A Chinese grisaille cup and saucer with an amorous couple, Qianlong -- Dia.: 12,1 - 6,1 cm (the cup and saucer)Ê H 6,4 cm (the cup)Ê References:Ê A similar tea set was sold at Christie's, New York, Sale 15336, Jan. 18, 2018, Chinese Export Art Featuring 100 lots from Marchant, est 1925, Lot 100 (link).Ê -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
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A Chinese grisaille 'Jupiter' bowl and a cup and saucer, Qianlong -- Dia.: 12,1 - 5,3 cm (the saucer and the smallest cup)Ê H 5,8 - 3,9 cm (the both cups) -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
A Chinese grisaille 'Nativity' saucer, Qianlong -- Dia.: 12 cmÊ With a 'Suchow & Seigel' label. -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
A Chinese grisaille tea caddy with cup and saucer with outdoor scene with a spinner, Qianlong -- H 13,2 cm (the caddy)Ê Dia.: 12,3 - 7,9 cm (the cup and saucer) - H 4 cm (the cup) -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
Two Chinese grisaille 'Seducing musician with Amor' cups and a saucer, Qianlong -- Dia.: 12 cm (the saucer)Ê H 6,3 - 4,5 cm - Dia.: 7,9 - 6 cm (the cups) -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
A lobed Chinese famille verte serving dish with pheasants and floral design, Kangxi -- 27 x 16 cmÊ The form based on a silver European model. -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images.
A Chinese famille rose 'Departing for School' cup and saucer, Qianlong -- Dia.: 9,5 cm (the saucer)Ê H 3,5 cm - Dia.: 5,7 cm (the cup)Ê With a 'Suchow & Seigel' label. -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
A Chinese famille rose 'silver pheasant' cup and saucer, Yongzheng -- Dia.: 11,4 - 7,1 cm (the cup and saucer)Ê H 3,5 cm (the cup)Ê Literature:Ê George C. Williamson, The Book of Famille Rose, 1985, Torrington, pp. 68-69, pl. XXV.Ê -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
A Chinese famille rose 'Flora and Zephyr' cup and saucer, Qianlong -- Dia.: 13,9 - 9 cm (the saucer and the cup)Ê H 6,1 cm (the cup) -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
A Chinese famille rose cup and saucer after Cornelis Pronk, Qianlong -- Dia.: 11 cmÊ H 3,8 - Dia.: 7 cm (the cup)Ê References:Ê Christie's, New York, Jan. 23 2008, The Hodroff Collection, Lot 256, for a similar set. (link) -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
Two Chinese famille rose 'European hunting scene' cups and a saucer, Qianlong -- Dia.: 11,6 cm (the saucer)Ê H 6,5 - 4 cm - Dia.: 6,9 - 5,9 cm -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
A pair of Chinese famille rose export porcelain 'Cherry Pickers' plates, Qianlong -- Dia.: 23,4 - 23,3 cmÊ Compare:Ê A similar plate was sold at Christie's, New York, Sale 1958, Jan. 23, 2008, The Hodroff Collection, Lot 347 (link). -- -- -- Please request condition reports by e-mail on info@coronariauctions.com. They will be uploaded to the description on our website, where you can find additional HD images. Produced in the 18th century, Chinese export porcelain was crafted with the same technical virtuosity as Chinese Imperial porcelain but designed to Western taste. Its continued appeal is testament to the incredible interaction of Chinese artisans and Western importers who, without common language or culture and separated by vast oceans, together promoted the spread of these wares. Bulk-ordered blue and white porcelain decorated with generic mountain landscapes comprised the overwhelming majority of China Trade cargoes. But the other 2 per cent — large, colourfully enamelled wares — were at the top of the market and remain so today. Made across three centuries and with decoration ranging from Chinese myths and legends to exotic botanical blooms, ‘famille rose’ and ‘famille verte’ enamelled porcelains appeal both to collectors and to those looking for high-quality decoration for their interiors.It’s the Chinese export ‘private trade’ porcelain — pieces specially commissioned by Dutch and English East India Company directors, European royals or Yankee merchants — that really makes collectors’ hearts beat faster. At the top of the ‘private trade’ list is armorial porcelain: the great dinner services, tea services and decorative pieces made to order with European coats-of-arms. These objects reflected the absolute latest in fashion, not just in their decorations but also in their forms, which evolved as trends emerged and 18th-century cuisine developed.Armorial porcelain can connect a collector directly to important personages of the day: Louis XV of France, Catherine the Great, the ‘Princely’ Duke of Chandos and many, many more owned Chinese armorial services. A particularly charming and even quirky Chinese export category is known as ‘European subject’. These wares were painted to order in China after popular Western paintings and prints, with scenes ranging from literary to topographical, mythological or historical.Large-scale pieces — sometimes called ‘country house’ porcelain — filled the great 18th-century European houses. Timelessly elegant, the large Chinese export jardinières or floor-standing vases, such as the famous ‘soldier vases’ that stood guard in the palace of Augustus the Strong, King of Poland, were equally at home in the American ballrooms of the Gilded Age; today they would perfectly suit a modern loft.A further category of Chinese export wares includes those modelled after fashionable European silver forms. From soup tureens, tea services, candlesticks and candelabra to ewers and wine coolers, these pieces offer a fascinating mix of Chinese decoration and Western shape.Chinese potters had a long tradition of modelling lifelike ceramic figures to accompany important individuals in the afterlife, and developed a special affinity for these sculptures in porcelain. Eighteenth-century Europeans were captivated by the porcelain exotic birds, court figures and pug dogs made in China, and these models soon became highly desirable. Smaller figures were often placed on dinner tables, while large Chinese animal-form tureens were used in the dining room.
