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Click here to subscribeVase mit LiliendekorBurgun Schverer & Cie., Verrerie d'Art de Lorraine, um 1895H. 13 cmFarbloses Glas mit braunen und grünen Einschmelzungen, geätzt, geschnitten und martelliert, applizierte Lilien. Am Boden Manufakturmarke in Gold. Am Stand min. beschliffen.Württembergische Privatsammlung
Vase mit SeladonglasurChinaMing Dynastie, 1368-1644Große Longquanvase in Kinuta-Form & entsprechender hellblauer GlasurZwei Henkel in Form von Fischen Höhe 38 cmDie Kinuta- („Hammer“, da in der Form eines ostasiatischen Hammers) Vasen gehen auf einen Vasentypus der Nördlichen Song Dynastie (968-1126) zurück, der wiederum Glasgefäße aus dem Mittleren Osten imitiert, die über die Seidenstraße nach China gelangt sind. Ein besonders schön gefärbtes Exemplar hat in der Folge auch der bläulichen Longquanglasur ihren Namen verliehen. Dieses Exemplar stellt eine Ming-zeitliche Weiterentwicklung dar, deren etwas ausladendere Form an der Schulter sich den zugrundeliegenden orientalischen Gläsern wieder annähert.Der breite, in der Glasur ausgesparte Ring am Boden, der ein Anhaften des Gefäßes während des Brennvorganges verhindern soll, ist eine Neuerung der Yuan-Dynastie, die bis in die Mingzeit Bestand hatte und auch noch frühe japanische Porzellane kennzeichnet. Die fischförmigen Henkel stellen eine geradezu manieristische Weiterentwicklung des Song-Vorbilds dar und erinnern ein wenig an Seeungeheuer.Eine Glasuranhaftung, die während des Brennvorganges durch Berührung eines zweiten Exemplars entstanden ist, und von Japanern im Rahmen der Beschreibung der „Landschaft“ einer Glasur als hi‘tsuki bezeichnet wird, ist nach japanischer Manier in gin-naoshi mit Silberlack hervorgehoben worden. Die Glasur ist altersgemäß partiell ein wenig matt, sonst sind keinerlei Schäden vorhanden.
Chinesische VaseFamille-Rose- (Fencai-) MeipingMit Mille-Fleur-Muster und DrachenChina, Ende Qing Dynastie bis beginnende Republik, Anfang 20. JahrhundertHöhe 20 cmVase mit blaugesprenkeltem („Azurnem“) Drachen vor flächenfüllendem Blumendekor, oben und unten ornamentale Bordüren, Fuß vergoldet, apokryphe Qianlong-Sechszeichenmarke in unterglasurblauer Siegelschrift. Das „Tausend-Blumen-Muster“, auf welchem „alle Blumen ihre Blütenpracht darbringen“ ist eine Schöpfung der späten Yongzheng-Periode, der ersten Hälfte der 1730er-Jahre, wird während der darauffolgenden Qianlongperiode extrem populär und bleibt, wenn auch in geringeren Stückzahlen, bis ins 20. Jahrhundert hinein in Verwendung. Neben der Anordnung der Blüten ohne goldfarbenem oder schwarzem Hintergrund bietet hier der blaue Drache, der den Drachengott 青龍 Qīnglóng, der für den Osten und den Frühling steht, symbolisiert, einen interessanten Anhaltspunkt für die Datierung: er trägt keine Klauen. Die Anzahl der Krallen auf dem kaiserlichen Drachen ließ während der Qing Dynastie eine Aussage über den Rang des Besitzers zu, so waren fünfklauige Drachen etwa dem Kaiser vorbehalten. Gleichzeitig schmückte der Azurdrache in seiner imperialen Variante auch seit 1862 die erste chinesische Nationalfahne des Kaiserreichs. Seine ornamentale Interpretation unter bewusster Weglassung der Klauen lässt hier auf ein Stück vom Ende der Qingzeit schließen, gleichsam als patriotisches Symbol ohne die für den Privatgebrauch noch tabuisierte kaiserliche Konnotation. Dazu passt auch die Verwendung der apokryphen Qianlongmarke, die seit der zweiten Hälfte des 19. Jahrhunderts auch für private und Exportstücke zunehmend populär geworden war, und auch als wehmütige Hommage an die einstige Hochblüte der Qingherrschaft verstanden werden kann.
