We found 596772 price guide item(s) matching your search
There are 596772 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
596772 item(s)/page
Lot 94
Cecil Beaton (British, 1904-1980)Costume Design for Vanessa watercolour and gouache on paper, with fabric swatches31.5 x 19cm (12 3/8 x 7 1/2in).Painted circa 1958Footnotes:ProvenanceSale; Christie's, London, Cecil Beaton, 21 June 1988, lot 47, where acquired by the present ownerPrivate Collection, U.K.Vanessa, an opera by Samuel Barber, was first performed at the Metropolitan Opera House in New York in 1958, in a production designed by Cecil Beaton. Beaton's sets for the opera were sadly later destroyed in a fire in 1973.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 88
Cecil Beaton (British, 1904-1980)The Chalk Garden signed 'BEATON.' (lower right)ink on paper48.5 x 33cm (19 1/8 x 13in).Executed circa 1955together with a further ink painting, set design for The Chalk Garden, by the same hand(2)Footnotes:ProvenanceSale; Christie's, London, Cecil Beaton, 21 June 1988, lot 38 (part lot), where acquired by the present ownerPrivate Collection, U.K.The present lot is a design for the playbill and set design for Enid Bagnold's play The Chalk Garden. The play was first performed at the Shubert Theatre, New Haven on 21 September 1955 and received several Tony Award nominations. Beaton designed both the set and costumes for this production, which were both highly commended.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 67
Wilhelmina Barns-Graham C.B.E. (British, 1912-2004)Collage No. 24 signed and dated 'W Barns-Graham 1983' (to mount lower right); further signed, titled and dated 'COLLAGE NO 24/1983/W Barns-Graham.' (on backboard)acrylic and collage on card14 x 20cm (5 1/2 x 7 7/8in).Footnotes:ProvenanceWith Art First Contemporary Art, LondonPrivate Collection, U.K.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 374
A tortoiseshell and ivory aide memoire, the tortoiseshell cover with applied gilt metal decorative border suspending central cartouche, initialled, opening to reveal an ivory writing sheet, with sprung gilt metal clip behind, together with a French notebook, the cover depicting an image of the Fontaine Saint-Michel, with silk lined interior and notepad, first length 11cm, second 9.5cm. £140-£180 --- The Fontaine Saint-Michel located in Place Saint-Michel, Paris, was constructed under the instructions of Baron Haussman in 1858-1860, during the reconstruction of Paris in the 19th century. Please note tortoiseshell and ivory may be subject to import and export restrictions.
Lot 292
A French silver and silver gilt Revivalist chatelaine clip by Jules Wièse, second half of 19th century, centred with a red enamelled armorial, within chased scrollwork, reverse stamped ‘WIESE PARIS’ with lozenge maker’s mark incorporating initials ‘JW’, and further lozenge mark to the hinged clip, with graduating Mannerist inspired links below, (unmarked), together with a late 19th century French silver Renaissance Revival brooch by Wièse, with central mask amidst Mannerist scrolls, reverse stamped ‘WIESE’ chatelaine length overall 11cm, brooch length 3.5cm. (2) £300-£400 --- Jules Wièse (1818-1890) was born in Berlin and at the age of 16 became the apprentice of the German court goldsmith Johann Georg Houssauer. In 1839 he moved to Paris where he initially worked for Jean-Valentin Morel, a skillful goldsmith, before starting his collaboration with the famous master jeweller Froment-Meurice, becoming his workshop manager in 1844. A year later he set up his own independent atelier, working exclusively for Froment-Meurice until the master’s death in 1855. Wièse’s first exhibition in his own name was at the Paris World Exposition in 1855 where he was awarded a ‘First Class’ medal in goldsmithing and jewellery. Louis created sculptural figural jewels combining Gothic and French Renaissance revival styles, working in oxidised silver and gold. He exhibited at the London World Exhibition in 1862, receiving a gold medal for his work in the Renaissance style. That year The Art Journal catalogue devoted a whole page to Wièse as 'a worthy disciple of a great master’. In the Paris Exhibition of 1867, Wièse’s stand included classical motifs alongside his popular Renaissance-style angels and cherubs. Jules’s son Louis (1852-1923) took over the workshop after his father’s retirement in 1880. He was, according to Vever,”an exceptionally modest and truly talented artist”. Jules Wièse’s maker’s mark was a lozenge with the initials JW. After 1890, Louis registered the maker’s mark ‘WIESE’ with a star above and below, within a horizontal lozenge. Jules often used his own maker’s mark, but later both were known to use ‘WIESE’. Literature: Charlotte Gere & Judy Rudoe: Jewellery in the Age of Queen Victoria, pub. The British Museum Press, 2010. Henri Vever: French Jewellery of the Nineteenth Century, pub. Thames & Hudson.
