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Click here to subscribeA Chinese bronze tripod incense burner, liQing dynasty, 18th centuryOf compressed form, with tripod incense burner, Shiting Yawan, 18th century清十八世紀 銅三足鬲式爐Condition Report: Surface has been polished. A few expected pits and a couple of tiny old square plugs to the shoulder. Approx. weight: 1706.
A Chinese glazed and incised pottery tripod dishTang dynastyThe buff body supported by three short feet, incised to the centre and glazed in blue, green, and ochre with floral designs, 17.4cm diameter.唐 三彩印花三足盤Provenance: M.L.Von Callenberg, 79 (label)Condition Report: Expected old wear. Some firing imperfections including light warping.
A Chinese bronze tripod incense burnerLate Qing dynasty, apocryphal Xuande markOf typical form, with upright loop handles, the base with cast sixteen-character mark, 16.3cm wide at the handles.清晚期 銅三足爐 十六字宣德寄托款Condition Report: The exterior has been polished slightly. Expected light wear and casting imperfections.
A Chinese Neolithic burnished pottery tripod vessel, Li, Xiajiadian cultureNeolithic period, Circa 1500 BCEWith flared rim above two incised rings to the body, 25.5cm high.新石器時代 夏家店下層文化 陶鬲Provenance: Brian Page Oriental Art (receipt). Exhibited at "Chinese Neolithic monochrome ceramics", 16th Parcours de la Céramique, 19-23 September 2023, Galerie Gilgamesh, Paris.來源：Brian Page Oriental Art（收據）。2023年9月19日至23日與法國巴黎Galerie Gilgamesh畫廊， "Chinese Neolithic monochrome ceramics"展出。Footnotes: The Xiajiadian culture was based in the north East of China, different from other concentrated earlier Chinese civilizations. This vessel is typical with its steady three footed bottom and flared mouth. The high quality is represented by its evenly burnished surface, its height and the two incised lines around the neck. On the bottom, plant roots have been growing onto the surface after longtime burial, a sign of its age. Some vessels still maintain their original surface decoration, usually composed of an abstract animal pattern painted in red and white.W. SHANSHAN is a London and Paris based gallery that is specialized in ancient art. The gallery exhibits a selection of rare artworks, particularly Asian ceramics, bronzes, stone sculptures from the Neolithic period to 10th century.
TWO VERY RARE IMPERIAL-TRIBUTE PAINTED ENAMEL TURQUOISE-GROUND TRIPOD INCENSE BURNERS, DINGQianlong red enamel four-character marks and of the periodThe two globular vessels each raised on three bulbous feet, colourfully enamelled with similar designs of gourd or melon and butterfly within four gilded scrollwork-edged cartouches, against a turquoise ground interspersed with scrolling lotus, the gilded shoulder raising to a cylindrical neck with alternating gilded and painted flowers, below the wide rim repeating the similar design of painted and gilded cartouches, flanked by a pair of similarly enamelled S-shaped handles set with openwork gilt-copper cash-motif tubes. 21.5cm (8 7/16in) high, and 22.8cm (9in) high. (2).Footnotes:清乾隆 御供銅胎畫琺瑯瓜蝶紋雙耳三足香爐兩件礬紅「乾隆年製」楷書款Provenance: Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022)來源：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏The vessels belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945.Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.These opulently decorated covered incense burners, modelled in the form of archaic bronze ding vessels, would have likely been commissioned by the Imperial Court from workshops in Guangzhou. Since the technique of enamelling on metal was introduced by Jesuit missionaries residing in Guangzhou around 1684, the craftsmen of Guangzhou proved so proficient in the new craft that by 1716 the Kangxi Emperor was known to have summoned two artisans from there to work in the enamel workshop of the Imperial Household Department in the Palace. By the Qianlong Emperor's reign, the art of enamelling on metal had reached exceptionally high standards, as the present examples illustrate, and this art form continued to receive the emperor's foremost interest and patronage.Compare with a similar incense burner, from a painted enamel alter set with interlocking lotus design, Qianlong mark and of the period, illustrated in the Compendium of Collections in the Palace Museum: Enamels 5, Painted Enamel in the Qing Dynasty, Beijing, 2011, pp.232-233, no.176. The incense burner is similarly painted with a turquoise ground and reserves painted with gourds amongst vines within gilded cartouches. See also the related design of gourds on a painted enamel cup and cover, Yongzheng mark and period, illustrated by Shi Jingfei, Radiant Luminance: The Painted Enamelware of the Qing Imperial Court, Taipei, 2012, p.100, no.63.Compare with a related 'Imperial-Tribute' yellow-ground Canton enamel tripod incense burner and cover, Qianlong mark and of the period, which was sold at Sotheby's Hong Kong, 2 June 2015, lot 669.For further information on this lot please visit Bonhams.com