A Cecil B. DeMille archive of photographsComprising 66 silver gelatin photographs featuring DeMille in action directing some of his most famous films including The Wild Goose Chase (1915), The Sign of the Cross (1932), Cleopatra (1934), The Crusades (1935), The Plainsman (1936), Union Pacific (1939), Samson and Delilah (1949), The Greatest Show on Earth (1952), The Ten Commandments (1956), and many more. The photos depict DeMille in his usual garb of jodhpurs and megaphone on the set and holding court with stars such as Claudette Colbert, Gary Cooper, Jean Arthur, Barbara Stanwyck, Hedy Lamarr, Victor Mature, Charlton Heston, Henry Wilcoxon, Loretta Young, Gloria Swanson, William Holden, Jimmy Stewart, Betty Hutton, Paulette Goddard, and more. Several studio portraits of DeMille and candids at his home are featured, taken by such renowned photographers as Hurrell, Hartsook, Melbourne Spurr, Witzel, and Ruth Harriet Louise. Provenance: the Everett Collection. 8 x 10 in. and 7 x 9 in.
A Katharine Hepburn signed photo to Pandro BermanSilver gelatin matte photograph of Katharine Hepburn and Pandro Berman on the set of Alice Adams (1935), matted, signed and inscribed to upper left, 'To my dear / 'Boss' Pandrovitch / you see who is listening this time - / Kate.' Berman later recalled that, even though the formidable Hepburn was not a big star when she signed on with RKO, 'she treated herself like a star in the negotiations.' Provenance: the Cynthia Berman Collection. Overall: 12.5 x 14.5 in.; within mat: 8.75 x 11 in.
A Ginger Rogers signed photo to Pandro BermanSilver gelatin photograph of Ginger Rogers from the film Shall We Dance (1937), matted, signed and inscribed to lower left of mat, 'To Pandro / Fondly, / Ginger,' and also signed by photographer John Miehle to lower right of mat. Pandro produced all nine of the Astaire-Rogers musicals that were made at RKO including Top Hat (1935) and Swing Time (1936) (their tenth and last film was made by MGM in 1949), as well as some of Rogers' other screen successes including Stage Door (1937) and Vivacious Lady (1938).Provenance: the Cynthia Berman Collection. Overall: 14.75 x 20 in.; photo: 10.25 x 13 in.
A Humphrey Bogart and William Wellman triptych taken by Phil SternThree different silver gelatin photographs of Bogart and Wellman, each signed on the reverse by the photographer ('Phil S[tern].'). The photos were taken on the set of Blood Alley (1955), in which Wellman was directing Bogart's wife, Lauren Bacall. According to Wellman, Bogart revealed to him at this time that he had cancer and could not replace the fired leading man, Robert Mitchum (the part was ultimately played by John Wayne). Bacall later disputed this story, saying she would have been the first to know of Bogart's illness. Wellman's friendship with Bogart harkened back to the 1930s and the sentimental director kept these photographs in a frame which hung in his poolhouse until his death in 1974. Provenance: William Wellman, Jr. Each: 11 x 14 in.
A David O. Selznick custom-bound screenplay of Anna KareninaMGM, 1935. Mimeographed manuscript, screenplay by Clemence Dane and Salka Viertel, 111 pp, dated 1935, with 9 inlaid silver gelatin 8 x 10 in. scene stills, bound in cloth and morocco leather with 'David O. Selznick' and 'Anna Karenina' embossed in gilt to cover and 'Anna Karenina' embossed in gilt to spine. Russian novelist Leo Tolstoy's story of an adulterous woman and her lover comes to life in this star-studded version directed by Clarence Brown, a favorite of star Greta Garbo. The film also features Fredric March, Freddie Bartholomew, Maureen O'Sullivan, and Basil Rathbone. 8.75 x 11 in.
A David O. Selznick custom-bound screenplay of A Tale of Two CitiesMGM, 1935. Mimeographed manuscript, 171 pp, n.d., with an inlaid silver gelatin 8 x 10 in. photo of Ronald Colman with a 'Clarence Sinclair Bull' stamp on the reverse, bound in cloth and brown leather with 'David O. Selznick' embossed in gilt to cover and 'Dickens' / A Tale of Two Cities / Screen play by W.P. Lipscomb & S.N. Behrman / Produced by David O. Selznick / Directed by Jack Conway' embossed in gilt to spine, with a personal bookplate inscribed, 'Irene & David Oliver Selznick' to inside cover. Starring Colman as the ultimately venerable Sydney Carton, A Tale of Two Cities was the last film Selznick produced at MGM before leaving to start Selznick International Pictures. 9 x 11.25 in.
A David O. Selznick custom-bound screenplay of The Prisoner of ZendaSelznick International Pictures, 1937. Mimeographed manuscript, screenplay by John L. Balderston, 154 pp, dated March 13, 1937 and marked 'Final Shooting Script' to title page, with 5 inlaid silver gelatin 8 x 10 in. scene stills, bound in cloth and morocco leather with 'David O. Selznick' and 'The Prisoner of Zenda' embossed in gilt to cover and 'The Prisoner of Zenda' embossed in gilt to spine. John Cromwell directed this lavish production with an impressive cast led by Ronald Colman which included Madeleine Carroll, Douglas Fairbanks, Jr., and C. Aubrey Smith. Boasting the winning combination of romance and swashbuckling, Colman plays the dual role of a king and a prisoner in the classic tale based on the novel by Anthony Hope. 8.75 x 11 in.
