畫的技巧，過渡自然，表現出芙蓉花瓣形態及色彩細微的變化特徵。色彩細膩而透明。 款識：慶元丁巳嵗李迪畫；收藏印：神品 審美書院複製 來源：Felix Tikotin收藏，在同一家族保存至今。木盒上有兩個東京審美書院的舊標籤，另一個上有 '2/16/-'字樣，第四個標籤上有款。審美書院是日本出版商，活躍於 1899 年和 1938 年間，因其藝術複製品卓越的品質和卓越的技術而備受讚譽。Felix Tikotin (1893-1986) 是一位建築師、藝術收藏家，也是中東第一家日本藝術博物館的創始人。他出生在德國格洛高的一個猶太家庭，他的祖先隨拿破崙從俄羅斯一個名叫提科欽的小鎮返回。他在德勒斯登長大，第一次世界大戰後前往日本旅行，並立即愛上了它的文化。1927 年 4 月，他在柏林開設了自己的第一家藝廊。二戰時，整個家庭在大屠殺中倖存下來。1950 年代，Tikotin 慢慢恢復了他作為日本藝術品經銷商的活動。他非常成功，在歐洲和美國各地舉辦展覽。當他在 1956 年第一次訪問以色列時，他決定把他的大部分收藏都捐贈給以色列。1960 年，Tikotin 日本藝術博物館在海法開放。 品相：狀況良好，有輕微磨損、一些摺痕、小撕裂和缺損。 尺寸：畫面分別為24.3 x 25.2 厘米，總126.5 x 39 厘米 (每幅) 木盒 (3)
Lot 116
A GUAN-TYPE CONG-FORM ARCHAISTIC VASE, 18TH CENTURYChina. Of archaic jade form, the straight-sided square section body rising from a short foot to a narrow tapering circular neck, finely molded in shallow relief with two vertical bars down each side, and alternating shorter and longer horizontal bars down the four corners. Covered overall in a thick pale-gray glaze suffused with a network of golden and black crackles, masterfully controlled so that they emphasize the archaic form of the vessel.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa. Condition: Very good condition with minor wear and firing irregularities, intentional crackling, one tiny nick to the mouth. The foot slightly smoothened, probably inherent to manufacture. Weight: 255.8 g Dimensions: Height 11.8 cmExpert's note: One feature that sets the present Guan-type cong-form vase apart from later examples is the masterly control of the two-tone crackle, with the dark lines accentuating the form of the vase and the smaller, golden network highlighting the molded decoration. This level of precision on such an inspired yet simple design is not found on any Chinese porcelain later than the 18th century. Literature comparison: Compare the guan-type vase of this shape and decoration illustrated in Monochrome Porcelain (Beijing): The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, page 221, pl. 199.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 16 September 2014, lot 161 Price: USD 15,000 or approx. EUR 18,000 converted and adjusted for inflation at the time of writing Description: A 'Guan'-type cong vase, Qing dynasty, 18th centuryExpert remark: Compare the closely related form and thick glaze with similar two-tone crackle. Note the near-identical size (13.6 cm).十八世紀仿官釉琮形瓶中國。玉琮形瓶，圓口、方腹、圈足，四面凸起橫直條紋。通體覆蓋著一層厚厚的淺灰色釉，上面佈滿了金絲鐵線紋，更加突出了古玉琮的風格。 來源：Felix Tikotin收藏，在同一家族保存至今。Felix Tikotin (1893-1986) 是一位建築師、藝術收藏家，也是中東第一家日本藝術博物館的創始人。他出生在德國格洛高的一個猶太家庭，他的祖先隨拿破崙從俄羅斯一個名叫提科欽的小鎮返回。他在德勒斯登長大，第一次世界大戰後前往日本旅行，並立即愛上了它的文化。1927 年 4 月，他在柏林開設了自己的第一家藝廊。二戰時，整個家庭在大屠殺中倖存下來。1950 年代，Tikotin 慢慢恢復了他作為日本藝術品經銷商的活動。 他非常成功，在歐洲和美國各地舉辦展覽。當他在 1956 年第一次訪問以色列時，他決定把他的大部分收藏都捐贈給以色列。1960 年，Tikotin 日本藝術博物館在海法開放。 品相：狀況極好，有輕微磨損和燒製不規則、刻意開片，口上有一個小缺口。腳部稍微光滑，可能是製造所固有的。 重量：255.8 克 尺寸：高 11.8 厘米 專家注釋：這件仿官釉琮形瓶有別於後世之作的一大特徵是對雙色裂紋的巧妙控制，深色線條突出瓶形，較小的金色網紋突出模壓紋飾。 在十八世紀以後的任何中國瓷器上，都找不到這種精確度。 文獻比較： 比較仿官釉琮形瓶和裝飾，見《故宮博物院藏文物珍品全集．顏色釉》，香港，1999年，頁221，圖199。
Lot 361
