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A Royal Doulton figure Gwd Willum, HN2042 together with Omar Khayyam, HN2247, The wardrobe mistress, HN2145, together with a Worcester vase, Staffordshire cottage, pair of Chinese blue and white crackle glaze vases and covers, pottery preserve pots, green glass drinking glasses, figures, onyx clock etc
A NEAR PAIR OF CHINESE ENAMEL ‘EUROPEAN SUBJECT’ TWO-HANDLED VASES, QING DYNASTY清 《乾隆年製》款 銅胎畫琺琅西洋人物風景雙耳瓶一對Apocryphal four-character Qianlong marks in blue, each painted with panels of westerners in landscapes, reserved against yellow floral grounds (2)Height: 12cmProvenance: The collection of Lt. Col. George Douglas Gray, OBE, MD RAMC (1872 - 1946), thence by family descentCondition ReportOne vase has three circa 1.5cm areas of repair to the enamel on the globular body and repair to the enamel encircling two thirds of the foot, crazing and minor discolouration to the enamels, the other vase has light crazing and pitting to the enamels.
The Warwick Vase. A depiction of the celebrated highly detailed vase housed in Warwick Castle, this rare mascot was sold with profits helping the upkeep of the fortifications, and examples were used on staff and family motor cars. This example retains a turned wood display stand. 'Reg No App'd For' inscribed inside the vessel. The mascot 6 cms high. With stand, 11.5 cms.
ELIAS VAN DEN BROECK (DUTCH 1650-1708)A POPPY, TULIP, CHRYSANTHEMUM, MORNING GLORY, ROSES AND OTHER FLOWERS IN A VASE, ON A STONE LEDGEOil on canvas Signed (lower centre)78.2 x 64.2cm (30¾ x 25¼ in.)Provenance:Douwes, Amsterdam, where acquired in 1963 byMrs. Maria van EsSale, Christie's, Amsterdam, June 23 2015, lot 43Private collection, Blaisdon Hall, GloucestershireFred Meijer of the RKD, The Hague has dated the present still life to the late period of Van den Broeck's career.Elias van den Broeck was born in Antwerp but soon moved to Amsterdam to become an apprentice of Cornelis Kick. After training in Amsterdam for four years, he became a pupil of Jan Davidsz. De Heem in Utrecht in 1669, one of the greatest Dutch still life painters of his time. Van den Broeck is recorded back in Antwerp in 1673, where he became master in the Guild of St. Luke and where he married in 1677 and had three children. He would return to Amsterdam in 1685 and remained there until his death in 1708. Van den Broeck's oeuvre is undoubtedly influenced by that of De Heem. Both of their still lives, whether of flowers or forest floors, are particularly celebrated for their meticulous attention to detail. This work similarly combines a brilliance and harmony of colour with an accurate rending of the subject matter, be it the flowers in all their variety, the snail on the left, or even the smallest drops of water. In his artists biography, De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718), Arnold Houbraken mentions that Van den Broeck even kept a garden outside his house in Amsterdam purely for his studio needs. Van den Broeck's works are widely collected and part of renowned museum collections such as the Rijksmuseum, Amsterdam and Boijmans- Van Beuningen, Rotterdam. Condition Report: The canvas has been relined. Fine surface cracking is visible across the picture but the paint layer appears to be stable. Inspection under UV reveals scattered spots of restoration, most appears to be in the darker background areas. Old varnish is also visible. It has been partially cleaned and re-varnished.Condition Report Disclaimer
EMILE VERNON (FRENCH 1872-1919)STILL LIFE OF ROSES IN A GLASS VASE ON A STONE LEDGEOil on canvasSigned and dated `1900' (lower right)52 x 71cm (20¼ x 27¾ in.)Provenance:Private collection, Blaisdon Hall, GloucestershireCondition Report: The canvas has been relined and is on a later stretcher, which is providing good support. The paint layers appear stable. Areas of craquelure mainly concentrated in the lower half of the canvas. Visible stretcher marks. UV reveals scattered retouching as well as two larger restorations to the right of the glass vase and below the pink roses on the right. Condition Report Disclaimer