A David O. Selznick custom-bound screenplay of RebeccaSelznick International Pictures, 1940. Mimeographed manuscript, screenplay by Robert E. Sherwood and Joan Harrison, from the novel by Daphne du Maurier, 144 pp, dated September 7, 1939, with 10 inlaid silver gelatin 8 x 10 in. photos of scenes from the film, bound in cloth and morocco leather with 'Rebecca' and 'David O. Selznick' embossed in gilt to cover and 'Rebecca' embossed in gilt to spine. Though not as intense as the search for the coveted role of Scarlett O'Hara in Gone With the Wind (1939), many actresses in Hollywood yearned to play the role of the girl (she is not given a name) in Alfred Hitchcock's American directorial debut, Rebecca. Even Vivien Leigh tested for the role, as her amour, Laurence Olivier, was to play Maxim de Winter. Ultimately, Joan Fontaine had just the right amount of submissiveness (and yet spark) to play the meek girl who must contend with the overpowering memory of the first Mrs. de Winter and the evil Mrs. Danvers, played so memorably by Judith Anderson. 9 x 11.25 in.
A Clark Gable cigar case from Gone With the WindMGM, 1939. Gold and silver-plated cigar case with two different plaques which can alternately adorn the lid: one rectangular-shaped featuring a racing horse head in bas relief and the other oval-shaped featuring a three-masted schooner. The case is lined on either side with silk cigar holders (one is loose). Made by Joseff of Hollywood. This cigarette case features prominently in one of the most amusing, yet poignant, scenes in David O. Selznick's masterpiece, Gone With the Wind, when Rhett Butler (Gable), Melanie (Olivia de Havilland), and Scarlett (Vivien Leigh) donate their items for the war effort. Rhett donates this valuable gold cigarette case and nonchalantly drops it into the donation basket. He later causes a minor scandal when he bids to dance with Scarlett (who is in mourning and thus, not allowed to dance) for $150 dollars 'in gold!' Accompanied by a DVD of the film.Provenance: Treasures from the Vault: Joseff of Hollywood, Julien's Auctions, November 18, 2017, lot 302. 4 x 6.5 x 1 in.
A Clark Gable and Vivien Leigh signed photograph from Gone With the WindMGM, 1939. Silver gelatin photograph signed ('Clark Gable,' 'Vivien Leigh') to lower right of scene still which depicts the characters of Rhett Butler and Scarlett O'Hara right before she bans him from her bedroom. As both Gable and Leigh died in the 1960s, it is exceedingly rare to find a photograph signed by both of them.Provenance: the collection of Tom Heyes. 8 x 10 in.
A Vivien Leigh signed photographSilver gelatin photograph signed and inscribed, 'Cyril Bryant / All good wishes / Vivien Leigh.' Stunning in a Walter Plunkett creation of black velvet trimmed in ermine tails, Leigh wore this gown while attending the Atlanta Junior League Gone With the Wind Ball on December 14, 1939, the night before the Atlanta premiere of the film. Plunkett commented at the time that he wanted to retain a sense of Scarlett in his design and created the gown with Leigh's character in mind.Provenance: the collection of Tom Heyes. 8 x 10 in.
A Clark Gable signed photo by Clarence Sinclair BullSilver gelatin photograph signed and inscribed, 'To Wilbur / from / Clark Gable,' with 'Please credit / M-G-M photo / by Clarence Bull / 5289' and original stamped caption on reverse which describes Gable's 20-acre Encino farm, his 'new bride' Carole Lombard, and the much-needed rest he is taking after the long hours working on Gone With the Wind (1939). Provenance: the collection of Tom Heyes. 9.5 x 12.5 in.
A Gone With the Wind archive of photographsApproximately 61 silver gelatin photographs, c.1939, comprising behind-the-scenes candid shots of the cast and crew, photos of filming, portraits of the cast, scenes from the film, photos of the Atlanta premiere and the Academy Awards®, and much more. Featured prominently are Clark Gable, Vivien Leigh, Olivia de Havilland, directors Victor Fleming and George Cukor, producer David O. Selznick, author Margaret Mitchell, Leslie Howard, Ona Munson, Barbara O'Neil, Evelyn Keyes, Ann Rutherford, and many more. Provenance: the Everett Collection. 8 x 10 and 7 x 9 in.
A signed photograph of MGM's top stars of 1939 including Clark Gable, Norma Shearer, and othersSilver gelatin matte photograph of MGM mogul Louis B. Mayer with his highest paid and most popular stars of 1939 (celebrating Lionel Barrymore's 61st birthday), signed to MGM publicist Howard Strickling by Mickey Rooney, Robert Montgomery, Clark Gable, William Powell, Robert Taylor, Norma Shearer, Lionel Barrymore, and Rosalind Russell (still in her costume from filming The Women). Strickling was the keeper of the MGM secrets and was instrumental in keeping the press at bay when MGM's stars would find themselves in trouble. His connections with the Los Angeles Police Department and payoffs to the media saved many a career during MGM's tenure as the most successful movie studio in Hollywood. Provenance: the collection of Tom Heyes. 8 x 10 in.