A FINELY MOLDED DING 'PEONIES' BOWL, NORTHERN SONG TO JIN DYNASTYChina, 12th-13th century. Thinly potted with deep, gently rounded sides supported on a short circular foot. The interior crisply molded with a central flowerhead surrounded by blossoming peonies borne on leafy stems encircled by a key-fret border below the metal-bound rim. Covered overall with a pale ivory glaze.Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa. Condition: Excellent condition with minor wear and firing irregularities, including pottery lines, the metal-bound rim with few minuscule nicks. The exterior of the bowl with remnants of a lacquered inscription.Weight: 80 g Dimensions: Diameter 12.4 cmMolded decoration on Ding wares was adopted in the latter part of the Northern Song dynasty and flourished during the Jin dynasty. The molding technique allowed the Ding potters to adopt more complex and formal designs. The molds used were meticulously crafted and similar to those used to cast decoration on gold and silver works of art.Literature comparison: A molded Ding bowl with a similar design in the National Palace Museum, Taipei, is illustrated by Tsai Meifen, Decorated Porcelains of Dingzhou: White Ding Wares from the collection of the National Palace Museum, Taipei, 2014, p. 150, no. II-95. See, also, another Dingyao conical bowl of similar design from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum - 32 - Porcelain of the Song Dynasty (I), Hong Kong, 1996, p. 62, no. 54.北宋至金定窯印花牡丹紋盞中國，十二至十三世紀。圓侈口，帶銅扣，淺壁圓底，小圈足。內壁模印纏枝牡丹花紋，花紋工整繁密。通體施淺象牙白釉。 來源：Felix Tikotin收藏，在同一家族保存至今。Felix Tikotin (1893-1986) 是一位建築師、藝術收藏家，也是中東第一家日本藝術博物館的創始人。他出生在德國格洛高的一個猶太家庭，他的祖先隨拿破崙從俄羅斯一個名叫提科欽的小鎮返回。 他在德累斯頓長大，第一次世界大戰後前往日本旅行，並立即愛上了它的文化。1927 年 4 月，他在柏林開設了自己的第一家藝廊。二戰時，整個家庭在大屠殺中倖存下來。1950 年代，Tikotin 慢慢恢復了他作為日本藝術品經銷商的活動。 他非常成功，在歐洲和美國各地舉辦展覽。當他在 1956 年第一次訪問以色列時，他決定把他的大部分收藏都捐贈給以色列。1960 年，Tikotin 日本藝術博物館在海法開放。 品相：品相極佳，有輕微磨損和燒製不規則，包括陶紋、輕微邊緣刻痕。碗的外壁有漆文的殘餘。 重量：80 克 尺寸：直徑12.4 釐米 文獻比較： 一件有相似設計的定窯白瓷碗，收藏於臺北故宮博物院，見蔡玫芬編，《定州花瓷-院藏定窯系白瓷特展》，臺北，2014年，頁150，編號II-95。另一件有相似設計的清廷收藏定窯白瓷碗，見《故宮博物院藏文物珍品全集‧32‧兩宋瓷器（上）》，香港，1996年，頁62，編號54。
Lot 373
A BLUE AND WHITE POURING BOWL, YI, YUAN DYNASTYChina, 1279-1368. Well potted with rounded sides resting on a slightly concave base, one side set with an outward flaring spout above a small loop handle, the interior painted with a central medallion enclosing a lotus blossom surrounded by leaves, encircled by a diapered band below the rim, the exterior with a broad band of flowerheads borne on sinuous leafy vines, the spout with a cloud, the base left partly unglazed to reveal the ware burnt to orange in the firing. Provenance: From the collection of Felix Tikotin, and thence by descent within the family. Felix Tikotin (1893-1986) was an architect, art collector, and founder of the first Museum of Japanese Art in the Middle East. Born in Glogau, Germany, to a Jewish family, his ancestors had returned with Napoleon from Russia from a town named Tykocin. He grew up in Dresden and after World War I, he traveled to Japan and immediately fell in love with the culture. In April 1927, he opened his