Framed Art Helen Samuels Still Life Oil On Canvas In The 17th Century Dutch Vanitas Style Depicting A Glass And Silver Vase, Mirrors Within An Interior Mounted In A Gold Profile Wood Frame 54 x 54cm My Current Painting Practice Centres On The Representation Of Objects And Is Inspired By The History Of Still Life Painting – In Particular, 17th Century Dutch Vanitas Paintings, A Genre Which Employed Objects As A Kind Of Commentary On Contemporary Moral And Social Concerns, As Well As Exploiting Their Aesthetic Potential. I Am Interested In The Psychological And Symbolic Impact Of Objects And How We Use And Arrange Them In Ways Which Create Suggestive Narratives. My Approach To Composition Is To Photograph Objects Gathered In Pre-Existing Display Settings Such As Museums And Shop Windows, In Other Words ‘Readymade’ Still Life Groupings, From Which I Can Isolate An Image Which Will Often Incorporate Incidental Reflections And Chance Juxtapositions Of Objects. In This Way, Although The Paintings Are Fully Representational, The Incidental Surface Qualities Introduce A Degree Of Abstraction And Visual Ambiguity. It Is Important To Me That The Images Have The Feel Of Something That Is Part Of A Wider Context; That This Image Forms Part Of An Infinite Series. My Particular Take On Vanitas Is To Memorialise The Fleeting Aesthetic Of Temporary Displays In Which The Objects Depicted Are A Kind Of Vernacular Of Consumerism, Tying The Image To A Specific Time And Place. In A Visually Saturated Culture, The ‘Stillness’ Of Still Life Is The Essential Quality That I Find Most Compelling And That I Wish To Convey In My Work.
* TO BE SOLD WITHOUT RESERVE *A CHINESE ‘LANGYAO’ PORCELAIN BOTTLE VASE, QING DYNASTY, 18TH/19TH CENTURY清十八至十九世纪 郎窑红瓶Of mallet shape, the crushed strawberry coloured glaze thinning to the neck and foot rim, revealing a whitish cracklure to the bodyHeight: 20cmCondition ReportThe vase has a light glaze crackle and some light glaze scratches around the body.
* TO BE SOLD WITHOUT RESERVE *A MODERN CHINESE BLUE CRYSTALINE-GLAZED VASE现代 蓝釉瓶Of compressed form with triple-ring bands to the neck, covered in a crystalline glaze against a translucent blue glazeHeight: 24.5cmCondition ReportThe vase has a 3.5 x 0.5cm area of misfire to the glaze on the lower body.
* TO BE SOLD WITHOUT RESERVE *A CHINESE GREEN-GLAZED PORCELAIN BOTTLE VASE, QING DYNASTY, EARLY 19TH CENTURY清 十九世纪 绿釉瓶Covered in a finely crazed emerald-green glazeHeight: 31cmCondition ReportThe bottle vase has a 12 x 7cm U-shaped repaired break to the rim and an 8cm wide crescent-shaped repaired break to the rim and glaze scratches around the shoulder.
* TO BE SOLD WITHOUT RESERVE *A CHINESE CIZHOU-STYLE SGRAFFITO ‘LOTUS’ VASE磁州缠枝莲花纹瓶In the Song dynasty style, the shouldered globular vase incised with quatre-lobed lotus panels divided by leaf-shaped lappets, indistinct mark to baseHeight: 20cmCondition ReportThe vase is in good condition.
* TO BE SOLD WITHOUT RESERVE *A LARGE CHINESE CIZHOU-STYLE SGRAFFITO ‘LOTUS’ MEIPING VASE磁州缠枝莲花纹梅瓶In the Song Dynasty style, of shouldered slender form, incised with a band of peony scroll within formal petal bandsHeight: 44cmCondition ReportThe meiping has a 7mm wide shallow flake to the side of the foot.
* TO BE SOLD WITHOUT RESERVE *A CHINESE BRONZE ‘ARROW’ VASE, SONG/MING DYNASTY宋或明 铜箭筒The globular body rising from a short spreading foot to a tall waisted neck, set with a pair of lug handles just below the everted rim, traces of malachite encrustation characteristic of burialHeight: 13.8cmCondition ReportThe flaring foot ring has a slight dent and there are two shallow dents to the side of the body, the vessel has an uneven patina of malachite encrustation.
A CHINESE WUCAI VASE, TRANSITIONAL PERIOD, CIRCA 1640晚明至清 五彩高仕人物圖纹瓶及盖 一件The baluster body rising from a spreading flat base to a broad shoulder and short neck, painted around the exterior with figures in a garden filled with large plantain leaves issuing from rockwork, all below an iron-red chevron band at the shoulder, later wood cover (2)Height: 17.5cmCondition ReportThe vase has a 1 and a 3cm hairline rim crack, the neck has been slightly reduced, a 7mm wide flake to the edge of the foot and the painted decoration has been rubbed.