A Leslie Howard custom-bound screenplay of Intermezzo gifted to him and signed by David O. SelznickSelznick International Pictures, 1939. Mimeographed manuscript, screenplay by George O'Neil, 75 pp, dated May 27, 1939 and marked 'Final Shooting Script' to title page, with 5 inlaid silver gelatin 8 x 10 in. scene stills and behind-the-scenes photos, bound in cloth with 'Leslie Howard' embossed in gilt to cover and 'Intermezzo' embossed in gilt to spine, signed and inscribed to Howard by Selznick: 'For Leslie, / 'Come Home, Holger' / DOS / 1939' to frontispiece (Holger Brandt was the name of the character Howard plays in the film). Selznick's talent at persuading Howard to play the part of Ashley Wilkes in Gone With the Wind (1939) relied on basic bribery: he offered Howard the lead in Intermezzo as well as producing duties in exchange. The film co-stars Ingrid Bergman (in her American film debut) as the young piano instructor with whom Howard, a married man, falls in love. Provenance: the collection of Tom Heyes. 8.75 x 11.25 in.
A Russell Birdwell custom-bound screenplay of Made For Each Other, gifted to him and signed by David O. SelznickSelznick International Pictures, 1939. Mimeographed manuscript, screenplay by Jo Swerling, 112 pp, dated August 12, 1938 and marked 'Shooting Script' to title page, with 4 inlaid silver gelatin 8 x 10 in. scene stills and publicity portraits, bound in cloth with 'Russell J. Birdwell' embossed in gilt to cover and 'Made For Each Other' embossed in gilt to spine, signed and inscribed to Birdwell by Selznick: 'For Russ, / These lyrics of his / S.I.P. Swan Song / Cordially, / DOS' to frontispiece. Provenance: the collection of Tom Heyes. 8.75 x 11 in.
A Glinda the Good Witch test wand from The Wizard of OzMGM, 1939. Comprising clear, Chaton-style rhinestones affixed to both sides of a small metal star, approximately 1 cm thick, which has been welded into the top of a tapering metal rod, which is pieced together to another metal rod featuring a small finial detail at the bottom. When filming began on The Wizard of Oz in 1938, it quickly became apparent that creative license with L. Frank Baum's novel would need to take place in order to accommodate the glorious Technicolor in which the film would be shot. Hence, Dorothy's silver shoes from Baum's book changed to a pair of sparkling ruby red sequined pumps. A similar but lesser known story relates to the magical wand held by the Good Witch, Glinda, played by Billie Burke. Initially, a Gilbert Adrian-designed wand of clear rhinestones was created but ultimately appeared bland on film. It was replaced with a wand which contained scattered colorful stones which sparkled on screen and was more in keeping with the vibrant Land of Oz (at least two of these wands were known to exist). Like the ruby slippers, the multiple wands met with interesting fates. The silver wand offered here was likely used in wardrobe test shots of Billie Burke, but the only known existing photo is one that Burke had specially made by MGM photographer Clarence Sinclair Bull after filming of The Wizard of Oz was completed. Proud of the success of the film and her role as the Good Witch, she incorporated a sketch of the photo into holiday cards which she sent to friends and family. The silver wand was then returned to MGM's storage, where it rested until it was eventually sold through the 1970 MGM property auctions to a buyer who owned it for 47 years and who ultimately sold it to the present consignor. The two known colorful screen-used wands were sold at the famous 1970 MGM auction and transported to a museum called 'The Land of Oz' in North Carolina, where both wands were destroyed in a 1970s fire, making this silver version the only known wand in existence. It was recently on exhibition at a major American institution. For a more detailed history of the wand's journey from the 1970 MGM liquidation sale to the present, please contact the department. 3 x 56.50 in.Refer to department for Lot Estimates.
An Edward G. Robinson jacket from Silver DollarWarner Bros., 1931. Black double-breasted cutaway coat with forest green trim, size 42, bearing an interior black-lettered 'Western Costume Co. / Los Angeles' label inscribed, 'Ed Robinson' and a 'Western Costume Co.' stamp and label in the arm lining. Robinson plays Yates Martin in this rags-to-riches tale which costars Bebe Daniels and Aline MacMahon. Accompanied by a photo of Robinson wearing the suit in the film and a DVD of the film.
A Romeo and Juliet cast-signed script coverMGM, 1936. Original MGM script cover, dated November 13, 1935, with 'Script Okayed / by Mr. Thalberg' and 'From / Talbot Jennings' typed on the lower right-hand corner of the cover, matted and framed together with a silver gelatin publicity photograph of Norma Shearer and Leslie Howard in costume for the film. Almost everyone involved with the production has signed the front cover, including the main actors Norma Shearer, Leslie Howard, John Barrymore, and Ralph Forbes, as well as producer Irving Thalberg, director George Cukor, costume designers Adrian and Oliver Messel, art director Cedric Gibbons, composer Herbert Stothart, recording director Douglas Shearer, and many others. Some of the actors wrote the names of their characters underneath their signatures. Overall: 17.75 x 21.5 in.; script cover within mat: 8.25 x 10.5 in.; photo within mat: 7 x 9 in.
A pair of original Harold Lloyd color studies and family portraitsOil on canvas board, one featuring two labels on the reverse indicating display at the 'Art of Celebrities' Festival of Arts exhibition in 1954. Though best known for his spectacular body of work in silent films on a par with peers such as Charlie Chaplin and Buster Keaton, Lloyd was a prolific painter and photographer whose color studies and 3-D photography became all-consuming. Harold began doing color combinations in the late 1940s and early '50s, the secondary colors of which he sold to the Shiva Oil Paints Company. Lloyd's paintings have never been out of the family and this is the first time they have been offered at auction. Accompanied by three photos of Lloyd with his paintings. Together with a silver gelatin portrait of Harold Lloyd, with 'Lewis F. Nathan' written into the negative at lower right, matted and framed with the inscription, 'Merry Christmas / [missing] / With lots of love and good wishes' (likely to daughter Gloria) on the paper backing of the frame. Accompanied by a photograph of Lloyd with wife Mildred Davis and newborn son, Harold Lloyd, Jr. and a portrait of Mildred alone during her days as Harold's leading lady.Provenance: the estate of Harold Lloyd. Both overall: 18.5 x 22.5 in.; within frame: 12 x 16 in.; Framed portrait: 15.5 x 18.5 in.