own first gallery in Berlin. The entire family survived the holocaust, and in the 1950s Tikotin slowly resumed his activities as a dealer in Japanese art. He became, once again, very successful and prominent, holding exhibitions all over Europe and the United States. When he first visited Israel in 1956, he decided that the major part of his collection belonged in that country. In 1960, the Tikotin Museum of Japanese Art was opened in Haifa. Condition: Very good condition with some old wear, traces of use and shallow surface scratches, and firing irregularities including kiln grit and some glaze pooling and recess at the rim, the latter smoothened in the manufacturing process.Weight: 223.4 g Dimensions: Length 15.5 cmBowls of this form are known as yi and appear to have been used as pouring vessels together with yuhuchun vases. Chiumei Ho in 'Social Life Under the Mongols as Seen in Ceramics', Transactions of the Oriental Ceramic Society, vol. 59, 1994-95, p. 44, notes that in archaeological contexts they are often found together with such vases and wine cups. This pairing is also depicted in a wall painting from the tomb of Zhang Andabuhua and his wife, which has been dated to 1269 AD and is illustrated in the catalog of the exhibition The World of Khubilai Khan. Chinese Art in the Yuan Dynasty, The Metropolitan Museum of Art, New York, 2010, p. 83, fig. 115.These bowls were also used by Mongols in Iran, as exemplified by the bowl painted in the Enthronement Scene, part of the album Jami al-tavarikh (Compendium of Chronicles), which was commissioned between the reigns of Ghazan (r. 1295-1304) and his brother, OEljeitue (r. 1304-1316), included in the exhibition The Legacy of Genghis Khan, Courtly Art and Culture in Western Asia, (1256-1353), The Metropolitan Museum of Art, New York, 2002, cat. no. 19, fig. 84. The shape was probably copied from metal prototypes and a very similar silver pouring bowl was found together with a silver yuhuchun ping in a hoard at Hefei, Anhui province, which contained items inscribed with a name written in Phagspa characters as well as a date equivalent to 1333, both now in the Anhui Museum Provincial Museum, published in the exhibition catalog 'The World of Kublilai Khan, Chinese Art in the Yuan Dynasty', The Metropolitan Museum of Art, New York, 2010, p. 83, fig. 115.Literature comparison: Several pouring bowls of this form and decorated with various floral designs are illustrated in Zhongguo taoci quanji, vol. 11, Shanghai, 2000, pls. 213-217. One depicting a hare, in the British Museum, is published in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2000, pl. 1:22.Auction result comparison: Type: Closely related Auction: Sotheby's London, 6 November 2019, lot 137 Price: GBP 50,000 or approx. EUR 66,500 converted and adjusted for inflation at the time of writing Description: A blue and white pouring bowl, yi, Yuan dynastyExpert remark: Compare the closely related form and decoration. Note the slightly larger size (18.3 cm).Auction result comparison: Type: Closely related Auction: Sotheby's Hong Kong, 26 May 2021, lot 332 Price: HKD 126,000 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A blue and white 'lingzhi' pouring vessel, yi, Yuan dynastyExpert remark: Compare the closely related form, decoration, and size (15.4 cm).