Lot 148
Two guilloche enamel pendants, the first red enamel pendant within a cabochon ruby surround, to a single pear-shape ruby cabochon set bale, with beaded decoration and engine-turned reverse, the second blue enamel pendant with ropetwist decoration and cabochon sapphire set bale, both yellow precious metal mounted and with gilded Arabic script to the enamel, the blue enamel pendant stamped ‘22k’, largest pendant length 44.5mm. £800-£1,000
Lot 30
Three pairs of cufflinks, comprising two pairs of mother-of-pearl cufflinks, the first centred with blue stone cabochon collets, the second with round-cut diamonds and black enamel decoration, together with a pair of diamond and garnet set silver cufflinks with textured rims and symbolic decoration, all three pairs with hook connectors, largest pair diameter 5.5mm. £300-£400
Lot 291
Formerly from the Collection of Her Royal Highness The Princess Margaret, Countess of Snowdon: An aquamarine and diamond brooch by Cartier, 1932, the oval hoop set with circular-cut aquamarines, each shoulder with hexagonal-cut aquamarine highlight set between twin scrolls of brilliant-cut diamonds, mounted in platinum, engraved with the ownership mark ‘M’ beneath The Princess Margaret’s coronet, numbered ‘9865’ and ‘6656’, width 51mm. £40,000-£50,000 --- Accompanied by the Certificate of Provenance from Kensington Palace, dated 13 June 2006, in original embossed leather folder. Provenance: Christie’s, Lot 12, Property from the Collection of her Royal Highness The Princess Margaret, Countess of Snowdon, sale 13 June 2006, London. The brooch was purchased by Her Majesty Queen Elizabeth the Queen Mother from Cartier on 23 January 1947 for £175. The brooch is unsigned however Cartier Geneva confirmed this brooch was made by Cartier London in 1932. This brooch was purchased a week before the Royal family set sail to South Africa on 1st February 1947. The major tour was both the first trip abroad for Princess Margaret and also the first time a reigning monarch had undertaken a tour with his whole family. The three month-long visit was not only an important display of imperial solidarity but an opportunity for the young Princesses to witness first hand the statecraft, duty and hard work required in order to fulfil their royal roles in public life. The tour was remembered for being the first occasion that Princess Margaret spent significant time with Captain Peter Townsend, equerry to King George VI. The Princess later confided how the time they spent together “in that wonderful country, in marvellous weather” was when “I really fell in love with him.” Later that year Townsend was to become the official charge on Princess Margaret’s first solo visits. Prior to the South African tour, it was agreed that the engagement between Princess Elizabeth and Lt. Philip Mountbatten would be formally announced upon the family’s return to England. The purchasing of the aquamarine brooch before departure perhaps foretold of the busy months ahead, with the engagement announced in July and the wedding planned for November. It was therefore decided that Princess Margaret would take on a greater role in public life. In August 1947 the Princess turned seventeen and it was widely reported at the time that this birthday would mark her official “coming out” and signal a turning point in her own independence. To celebrate the occasion, King George VI appointed the Princess to Colonel-in-Chief of the Highland Light Infantry and on her first official duty for the Regiment, in March 1948, Princess Margaret wore this aquamarine and diamond brooch to the reception at Glasgow City Chambers. It is likely that the brooch had been given to Princess Margaret the previous year on the occasion of her seventeenth birthday. In a letter to Queen Mary written in April 1944, Queen Elizabeth discusses the jewellery being given to Princess Elizabeth for her eighteenth birthday from her father, King George VI, and states: “It is almost impossible to buy anything good, but he may find something second hand.” This aquamarine and diamond brooch purchased from Cartier by Queen Elizabeth in 1947, yet manufactured in 1932, certainly reflects a similar perspective in regards to buying jewellery. Princess Margaret’s love of brooches was apparent throughout her lifetime and was highlighted by the jewellery auction in June 2006 at Christie’s which included over sixty brooches from her collection. This particular aquamarine and diamond brooch was one of the few Art Deco examples included in the sale and, more importantly, one of only a handful of jewels with Royal provenance extending back to previous generations. A large number of the brooches offered in the auction had been acquired directly by the Princess from the 1960s onwards. Unlike her sister, Queen Elizabeth II, who favours wearing brooches on the traditional left, Princess Margaret followed her grandmother’s style in regularly wearing them to the centre front of her neckline. One such photograph, taken in a garden during the official visit to The Caribbean in 1958, shows the Princess wearing this brooch at the centre of a floral dress. An earlier photograph, taken in 1950 at a dance at the Dorchester Hotel, shows the young Princess wearing the brooch on a strapless ballgown in ice blue brocade. Known for her sense of fashion and style, the Princess always coordinated her jewels to match her outfits. In 1959, when opening an exhibition, The Bulletin newspaper reported that Princess Margaret had pinned ‘a delicate ornament in aquamarines and diamonds’ to the side of her pale blue chiffon hat. The Princess was photographed wearing this brooch throughout her lifetime, seemingly always when dressed in blue. One such photograph shows Princess Margaret and Lord Snowdon introducing baby David Linley to his grandmother, The Queen Mother, in 1961. A more recent example from 1989 shows the Princess wearing the brooch on a striking blue suit at the Trooping the Colour ceremony. The photographs depict the whole Royal family with Princess Margaret standing beside Princess Diana and her two young sons, Princes William and Harry, on the balcony of Buckingham Palace. During the 1930s and following on from the Art Deco, Cartier displayed a progressive attitude towards design, materials and palette choices. The rigidity of geometry was gradually lost to a flexibility of form that, as seen with this brooch, featured curves, volutes and loops, combined with unusual six-pointed cuts that livened up the usual sequence of stones. The introduction of semi-precious materials saw a preference for colour overtake the monochromatic palette of the previous decade. Black and white jewels set with diamonds, rock crystal, onyx or enamel gradually evolved to feature aquamarines, topaz and amethysts. This brooch made in 1932 is an early example of the evolution seen in design over the course of the coming decade and showcases the originality and foresight of Cartier at the time.
Lot 145
A Victorian gold and emerald set serpent necklace, circa 1860, the snake-link chain terminating in a serpent head clasp, with embossed foliate decoration, inset with three emeralds in collet mounts, with cabochon garnet eyes, suspending an emerald set heart-shaped pendant of conforming design, glazed locket compartment verso, contained in shaped fitted case, length 41cm. £2,800-£3,500 --- Serpent Jewellery The Ancient Egyptian culture was probably the first to heavily adopt the use of snakes in jewellery, seen as symbolising deity, status and loyalty. In Greek and Roman mythology, the snake continued to be a recurring theme, regarded by many as guardians of the underworld and later said to represent protection and healing. By Renaissance times, snakes was seen in a less positive light, the biblical story of Adam and Eve and the serpent in the Garden of Eden leading to more negative associations of evil or imminent danger. During the Victorian era, serpent inspired jewellery enjoyed a huge revival after Prince Albert in 1840 had designed an engagement ring for his bride, Queen Victoria, modelled as two serpents in an eternal circle and inset with an emerald (her birthstone). (At this time, it was popular to include birthstones in engagement rings, rather than diamonds). During the mid 19th century, when nature and symbolism had a powerful influence on jewellery design, serpents became synonymous with eternal love and became a popular motif, fashioned into necklaces, pendants, bracelets and rings.