A Planet of the Apes group of keybook wardrobe and makeup stillsTwentieth Century-Fox, 1968. Approximately 138 silver gelatin and color photographs from the film comprising 82 original keybook wardrobe and makeup stills featuring Roddy McDowell, Kim Hunter, Maurice Evans, and many background actors in wardrobe test shots and in the process of having the ape prosthetics applied; 35 original publicity stills; three 4 x 5 in. color transparencies; three 5 x 7 in. color prints; seven 8 x 10 in. mini lobby cards; eight 8 x 10 in. color stills; xerographic copies of a continuity and dialogue script pertaining to the promotional trailer; xerographic instructions on how to make an ape mask; and miscellaneous clippings and pressbook material. Accompanied by a small group of original and reproduction photographs and clippings pertaining to Beneath the Planet of the Apes (1970).Provenance: the estate of Wes Shank. 8 x 10 in.
A Gary Cooper group of signed photographsSix silver gelatin photographs comprising a candid photograph of Cooper with three young fans on the set of The Virginian (1929) inscribed, 'To Peggy / Thanks for your pleasant visit. / Sincerely, / Gary Cooper'; an early portrait of Cooper inscribed, 'To Georgia French / with sincere regards / Gary Cooper,' in which Cooper has made a mistake and crossed it out on the photo; a publicity portrait of Cooper from The Real Glory (1939) with Andrea Leeds and David Niven, with 'Coburn' photographer stamp on reverse, inscribed, 'To Lena– / Gary Cooper / 1939'; a portrait of Cooper in costume for Along Came Jones (1945), signed and inscribed, 'To Virginia Griffith / from / Melody Jones [the character Cooper played in the film] Cooper / 1945'; and 2 unsigned photographs, one of Cooper playing the guitar c.1929 and one of Cooper in closeup from Pride of the Yankees (1942) with photographer 'Hal McAlpin' stamp on reverse. 11 x 14 in.
A Marlene Dietrich and daughter Maria portrait taken by Horst P. HorstSilver gelatin photograph of Marlene Dietrich and her daughter Maria, signed ('Horst') in brown colored pencil to lower right of mat, with 'CNP [Conde Nast Publications]' blind stamped to lower right of photograph, with '15178H-16' handwritten and 'Date of Sitting / Dec 1, 1947' and 'Horst Vogue Studio' stamped to reverse of mat, with photo affixed to mat. Maria Riva holds her own with her famous mother in this stunning portrait by famed photographer, Horst. Riva, the daughter of Dietrich and her husband, Rudolf Sieber, was 23 years old at the time of this photograph and would later write a revealing book about her adventurous childhood as the daughter of world-class diva Dietrich. Overall: 15 x 20 in.; photograph: 10.5 x 13.25 in.
A Jesse Lasky engraved inkwell gifted to him by Mary PickfordSilver plate desk set double inkwell comprised of 2 heavy cut glass bottles with covers on either side of a candle holder atop a lidded box, all enclosed upon a tray with paw feet, marks effaced, with an engraved inscription: 'Mary to Jesse / Pickford - Lasky / 1936.' Lasky's partnership with Mary Pickford held great promise when it commenced in September 1936. Both had been successful pioneers in the film industry, with Pickford at one time making movies for Lasky's company, Famous Players-Lasky. During their partnership, they made two films together, The Gay Desperado and One Rainy Afternoon (both 1936), but the two headstrong executives clashed often and dissolved their company shortly thereafter.Provenance: the estate of Jesse Lasky, Jr. 7.5 x 12.25 x 4.5 in.
A Marion Davies signed photo to Louella Parsons by HurrellSilver gelatin oversized doubleweight matte photograph of Marion Davies with 'Hurrell' blind stamp to lower right border, signed and inscribed, 'To the greatest friend / I have ever had. I love / you Louella. / from / Marion.' Accompanied by three 8 x 10 in. publicity and scene stills of Davies. When Parsons first met Davies in 1919, Davies was in the thick of her affair with newspaper mogul William Randolph Hearst. Parsons was surprised to find a modest, sweet woman: 'She is like a child who had suddenly found herself in a golden palace surrounded with every luxury money can buy.' Parsons was so adoring of Davies in her column that she eventually was hired by Hearst. Her columns were syndicated in hundreds of newspapers with over 20 million readers, with nary a negative word ever written about Marion Davies. Provenance: originally from the estate of Louella Parsons. 11 x 14 in.
A Norma Shearer and Louella Parsons group of photosComprising an oversized silver gelatin matte photograph with 'Kindly Credit / Hurrell / MGM' on the reverse, signed and inscribed by Shearer to Parson's husband, Dr. Harry Martin: 'To the 'Doctor' - / With real affection / Norma Shearer.' Accompanied by two oversized photos of Shearer and Parsons having tea in Parsons' garden, both with 'Clarence Sinclair Bull' stamps on the reverse. Like most of the stars during the Golden Age of Hollywood, Shearer did her part to keep the powerful columnist happy including allowing Louella visits to the set of her films, posing for publicity photos, appearing on her radio program, and keeping her in the know regarding her life and career. Provenance: originally from the estate of Louella Parsons. 11 x 14 in.