A CHINESE ‘FAMILLE-VERTE’ PORCELAIN ‘G’ BOTTLE VASE, QING DYNASTY, KANGXI PERIOD, 1662 – 1722清 康熙 素三彩缠枝花卉纹瓶The globular body rising from a recessed base to a tall narrow neck, enamelled around the exterior with a stylised floral scroll divided at the shoulder with a floral strapwork band and a diaper band at the rimHeight: 24.8cmFor a similar ‘G’ marked vase, see John Ayers, Chinese Ceramics, The Koger Collection, London, 1989, pl. 11, and Michel Beurdeley and Guy Raindre, Qing Porcelain, London, 1987, col. pl. 47.Condition ReportThe bottle vase has a circa 20cm hairline body crack running over the base and up the sides and an associated 8cm glaze crack, light glaze crazing.
Ω A CHINESE ‘FAMILLE-VERTE’ PORCELAIN ROULEAU VASE, QING DYNASTY, KANGXI PERIOD, 1662 - 1722清 康熙 三彩花卉圖纹瓶The cylindrical body rising from a short spreading foot to a tall ribbed neck with everted rim, brightly enamelled around the exterior with two long-tailed phoenix amidst peony blooms, further pairs of birds in flight and perched on blossoming branches, all below a band of flower-filled oval cartouches on a diaper ground at the shoulder and a classic scroll band at the rimHeight: 46.5cmCondition ReportThe rouleau has a 2.5cm wide flake to the side of the foot ring and some flaking and rubbing to the key-fret band around the rim.
A CHINESE ‘FAMILLE-VERTE’ PORCELAIN ‘STANISLAW’ PATTERN PLATE, QING DYNASTY, KANGXI PERIOD, CIRCA 1715 – 1720清康熙 粉彩开光花鸟纹盤Brightly decorated in underglaze cobalt-blue, overglaze enamels and gold with a central medallion enclosing a large vase of flowers in a fenced garden, encircled at the rim by three asymmetrical panels enclosing birds and insects amidst peony, all reserved on a blue ground with scattered chrysanthemum heads, the exterior with three stylised peony sprays and a narrow band of six oval panels enclosing insects and fish at the rimDiameter: 22.5cmCondition ReportThe dish is in good condition with the exception of a 1cm long three-pointed glaze firing line to the base.
A CHINESE BLUE AND WHITE PORCELAIN ‘EGRET AND LOTUS POND’ BOTTLE VASE, MING DYNASTY, WANLI PERIOD, 1573 – 1620明 萬曆青花蓮紋蒜頭瓶 The pear-shaped body rising from a short tapering foot to a tall narrow neck with garlic mouth, painted around the exterior with three egrets in a lotus pond, the neck with a sinuous chilong amidst scrolling lotusHeight: 28cmLength: 13cmA similar bottle vase sold at Sotheby’s London, 14 May 2014, lot 213 for £5,000Condition ReportThe bottle has a 2cm hairline rim crack, a c.12cm glaze hairline to the lower body and light glaze scratches.
A PAIR OF CHINESE ‘LAUGHING BOYS’ PORCELAIN FIGURES, QING DYNASTY, KANGXI PERIOD, 1662 – 1722清 康熙童子像一对Modelled in mirror image, standing smiling wearing a brightly enamelled green, red and yellow tunic and holding a vase issuing lotus, all supported on a rectangular base (2)Height: 28.5cmLength: 9.5cmWidth: 7cmCondition ReportAs illustrated, the boy to the left has over-painting to the vase of flowers and left arm and to the top edge of the base, the other boy has overpainting to fritting around the top edge of the stand, some firing cracks and a 5cm., glaze crack to the inside right leg and partial overpainting to the inside right leg.
* TO BE SOLD WITHOUT RESERVE *A CHINESE UNGLAZED POTTERY TWO-HANDLED VASE, HAN DYNASTY, 206 BC – AD 220汉 双耳瓶Of Lifan, Sichuan type, the grey pottery body carved with distinctive whorls, picked out in red pigmentHeight: 17cmCondition ReportThe jar has two circa 4cm crescent-shaped sections of restoration to the rim and there is loss to most of the red pigment.
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