Lot 19
A small collection of jewellery, comprising an aquamarine pendant on chain, the oval mixed-cut aquamarine set to a pierced yellow precious metal mount, a synthetic spinel heart-shaped pendant on chain, an amethyst mounted brooch, a Wedgwood cameo pendant with scroll work decoration, a 9ct gold mounted glazed pendant, a bicolour 18ct gold flat curb-link bracelet, a coral bead ‘abacus’ charm, a collet set tiger’s eye charm, a 9ct gold diamond set wishbone charm, a 19th century moss agate cross pendant, suspended from a gilt metal bow brooch, together with a gold mounted cheroot holder, first pendant 33 x 19.5mm (including. bale). (11) £200-£300 --- Please note coral is covered by CITES and may be subject to import/export restrictions.
Lot 190
An Art Deco gentleman’s dress set, first half 20th century, comprising cufflinks, buttons and studs, each of octagonal form inlaid with a mother-of-pearl plaque with engraved wavy design, mounted in platinum and gold, stamped ‘PLAT’ and ‘18CT’, cased by Skinner & Co., largest plaque diameter 14mm. £400-£600
Lot 24
A small collection of jewellery, comprising a gold mounted amethyst, citrine and seed pearl double heart brooch, a jadeite ‘fleur-de-lys’ bar brooch (untested for treatment), an amethyst single stone ring, a cat’s eye and diamond three stone ring, a painted enamel and seed pearl locket brooch with glazed verso, a white and green paste set brooch, a seed pearl necklace and a diamond set lady’s wristwatch, first brooch length 25mm. (7) £400-£600
Lot 202
A cultured pearl dress ring, circa 1970, and a gold wirework ring, 1975, the first of stylised foliate design, the baroque-shaped cultured pearl bud within a sculpted mount, the second formed as a band of continuous 9ct gold wires, indistinct maker’s mark possibly ‘I.W’, UK hallmark, ring sizes J and Q. £200-£300
Lot 351
Georg Jensen: Three Danish silver ‘Acorn’ pattern spoons, designed by Johan Rohde, the first, stamped ‘GEORG JENSEN WENDEL A/S’ (circa 1945-51), second, with maker’s marks (post 1945) and stamped ‘STERLING DENMARK’, third, similarly marked, and engraved to reverse of bowl ‘Kathryn’, lengths 14.7cm, 14.6cm and 14.3cm respectively. £80-£100 --- The GEORG JENSEN WENDEL A/S mark was used between 1945-1951 and only in the Georg Jensen & Wendel store in Copenhagen.
Lot 208
A 19th century amethyst cross pendant, the seven circular-cut amethysts within a surround of old-cut pastes, mounted in silver and gold, pastes replacing original diamond surround, cased by Maison Samper / L. Coulon & Cie, 16 Rue de la Paix / Paris, length 7.1cm. £3,000-£4,000 --- Provenance: Formerly the property of Edith Vane-Tempest-Stewart, Marchioness of Londonderry, thence by family descent. Edith Londonderry, (neé Edith Helen Chaplin) (1878-1959) was the granddaughter of the Duke of Sutherland. In 1899 she married Charles Steward Henry, eldest son of the 6th Marquess of Londonderry. Sixteen year later in 1915, Charles succeeded to the title of 7th Marquess, with Edith becoming the Marchioness of Londonderry and the couple inherited Mount Stewart. Prior to the war, Edith was an active member of the Suffragette movement, and served on a number of women’s associations. In 1914 she joined the Women’s Volunteer Reserve (WVR) as Colonel-in-chief and in July 1915 she formed the Women’s Legion which became the largest voluntary organisation during the war. She was the first woman to be appointed DBE (Military Division). Lord and Lady Londonderry spent much of their time involved in political affairs. In the period between the two World Wars Edith become one of London’s great social and political hostesses. Wearing the fabulous Londonderry Jewels, many of which are now on loan to the Jewellery Collection of the Victoria and Albert Museum, she presided over the fabulous Eve of Parliament Receptions held at Londonderry House in Park Lane, before its sale and demolition shortly after her death at the age of 80 in 1959.
Lot 37
Georg Jensen: A Danish silver brooch designed by Nanna Ditzel, circa 1967, of abstract leaf form, London import marks for 1967, sponsor’s mark ‘GJLd‘, signed ‘Georg Jensen‘ in a dotted oval, ‘925S / Denmark’ and ‘337B‘, diameter 40mm. £100-£150 --- Nanna Ditzel (1923-2005) was one of Denmark's most renowned designers and was the first woman to design for Georg Jensen.
Lot 270
A choker necklace by Lalaounis, of flexible chevron weave design, centred with opposing lion heads, mounted with ruby and diamond collars and ruby eyes, both clasping a sapphire hoop, maker’s mark, signed ‘LALAOUNIS’, stamped mark ‘ZS’ in oval punch, stamped ‘750’, with signed box, length approximately 37cm. £4,000-£6,000 --- Ilias Lalaounis, was born in Athens in 1920 into a family of goldsmiths. Although he read law and economics at university he had a passion for the art and artefacts of ancient Greece, and started to study ancient goldsmithing techniques. He joined the family firm in 1940 and began producing collections inspired by ancient and classical jewels. In 1969 he set up his eponymous company and continued to produce iconic collections that echo and reinterpret the ancient jewellery and artefacts that inspired him. He was the first goldsmith to be honoured by the Institute de France, Academie des Beaux Arts et des Lettres.