A Tyrone Power archive of scene stills from his filmsApproximately 599 silver gelatin photographs, 8 x 10 in., from most of Power's films including Lloyds of London (1936), The Rains Came (1939), The Mark of Zorro (1940), Blood and Sand (1941), A Yank in the R.A.F. (1941), The Razor's Edge (1946), The Long Gray Line (1955), The Eddy Duchin Story (1956), The Sun Also Rises (1957), Witness For the Prosecution (1957), and many more. This archive also includes publicity portraits of Power with his co-stars including Sonja Henie, Alice Faye, Loretta Young, Gene Tierney, Piper Laurie, and many more. 8 x 10 in.
A Tyrone Power group of oversized photographsComprising 28 oversized silver gelatin photographs featuring Tyrone Power in publicity portraits and behind the scenes of films such as Blood and Sand (1941), The Black Swan (1942), and Son of Fury: The Story of Benjamin Blake (1942); in uniform; in candid photographs with wife Annabella and gossip columnist Louella Parsons; in candid photos with the cast of the 1952-53 touring stage production of John Brown's Body which also feature Charles Laughton and Raymond Massey and which were taken by photographer John Engstead, and more. Other photographers represented are Anthony Ugrin and Gene Kornman. Accompanied by an additional 5 photos of Power and a photo of Annabella, 8 x 10 in. Power was Twentieth Century-Fox's most popular leading man during the 1940s. Oversized photos: 11 x 14 in.
A Rita Hayworth group of portrait and pinup photographsComprising 43 silver gelatin photographs beginning with her years as starlet Rita Cansino and featuring portraits from her signature role in Gilda (1946), as well as swimsuit pinups and portraits from Blood and Sand (1941), The Strawberry Blonde (1941), The Lady From Shanghai (1947), Salome (1953), and many others taken during her reign as Hollywood's Love Goddess of the 1940s. Photographers represented include Hayworth's favorite, Robert Coburn, as well as Scotty Welbourne, Gene Kornman, Whitey Schafer, and Ned Scott. Provenance: the Everett Collection. 8 x 10 in.
A Judy Garland signed and inscribed photographSilver gelatin matte finish photograph with a 'John Engstead' blind stamp to lower right, signed and inscribed, 'To Al– / with my love and / best wishes– / Judy / P.S. sorry I'm not wearing / my 'oscar' cuff links / in this picture,' taken during the period she was making a comeback with A Star is Born (1954). According to a typed caption taped to the back of the photo, the recipient of the signed photo was Al Williams, the owner and operator of the Papagayo Restaurant at the Fairmont Hotel in San Francisco during the 1950s and '60s; accompanied by a second silver gelatin matte finish photograph with 'Portrait by Eric Carpenter' and original MGM stamped informational caption on reverse, also signed and inscribed, 'Joe Alfonso [?] / Sincere best wishes, / Judy Garland,' c.1945, possibly a secretarial signature. Each: 11 x 14 in.
A Marilyn Monroe photo by Frank WorthSilver gelatin photograph, edition no. 14/195, with photographer's estate blind stamp in margin recto, printed later. Taken during a photo session with Sammy Davis, Jr. during the shooting of How to Marry a Millionaire (1953), this natural candid of Monroe is evidence of the relaxed atmosphere which attended photographer Frank Worth's shoots and made his pictures so unique. Worth had an impressive body of work dating from the 1930s to the 1960s, but most of it was not released until after his death. Accompanied by a certificate of authenticity from the photographer's estate. 16 x 20 in.
A Marilyn Monroe photo by Frank WorthCBS, 1953. Silver gelatin photograph, edition no. 14/195, with photographer's estate blind stamp in margin recto, printed later. Monroe relaxes on the set of The Jack Benny Show where she made her television debut in 1953. She engaged in a comedic skit with Benny and also serenaded him with a rendition of 'Bye Bye Baby,' a song from her hit film, Gentlemen Prefer Blondes (1953). Accompanied by a certificate of authenticity from the photographer's estate. 16 x 20 in.
A Marilyn Monroe oversized print by John BrysonSilver gelatin photograph wrapped around masonite board, signed ('John Bryson') to lower right and signed ('Bryson') to reverse margin. Monroe is depicted in her element as her entourage, including makeup artist Allan 'Whitey' Snyder and hair stylist Sydney Guilaroff, attends to her every need. Taken on the set of Let's Make Love (1960), Bryson was able to capture the chaotic atmosphere that often accompanied Monroe when making films. John Bryson gifted this print to the consignor's grandfather, who was an amateur photographer and friend of Bryson. 30 x 40 x 0.5 in.
An Elizabeth Taylor group of portrait and candid photographsComprising 59 silver gelatin photographs featuring Taylor in lovely portraits as MGM's rising young star in films such as Father of the Bride (1950) and A Place in the Sun (1951) to her passage as one of Hollywood's most forthright and talented actresses in Suddenly, Last Summer (1959) and Cleopatra (1963). Many of the photos are from the late 1940s, early '50s and highlight Taylor's otherworldly beauty. Provenance: the Everett Collection. 8 x 10 in.
An Elizabeth Taylor photo taken by Frank WorthWarner Bros., 1956. Silver gelatin photograph taken in 1955, from a limited edition set of 6, with photographer's estate blind stamp in margin recto, printed later. Director George Stevens' epic film based on Edna Ferber's novel of the same name cemented Elizabeth Taylor's legendary status. Taylor, who enjoyed pushing the envelope when it came to her performances, resonated with her character, a cultivated girl who marries into a chauvinistic ranching family and brings feminism to Texas. Accompanied by a certificate of authenticity from the photographer's estate. 12 x 18 in.