Vase, Johann Loetz WitweEntwurf Koloman Moser (Wien 1868-1918)Johann Loetz Witwe, Klostermühle um 1903Für E. Bakalowits & Söhne, WienDekor: "Zebra" 1903, opal mit schwarzen StreifenFarbloses Glas, weißer Opalglasüberfang, breite aufgelegte Streifen in schwarz, modelgeblasenHöhe 11,5 cm, Durchmesser 10 cmProvenienz: Wiener PrivatsammlungLiteratur und Abbildungen:Helmut Ricke/Ernst Ploil, Loetz, Bd. 1 & 2 München 1989
Kleine Kyō-Satsuma-VaseJapanMeijizeit, 1867-1911Dunkelblauer Grund mit floralem Golddekor, zwei sehr fein gemalte Paneele, eines mit Darstellung einer Mühle an einem Bach und zwei Figuren, das andere mit einem Hahn und einer Henne, einem Gartenstein und BlumenAm Boden unlesbare Pressmarke & ungewöhnlich mit Blumen verzierte Siegelmarke von KinkōzanHöhe 16 cmAngeregt durch den durchschlagenden Erfolg der südjapanischen Satsuma-Keramiken in Europa und Amerika besonders nach der Weltausstellung Paris 1867 begann der Keramiker Kinkōzan Sōbei, sechste Generation seiner Linie (1824-1884), 1870 in seinem Atelier in Awadaguchi, Higashiyama, Kyoto mit der Herstellung äußerst fein dekorierter Keramiken im Satsumastil. Kinkōzan hatte vorher vor allem für den Shōren'in, einen Tempel, der der Kaiserlichen Familie nahestand, und die Tokugawashogune (denen er seinen Namen verdankte) gearbeitet, durch die Meijirestauration aber wesentlich Abnehmer verloren.Kinkōzans Entscheidung war goldrichtig, unter seinen Nachfolgern wuchs seine Werkstatt auf über 700 Beschäftigte an und Stücke aus seiner Produktion sind heute unter anderem im Victoria and Albert Museum, London, dem Musée Guimet in Paris und dem Philadelphia Museum of Art ausgestellt.
Bauchige VaseChinaMinguo, 1911-45Porzellan famille rose Am Boden apokryphe Marke in blauHöhe 13 cm, Durchmesser 7,5 cmKleine Vase in Form einer Snuffbottle, aber mit langem Hals, an den Schultern zwei plastische rote Löwenköpfe.Hauptdekor sind zwei Medaillons mit kaiserlichen Drachen vor floralem Hintergrund, am Boden apokryphe Qianlongmarke.
Satsuma-VaseJapanMeijizeit, 1867-1911Vase für vier Blumen aus elfenbeinfarbenem Steinzeug Blaue und rote goldeingefasste BemalungPäonien, Pflaumenblüten und ChrysanthemenOrnamente mit ChrysanthemenHöhe 15,5 cmAm Boden Radkreuz - Mon (Familienwappen) des Shimazu-Clans, der über Satsuma geherrscht hat; „Satsuma-yaki, Masanobi, Utsushi [im Kreis]“Der Terminus Utsushi bezeichnet hier eine Kopie im Sinne einer Nachempfindung, der der japanischen Tradition gemäß entweder die Arbeit eines Schülers nach dem Vorbild des eigenen Meisters oder eines berühmten Vorgängers kennzeichnen kann, oder, vor allem in der Teezeremonie, ein Stück, das als Neuinterpretation den „Geist“ eines geschätzten Werkes einfängt, ohne es exakt reproduzieren zu müssen.Der besondere Wert, der in Japan sowohl in der Blumensteckkunst, als auch in der Teezeremonie den jeweiligen Gefäßen für die Blumen beigemessen wird, hat zu einer Vielzahl origineller und teilweise hochspezialisierter Vasenformen geführt, die weltweit ihresgleichen sucht.