Lot 71
A peridot ring by Marina B and a pair of matched earrings by Boodle & Dunthorne, the bicolour gold ring tension-set with an oval-cut peridot, maker’s mark ‘MB’, London import marks for 1998, the earrings of conforming design, maker’s mark ‘B&D’, London hallmark for 2003, ring size P½, earring length 15mm. £900-£1,200 --- Marina Bulgari was born in 1930 into one of the world’s most famous family jewel houses, and grew up in Rome, Athens and Corfu. She worked in the family business for several years before launching her own jewellery range in 1976, making her name as one of the leading women designers of this generation, whilst honouring the Bulgari family’s long and prestigious heritage. Her bold and contemporary designs, with a strong Italian flavour, proved hugely successful, and Marina opened her first showroom in Geneva in 1978, with further boutiques following in Milan, Paris and New York, Jeddah and Tokyo. She designed a signature cut and shape of gemstone - between a pear-cut and a triangular-cut - which can be found throughout her jewellery designs. In 1999 Marina sold her company to the Sheik of Jeddah, Ahmed Fitaihi, of Saudi Arabia.
Lot 101
A collection of six rings, including two diamond single stone rings, a sapphire and diamond ring, an onyx mounted ring with textured finish, a five stone garnet ring and a five stone diamond ring, 9ct and 18ct gold mounted, first ring diamond weight approximately 0.85 carat, ring sizes J - O. (6). £800-£1,000
Lot 40
A Danish silver and amber bracelet by Niels Erik From, circa 1950, designed as a series of seven circular plaques, each set with a circular amber cabochon enclosed by flowerheads and leaves with bead detailing, closed-back settings throughout, signed ‘N.E.FROM’, stamped ‘STERLING / DENMARK’ and ‘925S’, length 19.5cm, width 26mm. £100-£150 --- Niels Erik From (1908-1986) was born in Denmark and trained as a silversmith, opening a shop in 1931 from which he sold some of his jewellery designs. In 1944 the N E From smithy was first registered in Nakskov. There are two distinctive periods of design within From’s production. In the 1940s, we see floral pieces with sinewy foliage details, and this style characterised his early years of production. By the 1960s, we see the introduction of bolder modernist designs. The designs are similar to many Georg Jensen pieces of this period. In 1960, From’s son-in-law, Hilmer Jensen, had joined the management team and after Niels Erik’s death in 1986, Jensen took over the running of the firm. The company was wound up a few years later.
Lot 380
UKIYO-E: FLOATING WORLDA LARGE COLLECTION OF OVER 150 JAPANESE WOODBLOCK PRINTSTSUYOSHI YOSHIDA (Japan, 1924-1988) also known by his pen name MISHIMA GO 三島剛Nude manLithograph1972From the series “Mishima Go Book of Pictures of Young Men” (Mishima Gō gashū Wakamono 三島剛画集 若者)Publisher: Daini ShoboDimensions (the leaf): 42 x 29,7 cmNote: Tsuyoshi Yoshida was a Japanese homoerotic fetish artist. He contributed to "Barazoku" (The Rose Tribe), the first gay magazine published by Daini Shobo in Tokyo in 1971. In 1974, Mishima founded his own gay magazine called "Sabu."He is noted for his illustrations of "macho-type" men, often with yakuza-inspired irezumi tattoos. Mishima, along with Tatsuji Okawa, Sanshi Funayama, and Go Hirano, is regarded by artist and historian Gengoroh Tagame as a central figure in the first wave of contemporary gay artists in Japan.Provenance: PROPERTIES FROM A FRENCH COLLECTOR Condition Report: Condition report:- near perfect, excellent printing;- tiny russets;- colour marks;- dimensions of the leaf: 42 x 29,7 cm.ONE SINGLE PRINT SOLD UNDER LOT 380
Lot 44
A GROUP OF TWO (2) BELT BUCKLE / BELT HOOKSChina, Late Qing Dynasty, Circa 1900The first one made of gilt copper set with a tourmaline cabochon as well as with agate pieces. The second one made of silvered copper also set with a large tourmaline cabochon flanked by two malachite cabochons. The bellows nicely enhanced with filigree, openwork and chiselled flowers. An hallmark to one reading "昌記" (lit. Changji).Dimensions (the biggest): L: 8 cm - w: 3 cmTotal gross weight: 121,6 grams一组（2）腰带扣中国，晚清，约1900年[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- both with minor scratches, faded gilt and stains to back;- natural veins, cracks and inclusions in a few stone cabochons;- one malachite cabochon with a polished down chip.
Lot 48
A GROUP OF TWO (2) BLUE AND WHITE PORCELAIN SNUFFBOTTLES China, Late Qing Dynasty, 19th century The first one of flat ovate shape adorned with a city with characters, one door inscribed with “章江門”, a pavilion inscribed with “泰月王阁”. The second one also of flat ovate shape and adorned with willow trees on the bank of a pond. Both bearing an apocryphal four-character Qianlong mark in cobalt blue. One with a stopper. H (the biggest): 7 cm一组（2）个蓝白瓷鼻烟壶中国，晚清，19世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
Lot 58
*A NEAR PAIR OF BLUE AND WHITE ‘FOUR GENTLEMEN’ PORCELAIN OVOID JARS China, Transitional period, 17th century Painted to their bodies with scattered sprays of lotus, orchid, bamboo, prunus, peony, chrysanthemum and insects. H (the biggest): 26,8 cm Notes: 1. The orchid, bamboo, plum and chrysanthemum are know as “The Four Gentlemen” (四君子, sìjūnzǐ). Each of them represents one of the seasons. All together, they represent a year. The plum and bamboo together signify friendship. A vase (瓶, píng) with flowers from all four seasons ( 四季, sìjì ) conveys the hidden meaning of peace for all the year (四 季平 安, sìjì píng'ān). 2. Compare with a single related vase at Christie’s London, United Kingdom, 2017/11/30 to 2017/12/07, lot 11, sold for USD4.375.近一对“四君子”瓷罐中国，过渡时期，17世纪*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: - the first one (the biggest), with one chip and a crack to the rim, as well as numerous firing cracks to the bottom going up to the lowest part of the vase;- the second (the smallest), with short firing cracks to the below, two minor chips to the below, one with a glued part, a crack and a chip to the rim;- UV / black light check;- a few short firing cracks in the glaze.