A group of 3 engraved lighters gifted to makeup artist Dave Grayson by John WayneThree silver brush cigarette lighters, each featuring 'Zippo' stamped to the bottom, each in its original box, each with a different engraving on the front including, 'Train Robbers / 1972'; 'M.V. / Wild Goose [Wayne's yacht]'; and ''Rooster Cogburn' / (A Man of True Grit)'; all are inscribed, 'Stolen From / John Wayne' on the reverse. All three lighters were given as gifts to Wayne's longtime makeup man and friend, David Grayson. Provenance: the estate of David Grayson. Each box: 2.25 x 3.25 x 0.5 in.; each lighter: 1.5 x 2.25 in.
A John Wayne group of signed ephemera from his longtime makeup man, David GraysonComprising a silver gelatin 8 x 10 in. photograph of Wayne and Grayson together inscribed by Wayne: 'Dave - / May there be many / more years. / Duke 1978'; a March 1978 issue of the Saturday Evening Post in which Dave has inscribed a note to himself (as Wayne) to which the real John Wayne has replied underneath; a September 1973 issue of Views & Reviews inscribed by Wayne, 'Dear Dave / The best spray / is your spray. / Duke'; a 4 pp program commemorating the grand opening of the John Wayne Theatre and its premiere of Big Jake (1971) inscribed to inside cover, 'Dah-veed / Please no / 'Hallow Harry' to / poor old, [sic] Duke. / John Wayne'; an 8 x 10 in. photograph which Grayson has jokingly inscribed as being from Wayne, along with a similar note; and an 8 x 10 in. photograph of Grayson making up Wayne's son, Ethan, on the set of Big Jake, while Wayne looks on. David Grayson formed a strong friendship and business relationship with Wayne as his makeup man during the productions of many of his movies, as he later recalled: 'I did John Wayne on the road ... went to Europe with him, did his commercials. He did a great many personal appearances.' After Wayne's film work waned, Grayson went on to become a makeup artist for television, ultimately working on the successful TV series, Moonlighting.Provenance: the estate of David Grayson. 10.5 x 13 in.
A Mitzi Gaynor 1952 silver Henrietta AwardSilver painted statuette of a nude female holding a flower standing upon a round base, with 'A. Katchamakoff' carved into the base. In 1952, Mitzi was voted 'Best Young Box Office Personality' by the Foreign Press Association of Hollywood, an organization that had briefly broken off from the Hollywood Foreign Correspondent Association (known for giving the Golden Globe Awards), and which had decided to give their own awards. Other stars in 1952 who received the silver Henrietta Award were Marilyn Monroe, Leslie Caron, Tony Curtis, John Derek, and Patrice Wymore, and the six winners even posed for publicity photographs together. At the time of the awards ceremony on January 26, 1952, Mitzi had appeared in 3 feature films and her star was on the rise. Because they were only given during a 2-year period, surviving Henrietta Awards are a rare find. Accompanied by a photo of Mitzi receiving the award from Lex Barker and Arlene Dahl. 10 x 10 x 24 in.
A Mitzi Gaynor group of personal South Pacific ephemeraTwentieth Century-Fox, 1958. Comprising 44 silver gelatin photographs including candids of the cast returning to Los Angeles after 10 weeks in Hawaii, scenes from the film, one contact sheet of on-the-set candids, and publicity portraits; a group of eight 12-inch 78 rpm acetate discs, 7 double-sided and 1 single-sided, all with 'Todd-AO Corp' labels with the production name, the title of the song, length, and other details typed to the labels (playback not guaranteed) including versions of 'Bloody Mary' and 'Some Enchanted Evening'; an original, still-sealed 1958 soundtrack album of South Pacific; a 1964 re-release U.S. lobby card; a copy of The South Pacific Companion by Laurence Maslon (New York: Simon & Schuster, 2008), signed ('Mitzi') on the frontispiece; a copy of The Tale of South Pacific, edited and produced by Thana Skouras (New York: Lehmann Publishing, 1958); a group of annotated sheet music for various instruments for the song, 'A Wonderful Guy'; 11 pieces of sheet music of songs from the film; a program for the film's press preview at the Egyptian Theatre in Hollywood dated March 17, 1958; and a 3.25 x 5.5 in. signed fan photo of Mitzi. 7 x 12 x 16 in.
A Mitzi Gaynor gown by Dior worn at the New York premiere of South PacificCream-colored silk tulle strapless evening gown embellished with small silver sequins and slightly larger rhinestones densely decorating the bodice, gradually growing in size and space over the skirt, with several more layers of tulle underneath to create a full effect. The style of the gown is emblematic of the 1950s with its bell-shaped skirt and overall silhouette. On one of the most exciting nights of her life, Mitzi dazzled in this original Dior gown which she accessorized with a white fur stole. The premiere took place on March 19, 1958 at the Criterion Theatre in New York, and Mitzi basked in the glow of her fans and the barrage of photographers for whom she posed with her husband, Jack Bean, co-star Rossano Brazzi, other stars from the film, and myriad other celebrities who were on hand for the big event. Accompanied by a photo of Mitzi wearing the gown.