Chinesische Cizhou Meiping Meiping-Vase im nordchinesischen Cizhou-Stil Jin- bis frühe Ming-Dynastie, 1115 bis 15. JahrhundertHöhe 21 cmVon der cremigweißen Glasur hebt sich deutlich der florale Dekor in schwarzbrauner Eisenoxidmalerei ab. Der Boden ist unglasiert und zeigt die Spuren des Abschneidens mittels Schnur von der Töpferscheibe.Der Terminus Cizhou umfasst ein breites Spektrum „volkstümlicher“ (im Gegensatz zu „höfischen“) Keramiken aus Hebei, Henan, Shaanxi, Shangxi und Shandong, die beginnend mit der Liao-Dynastie (907-1125) produziert wurden und im Laufe der Zeit allmählich in die rustikalen nordchinesischen Waren des letzten Jahrhunderts übergegangen sind. Frühe Cizhoustücke wie dieses haben bereits früh das Interesse japanischer Ästheten geweckt, die die kräftigen, einfach und doch gekonnt gemalten Dekore als perfekte Verkörperung des Wabi-Sabi-Ideals des Teeweges erkannt haben. Über diese Tradition, vermittelt durch den Keramiker Bernard Leach, und über archäologische Funde bei den großen Bahnbauvorhaben des früheren 20. Jahrhunderts hat der Stil auch einen starken Einfluss auf die abendländische Keramik ausgeübt.Die Meiping war ursprünglich ein Weinflaschentyp, wird jedoch seit der Mingzeit von Gelehrten und Literaten als Vase, besonders für einzelne Pflaumenzweige, benutzt.
ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012)."Une vase de terre crue et le T du nom de Tàpies", 1988.Etching and aquatint engraving, copy 31/85.Signed and justified in pencil.Work published in "Antoni Tàpies. Obra gráfica / graphic work Vol. 4: 1987-1994", Ed. Gustau Gili, Barcelona.Size: 50 x 65 cm.Co-founder of "Dau al Set" in 1948, Tàpies began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travels to Paris in 1950, with a grant from the Institut Français. In 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on, he exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the 1970s, anthologies have been devoted to him in Tokyo, New York, Rome, Amsterdam, Madrid, Venice, Milan, Vienna and Brussels. Self-taught, Tàpies created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style full of symbolism, giving great importance to the material substratum of the work. It is worth noting the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous prizes and distinctions, including the Praemium Imperiale of Japan, the National Prize for Culture, the Grand Prix for Painting in France, the Wolf Foundation for the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Prize for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Prize for the Plastic Arts (2003). Antoni Tàpies is represented in major museums all over the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.
A RARE CHINESE WUCAI GARLIC-MOUTH 'DRAGON' BOTTLE VASE KANGXI 1662-1722 The pear-shaped body decorated with a scaly three-clawed dragon chasing a flaming pearl, with its tail coiled around the slender neck, all below a border of triangular lappets to the mouth rim, 30.5cm. Provenance: from a British private collection, purchased from Jan van Beers Oriental Art, London, on 7th November 2011, a copy of the original invoice is available.
A CHINESE UNDERGLAZE BLUE AND COPPER-RED 'PHOENIX' BEAKER VASE, GU KANGXI 1662-1722 Decorated with eight moulded medallions of blossoming flowers in different stages of bloom amongst leafy stems, surrounded by eight phoenix in flight, the base with a beribboned lozenge mark, 43cm. Provenance: from the collection of Captain Albert Makinson (1880-1961), and thence by descent.
A CHINESE GILT-BRONZE FIGURE OF VAJRAPUTRA 17TH/18TH CENTURY The luohan seated in dhyanasana, with his right hand held in shuni mudra, the left hand supporting a vase, dressed in a loosely fitting shawl and dhoti detailed with floral scroll borders, his head framed by elongated earlobes, curly hair and a beard, 1.96kg,17.5cm.
A CHINESE CLOISONNE ENAMEL BOTTLE VASE AND A JAR AND COVER QIANLONG MARK AND OF THE PERIOD 1736-95 AND 18TH CENTURY The bottle vase decorated with stylised lotus scrolls between borders of ruyi-heads, the base with an engraved reign mark and a zuo character, the jar and cover decorated with sinuous kui dragons, the rounded finial supported by lotus petals, 14.3cm and 13.4cm. (3)
A CHINESE 'SHI SOU' STYLE ZITAN SILVER AND GOLD WIRE INLAID INCENSE STICK HOLDER QING DYNASTY The rectangular-section body with canted corners, inlaid with poetic inscriptions to two faces, divided by prunus and pine beside rockwork, all below a waisted neck, the base with a seal mark which reads yu tang, 16.5cm. Cf. Christie's London, 8th November 2011, lot 234, for a related zitan vase.