Lot 69
*A PAIR OF CHINESE FAMILLE VERTE GARLIC-NECK BOTTLE VASESChina, Qing Dynasty, Kangxi periodEach brightly enamelled with tear-shaped floral panels alternating with pairs of floral sprays below bands of lappets and scrolls, and green cracked-ice-pattern on the garlic necks. One bears three labels to the below reading as follow: “S. Marchant & Son”, “K’ang His 1662-1722” and “SF86”.H: 21,3 cmProvenance (according to the owner and the labels):- Wing Tai Curios Center, Macao, 1986/06/06;- S. Marchant & Son, London, United Kingdom.Notes:1. It is said that those vases may have been down for the Islamic market.2. For a related pair of vases at public auction, please refers to Christie’s London South Kensington, 2013/07/02, lot 336, sold for GBD5.000 incl. BP.一对彩绘蒜颈瓶中国，清康熙年间*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:- UV black light checked;- the first one with 2 original imperfections in the glaze to the rim (firing time) and minor firing cracks to below as well as MARCHANT label;- the second one with a light star hairline to the below and a few faded enamel points.
Lot 81
A MONOCHROME FLAMBE / TRANSMUTATION GLAZED PORCELAIN BALUSTER TWO-HANLDED VASEChina, Qing Dynasty, Qianlong incised mark and possibly of the periodOf urn form and raised on a spreading foot, with a bow-string border below the shoulder and a pair of trailing scroll handles flanking the neck, the exterior covered with a glaze of crushed red color streaked in purple and milky blue and thinning to mushroom on the handles.H: 23 cmNotes:1. Flambé glazes derive from the Jun wares of the Song Dynasty (960-1279), a glaze that was first revived during the Yongzheng period and remained popular throughout the Qing Dynasty.2. Compare a closely related flambé-glazed vase, also with an incised six character Qianlong mark and of the period, at Sotheby’s New York, The United States of America, in Important Chinese Art on 2018/03/21, lot 538, sold for USD162.500 BP incl., and another, also described as Imperial, at Christie’s New York in The Marie Theresa L. Virata Collection of Asian Art: A Family Legacy on 2017/03/16, lot 614, sold for USD223.500 BP incl.双柄瓷花瓶中国，清朝，乾隆款识Provenance: PROPERTIES FROM AN IRISH COLLECTORA COLLECTION OF FLAMBE / TRANSMUTATION WARE PORCELAIN VASES[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- chips to the footrim and to the glaze near the footrim.
Lot 82
A MONOCHROME FLAMBE / TRANSMUTATION GLAZED PORCELAIN PEAR-SHAPED VASE, YUHUCHUPINGChina, Qing Dynasty, 18th to 19th centuryAll covered, but the foot rim, with a dark purple glaze with lavender splashes.H: 23,5 cmNote: Flambé glazes derive from the Jun wares of the Song Dynasty (960-1279), a glaze that was first revived during the Yongzheng period and remained popular throughout the Qing Dynasty.玉壶瓷瓶中国，清代，18-19世纪Provenance: PROPERTIES FROM AN IRISH COLLECTORA COLLECTION OF FLAMBE / TRANSMUTATION WARE PORCELAIN VASES[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- nothing noticed but look near the foot and the footrim for imperfections in the glaze.
Lot 83
A MONOCHROME FLAMBE / OXBLOOD / LANGYAO GLAZED PORCELAIN PEAR-SHAPED VASEChina, Qing Dynasty, 18th to 19th centuryAll covered, but the foot rim, with a red glaze with whiter nuances.China, Qing Dynasty, 18th to 19th centuryH: 27 cmNote: Flambé glazes derive from the Jun wares of the Song Dynasty (960-1279), a glaze that was first revived during the Yongzheng period and remained popular throughout the Qing Dynasty.琉璃梨形瓷花瓶中国，清代，18-19世纪Provenance: PROPERTIES FROM AN IRISH COLLECTORA COLLECTION OF FLAMBE / TRANSMUTATION WARE PORCELAIN VASES[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- chips to the unglazed foot;- missing part of the enamel to the foot;- lines within the thick glaze.
Lot 84
A MONOCHROME FLAMBE / TRANSMUTATION GLAZED PORCELAIN BOTTLE VASEChina, Qing Dynasty, 18th to 19th centuryResting on a high ring foot, with a globular body and a tubular neck. All covered, but the foot rim, with a red glaze with lavender splashes.H: 22,4 cmNote: Flambé glazes derive from the Jun wares of the Song Dynasty (960-1279), a glaze that was first revived during the Yongzheng period and remained popular throughout the Qing Dynasty.釉面瓷花瓶中国，清代，18-19世纪Provenance: PROPERTIES FROM AN IRISH COLLECTORA COLLECTION OF FLAMBE / TRANSMUTATION WARE PORCELAIN VASES[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- chips to the unglazed foot;- missing enamel parts to the outer part of the foot;- UV / black light checked.
Lot 85
A MONOCHROME FLAMBE / TRANSMUTATION GLAZED PORCELAIN ROULEAU VASE, BANGCHUIPINGChina, Qing Dynasty, 18th to 19th centuryAll covered, but the foot rim, with a red glaze with lavender splashes.H: 20,8 cmNote: Flambé glazes derive from the Jun wares of the Song Dynasty (960-1279), a glaze that was first revived during the Yongzheng period and remained popular throughout the Qing Dynasty.釉面瓷花瓶中国，清代，18-19世纪Provenance: PROPERTIES FROM AN IRISH COLLECTORA COLLECTION OF FLAMBE / TRANSMUTATION WARE PORCELAIN VASES[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- chips to the unglazed foot;- missing enamel parts to the outer part of the foot;- cracks in the thick cover near the foot.