A SANCAI-GLAZED TRIPOD JARTang DynastyOf compressed globular shape, rising from three lion-paw legs to an everted rim, the exterior covered in a lustrous green, straw and amber glaze falling in an irregular line down the lower section of the body. 19.5cm (7 5/8in) diam.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價唐 三彩三足罐Provenance: Berwald Oriental Art Ltd., LondonA European private collection, acquired from above on 19 June 2015來源： 倫敦古董商Berwald Oriental Art Ltd.歐洲私人收藏，從上處獲得於2015年6月19日The result of Oxford Authentication Ltd. thermoluminescence test no.C114k10 dated 13 October 2014, is consistent with the dating of this lot.本拍品經牛津熱釋光檢測，編號C114k10（2014年10月13日），結果與其斷代相符See a similar sancai-glazed tripod globular jar, Tang dynasty, illustrated by R.Krahl, Chinese Ceramics from the Meiyintang Collection, vol.1, London, 1994, nos.237 and 238.Compare with a very similar sancai-glazed tripod incense burner, Tang dynasty, which was sold at Christie's New York, 17 March 2017, lot 1139. See another sancai-glazed globular tripod jar, Tang dynasty, which was sold at Bonhams London, 11 May 2021, lot 62.For further information on this lot please visit Bonhams.com
A GE-TYPE FOLIATE BRUSH WASHER18th centuryOf foliate form with ten lobes, covered with a lavender-grey glaze accented by a matrix of 'iron wire' and 'golden thread' crackles, the base with an unglazed circular area, fitted box. 11cm (4 3/8in) diam. (2).Footnotes:十八世紀 仿哥釉葵花式洗Provenance: Dr Carl Kempe (1884-1967), Sweden (label)The Li Fan Thompson collection, London來源： Carl Kempe博士(1884-1967)，瑞典（據標籤）范麗收藏，倫敦Dr. Carl Kempe (1884-1967) was a prominent Swedish industrialist who served as the CEO of Mo och Domsjö AB, a leading company in the Swedish pulp and paper industry. Dr. Kempe resided at Ekolsund, a historic former Swedish royal palace, where he also maintained his distinguished art collection. As an early and active member of the Oriental Ceramic Society, he amassed one of the finest European collections of Chinese art created in the mid-twentieth century.See a related Ge-type foliate brush washer, Song dynasty, in the Qing Court Collection, in the Palace Museum, Beijing (acc. no.故00145382). As early as the Yongle period of the Ming dynasty, imitation of Ge wares had already begun. By the Qing dynasty, during the reigns of the Yongzheng and Qianlong Emperors, the technique had reached a zenith. The glaze was thick and smooth, exhibiting a crackle pattern known as 'golden thread and iron wire.'Compare with a related Ge-type lobed washer but with tripod, Qianlong mark and of the period, which was sold at Christie's London, 13 May 2014, lot 408.For further information on this lot please visit Bonhams.com
A CHINESE THREE-TIERED JADE TRIPOD CENSER AND COVER the compressed globular body rising from three short lion mask and paw feet to a broad everted rim set with a pair of phoenix-head handles suspending loose rings, each of the three tiers of compressed globular form carved around the exterior with bands of confronting dragon and phoenix, the domed cover with lotus bud finial, wood stand, 13.5cm high (without stand)Provenance: Acquired in Hong Kong in the 1960/70s. 三层玉鬲式炉连盖
A CHINESE BRONZE TRIPOD CENSER, QING DYNASTY, 18TH CENTURY the compressed globular body rising from three short conical feet to an everted rim set with a pair of simple loop handles, apocryphal Xuande mark to the base, 18cm wideProvenance: From the collection of the late A.J.(John) Lippitt (1928-2019), Hampshire. 清十八世紀 銅三足鬲式爐
HANS WEGNER FOR FRITZ HANSEN, SET OF SIX FH4103 TEAK AND BIRCH 'HEART' CHAIRS, DESIGNED AND PRODUCED CIRCA 1952 each with curved backrest, tapered cylindrical tripod supports, five retaining foil label to undersideCondition generally good. Typical wear as per use and age. Further images now available.
A Sony Cyber-shot RX10 Mark IV digital camera with camera instructions and accessories, together a Leica 42310 Televid 77 Angled Case, Leica 41012 Zoom Eyepiece, Leica 40102 APO Televid 77 Spotting Scope, Manfrotto 701HDV tripod head, Manfrotto 494 Ball Head tripod and a travel bagIf there is no condition report shown, please request
A late 19th century Aesthetic Movement Benham & Froud copper spirit kettle, designed by Dr Christopher Dresser, suspended by a scroll worked brass hanging frame, the stand with burner, suspended stabilising ball and on a tripod base, the kettle stamped with orb and cross maker’s mark, 85cm high x 42cm wideIf there is no condition report shown, please request
A Japanese silver and shakudo-inlaid copper tripod incense burner, koroMeiji period, signed Ichiyosai AtsuteruThe copper compressed globular body inlaid in silver and shakudo with ducks swimming in a pond under the shadow of a blossoming prunus, the base with incised signature in cursive, the interior with silver liner, surmounted by reticulated silver cover, 14cm wide x 10cm high.Condition Report: Approx. weight 959g; however there is some water trapped between the liner and the body.Light surface wear including some scratching and possible over-polishing of surface. Lining is stuck to the interior.
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