元代青花纏枝蓮紋匜中國，1279-1368年。圓腹，口微歛，平底。沿有流，形呈長方，與腹相連，流下著一小系；流上有一朵雲；器心飾纏枝蓮紋，上；外壁有一圈纏枝花卉紋；白地釉色泛青。口沿無釉。底部部分未上釉，露出在燒製中燒成橙色的器皿。來源：Felix Tikotin收藏，在同一家族保存至今。 品相：品相極好，有一些磨損、使用痕跡和表面淺劃痕，以及燒製不規則，包括窯砂和邊緣的一些釉池和凹槽。 重量：223.4 克 尺寸：長15.5 厘米
Lot 236
A collection of various small scientific instruments and measuring tools including a J Collark of Dresden pocket barometer with compass verso, another pocket barometer in plated case, an Accurist thickness measure, a gilt brass cased pocket compass (glass smashed), a Wynne's Infallible Exposure meter (x 2), a Zeiss Icon light meter, a French photometre by J Decoudun of Paris, a Gowlands "The Berwick" lens measure, a Gowlands light meter and a Holden's calculex patent circular slide rule
Lot 1179
A box of assorted antique & vintage ceramics, to include cheese dish, plates, feeding cups and vases. Lot includes: a pair of Gibson & sons, Burslem, Windsor Art Ware vases; Spode & Coalport plates, Dresden flow blue feeding cup and unmarked ceramic cheese dish with pink rose transfer pattern.
Lot 114
NAPOLEONIC - 12 games: Napoleon at Leipzig, Commands and Colours, Napoleonics Battle of Dresden, Battle at Marengo, The Emperor returns the Last Campaign, Napoleon in Europe, Commands and Colours, The Prussian Army, The Emperors War 1805-1815, Commands and Colours Napoleonics, The Austrian Army, Napoleonics The Spanish Army, Napoleonic Wars
Lot 301
Deckelvase mit Watteaumalerei und Blumenbuketts, Helena Wolfsohn & Co., Dresden, Ende 19. Jh.Weißporzellan mit polychromer naturalistischer Bemalung und Goldverzierungen, Watteaumalerei auf Weiß und Blumenbuketts auf gelbem Fondsdekor; 1. Wahl; Haarriss am Vasenhals ca. 3,5 cm; H: ca. 36,2 cm; im Boden blaue "AR"-Marke (angelehnt an die Meissener Augustus Rex Marke) sowie Papieraufkleber mit handschriftlicher Notiz ("Stefan M Neumann Dresden "Helena Wolfsohn" 1869, 28.1.78, 870.-"); Gewicht: ca. 2.44 kg.
Lot 174
A CHINESE TEA BOWL AND SAUCER the porcelain late Kangxi, with blue square seal marks, the engraving probably Dresden, circa 1720-25, painted in underglaze blue with birds perched on flowering branches issuing from rockwork, the Batavian brown exterior wheel engraved, each with a flying Cupid holding an arrow and a heart and birds perched on flowering branches and a basket, 11.5cm diameterProvenance: Bt. Robert McPherson Antiques, June 2014.Literature: Espir, op.cit., fig.12.
Lot 58
A MEISSEN "RED DRAGON" PLATE blue crossed swords mark circa 1730-34, from the service made for the Dresden Court, 1731-34, painted in iron-red and gold, the centre with two circling phoenix, the border with two dragons and ribboned ornaments, 23cm diameterProvenance: Melbury House Sale, Christie's 14th October 1996, lot 117.
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