Lot 96
A MIRROR PAIR OF FAMILLE ROSE ‘WU SHUANGPU’ PORCELAIN VASESChina, Qing Dynasty, Daoguang periodBoth of baluster hexagonal shape with hydra dragon applied handles to the neck, identically enamelled with historical figures from the “Table of Peerless Heroes” as well as with long-lasting calligraphies.H: 24,5 cmNotes:1. The historical figures depicted on those vases are Liu Chen (劉諶, 220-265), Prince of Beidi, the fifth son of Liu Shan, the second ruler of Shu Han during the Three Kingdoms period, and Yang Hu (221-278), a general of the Jin Dynasty, known for his humility and foresight.2. The “Wu Shuang Pu” (無雙普), i.e. the “Table of Peerless Heroes”, is a book of woodcut prints, first printed in 1694. This book contains the biographies and imagined portraits of 40 notable heroes and heroines from the Han Dynasty to the Song Dynasty, all accompanied by a brief introduction and guided by a related poem in yuefu style. The illustrations from the book were widely distributed and re-used, often as motifs on Chinese porcelain.一对“吴双普”瓷瓶中国，清道光时期[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- one with a chip;- one with a restored applied handle;- one with a firing crack to the inner part;- few faded enamels notably a few inscriptions;- few losses of enamels, minor ones;- second one vase may also have a single handle restored, not sure though, not visible under black light.
Lot 99
*A PAIR OF ‘DRAGON’ LIME GREEN PORCELAIN PLATESChina, Qing Dynasty, Guangxu mark and of the periodBoth identically adorned to the center with an incised decor of two five-claw dragons flying amidst clouds in pursuance of the flaming pearl below a desirable lime green glaze, the reverse of the wing also with an incised decoration, that one depicting flying cranes amidst clouds, the belows inscribed in cobalt blue and in kaishu with a six-character mark of Emperor Guangxu. Also included is a third identical plate. D (the biggest): 14,5 cmNote: Compare with a very close dish, Tongzhi mark and period, offered at Christie’s London South Kensington, United Kingdom, 2010/05/14, lot 442, sold for GBP6.250 BP incl. Also compare with a related pair of lime green bowls sold at Sotheby’s New York, The United States of America, 2017/03/18, lot 1014, for USD18.750 BP incl.一对龙纹柠绿瓷盘中国，清光绪年间*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:- the first one with a short hairline starting from the rim;- the second one with a minor chip to the rim and a few imperfections to the footrim;- the third and last one, the joined one, with a more important chip and missing part to the rim;- UV / black light checked.
Lot 104
A PAIR OF PALACE SIZED DAYAZHAI STYLE ‘DRAGON’ PORCELAIN FISH BOWLS TOGETHER WITH OLD HARDWOOD AND BURR WALNUT STANDS China, Qing Dynasty, 19th centuryAdorned in famille rose enamels, the outer parts with five-claw dragons flying amidst clouds in pursuance of the flaming pearl against a turquoise blue ground enhanced with a flower spray, the inner parts also with a dragon and with Mandarin ducks frolicking on a lotus pond. Offered at auction together with old and refined mixed-wood stands. Dimensions: - the fishbowls: H: 48 cm - D: 55,5 cm - the stands: H: 37,5 cm - D: 36 cmNote: The use of the turquoise ground and the global palette of colours reminds may be linked with the ‘dayazhai’ wares (大雅齋), a production associated with the Dowager Empress Cixi.一对带硬木及胡桃木支架的大龙纹鱼缸中国，清代，19世纪[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- UV / black light checked;- maybe a few re-painted points (see UV pictures);- dark stains in the glaze to several parts;- on the first one, a "crack" in the glaze near the foot and 2 chips to below;- on the second one, a few firing cracks and maybe minor chips to below;- both stands WITH PROVENANCE;- both stands partially glued, one with the top with cracks.
Lot 118
*A CHINESE EXPORT PORCELAIN TURQUOISE AND BLACK CAT NIGHT LIGHTChina, Qing Dynasty, 19th centuryThe recumbent is covered all over with a turquoise glazed ground against which is a black zebra pattern. The inner part of the cat would have been set with a candle which light would have come through the eyes, the ears and the back of the feline.H: 10,4 cm – L: 20 cm – w: 14,3 cmProvenance (according to the seller): Bought in 2003 from the closing sale of Charlotte Horstmann & Gerald Godfrey Ltd., Hong Kong, China.Note: Cat nightlights were made as early as the late Ming period. Two blue and white examples were found in the first Hatcher cargo (sold Christie's, Amsterdam, 14 March 1984, lots 279 and 280.) The French Jesuit Père d'Entrecolles was famously struck by the form on his Kangxi period visit to Jingdezhen.中国出口绿松石黑猫瓷夜灯中国，清代，19世纪*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: UV / black light checked.
Lot 146
A ‘XI SHANG MEI SHAO’ REPOUSSE CHINESE EXPORT SILVER CREAM POTChina, Circa 1900Of cylindrical shape, with a root wood shaped handle and a triangular shaped spout. Adorned in deep repousse with magpies amidst plum flowers. The below inscribed with the marks “T&C”, “記北甯” and “TS”.H: 10 cmWeight: 190,7 grams1. The marks may be that of two different workshops, the first one maybe Tuck Chang & Co located at 67 Broadway in Shanghai and active around 1900, the second one maybe Tien Shing active in Hong Kong around the third quarter of the 19th century.2. One can say “There is a happy magpie on the tip of the plum branch”, lit. “Xi Shang Mei Shao” (喜上梅稍) which shound exactly like “Xi Shang Mei Shao” (喜上眉稍)lit. happiness up to one's eyebrows". 中国出口“喜上眉梢”银壶中国，约1900年[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: A few minor scratches.