A Mitzi Gaynor formal dress attributed to Lanvin-Castillo, worn to the London premiere of South PacificCream-colored sleeveless formal dress of lace in a floral design, with a bateau neckline, accented with silver metallic thread throughout, with a full skirt supported by a crinoline, and a large dramatic bow with long tails highlighting the back waist. The anticipation of Broadway's smash hit South Pacific being made into a film resulted in several lavish premieres when it was released in 1958 including New York, London, Los Angeles, and at the World's Fair in Brussels, Belgium. The London premiere was held on April 21, 1958 at the Dominion Theatre, where the film would ultimately run continuously for an historic 4 years and 22 weeks. Mitzi dazzled in this elegant dress which she paired with a white fur. Accompanied by a vintage photo of Mitzi wearing the gown.
A Mitzi Gaynor nude illusion stage-worn costume designed by Bob MackieOrange and silver full-length fully sequined one-shoulder costume consisting of various sizes of small round orange and silver sequins and mirrored paillettes decorating the bodice, descending into long strips similarly embellished with sequins down the length of the costume, with a matching sequined floral applique at the shoulder, bearing an interior label inscribed, 'Bob Mackie.' Mitzi wore this costume in her stage appearances and favored this type of nude illusion costume; a raspberry colored version of the same design can be seen in Mitzi...and 100 Guys (1975). Accompanied by 2 photos of Mitzi wearing the costume in performance.
A Mitzi Gaynor Emmy Award®-winning gown worn on Mitzi...Roarin' in the 20's, designed by Bob MackieCBS, 1976. Heavily beaded silver spaghetti strap gown embellished with mirrored sequins and clear bugle beads, cut to below the waist with a plunging neckline masked with nude souffle and tiered beads, with a tapering skirt slit up the front and hemmed with cream-colored ostrich feathers, bearing an interior label inscribed, 'Bob Mackie.' In keeping with the theme of the show, this gown exhibited features reminiscent of 1920s fashion but remained up-to-date for modern audiences. Mitzi also wore this gown during her 1976-77 concert tour. Accompanied by a photo of Mitzi wearing the gown.
A Mitzi Gaynor jumpsuit worn on Mitzi...What's Hot, What's Not, designed by Bob MackieCBS, 1978. Bright aqua long-sleeved jumpsuit with a diagonal design of nude netting and rhinestones across the bodice and down the sleeves and legs, bearing an interior label inscribed, 'Bob Mackie,' accompanied by a pair of silver calf-length boots trimmed in aqua and white ostrich feathers, bearing an interior label inscribed, 'Di Fabrizio / Los Angeles,' size unknown. This spectacular outfit was also worn by Mitzi during her 1978-79 stage tour and was originally paired with a matching full-length cape.
A Mitzi Gaynor stage-worn gown and boa, designed by Bob MackieNude illusion full-length gown heavily adorned with bugle beads and clear and silver sequins forming vines, punctuated by lilac-colored sequins formed into floral appliques, with a nude souffle neckline scattered with rhinestones and a deep slit in the skirt. Accompanied by a purple and white feather boa. Mitzi wore this stunner during her stage performances in 1979. According to Bob Mackie, Mitzi was instrumental in the success of his career when she asked him to design for her nightclub and television appearances in 1966: 'It's terrific for a young designer to have a star that gets a lot of publicity and is wearing their clothes, and she was the first one.' Accompanied by a snapshot of Mitzi wearing the gown on stage.
A Mitzi Gaynor pair of stage-worn beaded leotards designed by Bob MackieComprising a white leotard designed and trimmed with rhinestones and metallic thread of silver and gold, with dangling strands of bugle beads at the shoulders and below the waist, with matching ornamented wrist cuffs, bearing an interior label inscribed, 'Bob Mackie'; together with a gold leotard completely embellished with gold sequins and bugle beads, with beaded epaulettes at the shoulders, bearing an interior label inscribed, 'Elizabeth Courtney / Costumes / Hollywood,' accompanied by matching beaded wrist cuffs and a military officer hat. Mitzi wore these creations in her live stage show tour during the 1970s and 1980s. Accompanied by 2 photos of Mitzi wearing the costumes and performing in front of a live audience.
A Mitzi Gaynor pair of stage-worn gowns designed by Bob MackieComprising a white spaghetti strap leotard festooned with gold sequins in an asymmetrical striped pattern, with 2 large white sequined floral appliques at the bust and waist, with a long train of gold lamé ruffles, accompanied by a matching wide-brimmed hat of net, sequins, and matching floral appliques; together with a silver one-shoulder gown ornamented with mirrored sequins and silver and clear bugle beads in a wavy pattern, with an asymmetrical skirt of cream-colored ostrich feathers and a matching cape which joins at the shoulder by a large rhinestone brooch. Both costumes bear interior labels inscribed, 'Bob Mackie.' Both gowns were worn in Mitzi's live stage show tour in 1981 and in publicity photographs promoting the tour. Accompanied by 4 photos of Mitzi wearing the costumes and a souvenir program from Mitzi's stage tour.
A Mitzi Gaynor pair of stage-worn beaded gowns designed by Bob MackieComprising a silver and white mid-length gown with a built-in leotard foundation, completely decorated with silver and white sequins and clear bugle beads with long dangling asymmetrical strands down the legs, with an off-the-shoulder decorative cord adorned with dangling beaded triangles, worn in Mitzi's 1985 stage show tour; together with a similarly designed gold mid-length spaghetti strap gown heavily beaded throughout with gold, yellow, and silver sequins and gold and clear bugle beads, with upper arm dangling beaded embellishments, worn in Mitzi's 1989 Anything Goes tour. Both garments bear interior labels inscribed, 'Bob Mackie.' Accompanied by a photo of Mitzi wearing the silver and white gown.
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