A CHINESE FAMILLE ROSE LIME-GREEN GROUND GU-SHAPED VASE SIX CHARACTER JIAQING MARK AND PROBABLY OF THE PERIOD Constructed in two sections and decorated with leafy lotus scrolls and interspersed bajixiang emblems, separated by bands of ruyi-heads, lappets and plantain leaves, the interior and base covered with turquoise, the trumpet neck detachable from the bell-shaped base, 32.2cm overall. (2)
A RARE CHINESE FAMILLE ROSE 'IMMORTALS' VASE SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The ovoid body painted with a continuous landscape and three scenes depicting Magu on a log raft in gentle waves, standing amidst pine trees and rocks, and with a deer and an attendant; all framed by ruyi-head and key fret borders encircling the shoulder and base, all beneath scrolling foliage on a ruby-red ground and a band of stylised lappets with interlocking kui dragons, the base glazed turquoise, (the neck reduced), 22cm.
A CHINESE GILT-DECORATED AND CORAL-GROUND VASE LATE QING DYNASTY Painted with bats, sanduo, suspending chimes, twin fish and endless knots, amidst dense floral scrolls, with bands of interlocking ruyi-head around the shoulder, lappets and key fret encircling the foot, the waisted neck flanked by a pair of ruyi sceptre handles, the interior and base decorated with turquoise, the base with a Shen de tang zhi mark, 28.2cm.
A CHINESE EN GRISAILLE, IRON-RED AND GILT-DECORATED BALUSTER VASE REPUBLIC PERIOD Decorated with figures, each holding precious and auspicious objects, including coral sprigs, a giant coin and a ruyi sceptre, the reverse with calligraphy and signature reading Zhou Xiangfu, with a pair of applied makara handles, the base with a Qianlong mark, 46cm.
A CHINESE IRON-RED AND GILT-DECORATED 'DRAGON' VASE KANGXI 1662-1722 The lobed body with an ovoid mid section painted with six writhing dragons in pursuit of flaming pearls, the slightly flared upper and lower section with scrolling lotus on tendrils, the base with a recessed glazed circle within an unglazed band, with a paper label for Christie's, The Edward James Collection, 3-4th June 1986, 43cm. Provenance: the Edward James Collection and then an English private collection, West Yorkshire, formed in the 1970s and 1980s, purchased from Christie's London, 3-4th June 1986, lot 760.
A CHINESE IMPERIAL POWDER-BLUE GROUND GILT-DECORATED BOTTLE VASE SIX CHARACTER GUANGXU MARK AND OF THE PERIOD 1875-1908 The globular body and waisted neck are decorated with floral and animal roundels, with a band of shou characters amidst lotus scrolls to the shoulder, all between borders of ruyi-heads and lappets, 38cm.
A CHINESE BLUE AND WHITE 'LANDSCAPE' BEAKER VASE, GU KANGXI 1622-1722 The upper and lower sections painted with a continuous river landscape with small figures and pine trees beneath wisps of mist, the central section with blossoming peonies and roses, the base with a Chenghua mark, 43cm. Provenance: from an English private collection, Oxfordshire, acquired in London in the 1990s.
A CHINESE LAVENDER-GROUND, UNDERGLAZE BLUE AND COPPER-RED BALUSTER VASE 18TH/19TH CENTURY The body painted with blossoming prunus and bamboo, the reverse with poetic inscriptions and seal marks, decorated with a pair of openwork handles with bats suspending ruyi-heads, the base with a Qianlong mark, ormolu-mounted, 37cm the vase, 41cm overall. Provenance: from a private collection, London. Cf. Christie's London, 19th June 2001, lot 323.