Lot 159
CHINA - BEIJING MAP DORN (FRANK) A Map and History of Peiping. Presumably a first edition. Large originally (originally) folding colour lithograph map of Peiping. 840 x 740 mm Literature: Pegg, Cartographic Traditions in East Asian Maps pp.54-55. Notes: 1. A highly visual map of Beijing, showing the principal sites and occupations of the inhabitants, within a pictographic border showing Chinese history. The whole map is crowded with amusing vignettes of the life and sights of the city. 2. Compare with a related map together with its booklet sold at Bonham’s London, 2017/03/01, lot 49, for £ 3.125.中国-北京地图（弗兰克）[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- Missing its explanatory booklet and original envelope;- Laid on canvas / fabric;- Very nice details including the history of China with numerous nice details such as Cixi Empress, the boxer revolution etc. starting from the upper center part and going to the right side up to the lower central paert;- approximately three tears (upper left), central right part;- folds (because it was originally folded at the time it was produced.IT CAN BE ROLLED AND PUT IN A TUBE FOR SHIPPING
Lot 181
A BRONZE BUDDHA CALLING THE EARTH TO WITNESSThailand, Ayutthaya, 15th to 16th centuryThe Buddha is depicted seated in padamasana, the hands in bhumisparsa mudra. Two old collector’s labels to the inner part: the first one handwritten and reading “Ayuthya 14s = debut 15 s”; the second one, typed, the cartel of an auction, reading “272. – statuette en bronze de patine brune representant le Bouddha assis sur un socle a gradins”.H: 21,5 cmWeight: 1210 grams[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- crusty patina;- possibly missing a mandorla;- possibly a chip to the hair bun of the buddha (ushnisha).
Lot 185
A MIXED METAL INLAID ‘KHANH THO’ BOX AND COVERVietnam, Nguyen Dynasty, 19th centuryOf rectangular shape, adorned with a mixed metal and silver wire inlaid decor of “khanh tho”, flowers and inscriptions. The below bears two marks, the first one within a double square reading “松相” maybe for“thông rương”, the second one within a tree leaf reading “荡绿” maybe for “đãng lục”.H: 4,3 cm – L: 12,7 cm – w: 7cmNote:1. The design is a common one for a vietnamese piece of art, that of “khanh tho”, lit. longevity and happiness characters.2. In addition to the other inscriptions, there is a silver wire inlaid poetry to the top of the box reading “骨骼清奇存老树 芬芳白雪占花魁”.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a few missing colours;- scratches.
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 201A
A TEMMOKU TYPE STONEWARE BOWLPresumably Vietnam and Tran DynastyThickly potted, of conical shape, resting on an unglazed ring foot, the inner part moulded with a flower design all covered with a beige glaze, the outer part with a temmoku type glaze. The below bears three old collector’s labels written in Frenc. The first one read: “Region de Phu Quoc Oai Province de Tonkin”, lit. “Phu Quoc Oai region Tonkin”. The second one reads: “Fabrication presumee chinoise”, lit. “Presumably made in China”. The third one reads: “Certainement du XIIIe Siecle ou meme anterieur”, lit. “Certainly 13th century or even before”.H: 6 cm – D: 17,1 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - imperfections in the glaze;- minor chips to the ring foot;- old chip to the rim.
Lot 214
A PAIR OF GILT AND BLACK LACQUERED ‘IMPERIAL SENTENCES’ WOODEN PANELS OF EMPEROR DUY TAN Vietnam, Nguyen Dynasty, Dated to the third year of Emperor Duy Tan reign corresponding to 1909 The first one inscribed with "眉酒觞分北海香" as well as with a date, “维新三年冬”, i.e. the third year of the reign of Emperor Duy Tan corresponding to 1909. The other one inscribed with “浣花堂補东京勝”as well as with a location, “河内” for Hanoi city. With Numbers inscribed to the back. Dimensions (each): 191 x 26,6 cm[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Cracks in the wood.
Lot 216
A GROUP OF TWO (2) PERSIAN MINIATURESIran / Persia, Late 19th centuryThe first one depicts a couple. The second one depicts a scene of battle. Both are inscribed in Farsi with abstracts from the Shahnameh ferdowsi. Both framed with a glass with a label to the back: “Cardo Matignon 32, Avenue Matignon – BAL. 03-08”.The biggest leaf (as seen within is frame): 24 x 19,5 cmNote: The texts might be read as follows: "مکن خویشتن را ز مردمکشان کزین پس نیابی ز من خودنشان بسنده کنم زین جهان گوشهای بکوشش فراز آورم توشهای به خون برادر چه بندی کمر چه سوزی دل پیر گشته پدر جهان خواستی یافتی خون مریز مکن با جهاندار یزدان ستیز سخن را چو بشنید پاسخ نداد همان گفتن آمد همان سرد باد یکی خنجر آبگون برکشید سراپای او چادر خون کشید بدان تیز زهرآبگون خنجرش همی کرد چاک آن کیانی برش فرود آمد از پای سرو سهی گسست آن کمرگاه شاهنشهی" (lit. “O King, hast thou no fear of God, no pity for thy father? I pray thee destroy me not, lest God ask vengeance for my blood. Let it not be spoken that thou who hast life takest that gift from others. Do not this evil. Crush not even the tiny ant that beareth a grain of corn, for she hath life, and sweet life is a boon. I will vanish from thy sight, I will live in solitude and secrecy, so thou grant that I may yet behold the sun.”) and "به یک تختشان شاد بنشاندند عقیق و زبرجد برافشاندند سر ماه با افسر نام دار سر شاه با تاج گوهرنگار بیاورد پس دفتر خواسته یکی نخست گنج آراسته برو خواند از گنجها هر چه بود که گوش آن نیارست گفتی شنود برفتند از آنجا به جای نشست ببودند یک هفته با می به دست وز ایوان سوی باغ رفتند باز سه هفته به شادی گرفتند ساز بزرگان کشورش با دست بند کشیدند بر پیش کاخ بلند" (lit. "And the lovers were seated upon a throne, and Mihrab read out the list of the gifts, and it was so long the ear did not suffice to hear them. Then they repaired unto the banquet, and they feasted seven days without ceasing."[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESE
Lot 231
MAI TRUNG THU (Vietnam and France, 1906-1980)ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST PROMOTION (1930)“La toilette”1962Print in colours on silkBears a signature and a seal in the plate to the lower rightAutographed and signed by the artist to the lower part: “A Madame Colin Timard avec les compliments de l'auteur”FramedDimensions (the sole print): 54,2 x 45,5 cmNotes:1. Mai Trung Thu, known as Mai Thu, is born in 1906. He comes from a wealthy family, his father, Mai Trung Cat was governor of Bac Ninh and was granted the title of baron by the French government. He studied at the French high school in Hanoi. In 1925, Mai Thu joined the first class of the Indochina School of Fine Arts, under the direction of Victor Tardieu. It is during his years of studies that he became interested in painting illustrating scenes of Vietnamese rural life. He chose to paint them on silk, an expensive material that is as delicate as the palette of colours he uses.2. Compare with an identical print also autographed at Sotheby’s Hong Kong, China, 2015/10/05, lot 282, sold for €4.592 BP incl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - scratches;- "tears" (limited to the surface, so more scratches than tears, not destroying the silk);- minor missing parts to the print as a result.
Lot 248
Jamini Prokash GANGOOLY (1876-1953) also known as J.P. GANGULY“Sunset Kanchenjunga”Oil on artist / student board (PREVIOUSLY DESCRIBED AS PANEL)Stamp to the back of the board: "PREPARED STUDENT ACADEMY BOARD WINSOR & NEWTON […] LONDON"Signed to the lower leftTitled and signed to the back22 x 29 cmNotes:1. J. P. Gangooly belonged to the extended Tagore family in Calcutta. Like many of his class of affluent gentlemen artists, Gangooly didn’t go to art school but was a product of private art training at home, initiated later into art by Abanindranath Tagore. Gangooly painted at the time of rise of new nationalist and modernist art movements. The skills he commanded in illusionist oil painting, realist portraiture and landscapes were all part of the essential training that marked the formation of the new professional artist in colonial India. Over the first decades of the 20th century, the artist demonstrated his flair in various genres, ranging from portraiture to neo-classical and mythological paintings. However, landscapes and riverscapes became his chosen genre where he developed his special style of densely mist-laden atmospheric effects of sunrise and sunsets on bathing ghats, river banks and mountain ranges. Gangooly especially surpassed himself in the picturesque views of the Himalayas, and in the village and river scenes of Bengal. He painted nearly a hundred oils of the sun setting on the river Padma, which earned him the sobriquet ‘Painter of Padma’. In 1905, he was elected the joint chairperson of the Bangiya Kala Samsad, Calcutta, and founded the Indian Society of Oriental Art, Calcutta, in 1907. In 1936, he was elected joint director of the Academy of Fine Arts, Calcutta. Gangooly became vice-principal of the Government College of Art & Craft, Calcutta, in 1916, a position he held till his retirement in 1928.2. Kangchenjunga, also spelled Kanchenjunga, is the third highest mountain in the world. It rises with an elevation of 8,586 m (28,169 ft) in a section of the Himalayas called Kangchenjunga Himaldelimited in the west by the Tamur River, in the north by the Lhonak Chu and Jongsang La, and in the east by the Teesta River. It lies between India and Nepal.3. Compare with a very close painting offered at Christie’s London, United Kingdom, 2016/06/25, lot 24, sold for €11.831 BP incl.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: - UV / black light checked;- unframed to see how it is;- NEW DESCRIPTION: OIL ON STUDENT / ARTIST BOARD with a stamp to the back of the board: "PREPARED STUDENT ACADEMY BOARD WINSOR & NEWTON […] LONDON"- frictions and dust along the margins (not visible but when framed):- also few losses of painting along the margins (not visible when framed).
Lot 279
A NOH THEATER MASK OF KO-OMOTE 小面Japan, Showa periodA lacquered wooden mask with a nice crackled surface, lacquered inner part with a seal mark reading "理" (lit. “Ri”?).H: 21,2 cm - w: 14 cmNote: The mask Ko-Omote is one of the first masks of Noh Theater. It represents a young girl with round cheeks in a calm and meditative posture. It is an ideal representation of the youth.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- a few minor scratches;- a few hairlines / cracks in the lacquer;- frictions along the cord around the holes for hanging.
Lot 277
A WWII British Observers and Air Gunners Log Book, belonging to Air Gunner 1365465 Sgt. Douglas Pate, his flying was singed off by Wing Commander Guy Gibson V.C. D.S.O bar D.F.C. 2 bars at the end of December 1942.The first recorded entry is on the 4/6/1942, he completed his Air Gunnery Course on 8/8/1942 with the remark 'Should make a very useful air gunman'.Pate is recorded as flying 'Operations Berlin' on the 16/1/1943, which was marked in red ink. This Raid over Berlin was famous for the war reporter Richard Dimbleby accompanying Guy Gibson and doing so he became the first war correspondent to record a broadcast description of a bombing raid.Pate flew with Sgt. Doug Thompson a Canadian pilot in Lancaster Bombers in January and February 1943. Pate suffered damage to his hearing and was unable to fly on missions during March 1943, his former crew plane piloted by Thompson crashed in the French alps near Dijon returning from a raid over Italy, killing most of the crew. Thompson was badly burnt and spent 20 months as P.O.W. before being repatriated by the Germans. According to the East Grinstead Museum records, he had seven Operations while at Queen Victoria Hospital over 16 months, and became part of the Guinea Pig Club. Thompson returned to Canada and married his Fiancé Francis, who in turn wrote a pamphlet detailing her experiences being married to a WWII veteran.Pate survived the war, his Log book details flights up the 16th May 1946, his grand total of flying hours from 4/6/42 to 16/5/46 were 1462.58 hours.
Lot 241
Personal and issued items of kit belonging to Sgt Collet who was the radio operator/gunneron a Wellington Bomber for the duration of the Second World War. Includes wristwatch cover and personal wristwatch (Gruen 2B post war), issued 1940 whistle, battery flashlight, personal compass, Mk 1 Issued Magnetic compass, 1945 mess kit spoon and fork set with two First field dressing bandages one dated 1938 the other 1943.
Loading...-
596772 item(s)/page