*A MASSIVE PAIR OF CHINESE FAMILLE VERTE 'DRAGON BOAT' ROULEAU VASES QING DYNASTY Each cylindrical body finely painted with a continuous scene with figures standing on terraces and the riverbank overlooking the dragon boat carrying the Sui Emperor Yang along the canal, below decorative bands of Daoist Immortals, mythical beasts and auspicious objects, 79.5cm. (2) Cf: Hobson,Catalogue of the Leonard Gow Collection of Chinese Porcelain, pp 37, no.126 for a similar vase dated to the Kangxi period.
A GOOD CHINESE BLUE AND WHITE BALUSTER 'LANDSCAPE' VASE KANGXI 1662-1722 The body painted with a continuous scene of an idyllic watery landscape, with figures in a sampan, pavilion and gnarled trees in the foreground, distant mountains, the waisted neck with floral sprigs, the base with a Chenghua mark, 43.2cm. Provenance: from the collection of Nicolas de la Mare Thompson (1928-2010).
A RARE CHINESE BLUE AND WHITE 'ROMANCE OF THE WESTERN CHAMBER' BEAKER VASE TRANSITIONAL C.1640 The flared neck painted with figures illustrating a scene from Xi Xiang Ji, depicting Zhang Sheng and Fa Pen in a fenced garden, the waisted middle section depicting a dignitary and a young male attendant, all above a band of pendant leaves, the base inscribed with a cursive ST 1658, 46.4cm. Provenance: from the collection of Nicolas de la Mare Thompson (1928-2010). Exhibited: The World in Blue and White, an exhibition of blue and white ceramics, dating between 1320 and 1820, from members of the Oriental Ceramic Society, 2003, and illustrated in the catalogue p.6, no.1. The exhibition toured in London, Bath and Glasgow in 2003. The Romance of the Western Chamber is one of the most famous Chinese dramatic works. It was written by the Yuan Dynasty playwright Wang Shifu and is set during the Tang dynasty. It tells the story of a young couple consummating their love without parental approval.
A CHINESE PALE CELADON JADE RECTANGULAR-SECTION VASE AND COVER, PING QIANLONG/JIAQING The translucent pale green stone elegantly carved as a smooth flattened baluster vase, with a pair of mythical beast mask handles to the waisted neck, the cover surmounted by a bud finial, with a wood stand, 14cm overall. (3) Provenance: an English private collection, and thence by descent. Cf. Later Chinese Jades, Ming Dynasty to Early Twentieth Century, p.156, no.137, for a similar flattened vase.
A LARGE CHINESE CARVED CELADON BOTTLE VASE, DANPING 18TH CENTURY The pear-shaped body surmounted by a slender cylindrical neck, decorated with meandering lotus scrolls, below bands of stiff leaves, key frets and overlapping petals, with a wood stand, 52cm. (2) Provenance: an English private collection, and thence by descent.
A FINE CHINESE IMPERIAL GREEN-ENAMELLED 'DRAGON' JAR AND COVER SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 The globular tapering body rising to a rounded shoulder and a short straight neck, painted in rich tones of green enamel with two five-clawed dragons striding amidst wispy clouds and flames in pursuit of flaming pearls, between the Eight Buddhist Emblems, bajixiang border around the shoulder and a band of lotus lappets encircling the base, the flat cover decorated with a writhing dragon chasing a flaming pearl above a ruyi-head border, with a paper label inscribed: 'Green & white jar and stand; from ..king, Oct 6 1879. Arrived Shales and ..packed Dec. 12. 1879. very good.' Together with a wood stand, 20.5cm. (3) Provenance: from the collection of Admiral Robert Coote CB (1820-1898), and thence by descent. Admiral Coote enlisted in the Royal Navy in 1833. He was made Commander of HMS Volcano from 1845, HMS Victory from 1860, HMS Gibraltar from 1864 and HMS Arethusa from 1867. In 1874 he was appointed Commander-in-Chief of Queenstown and served as Commander-in-Chief of the China Station between 1878-1881. Cf. The pair to this vase was sold in these rooms, 17th May 2022, lot 576; see also Chinese Porcelain, The S.C. Ko Tianminlou Collection, Hong Kong, 1987, p.156, pl.114, for a green-enamelled jar of this design.
Florent Stosskopf Vase Flowers Still Life, 2022 Acrylic and Markers on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About FLORENT STOSSKOPF (1989, Rennes, France) is currently based in Brittany, France. The self-taught young artist.Stosskopf's work deftly blends traditional themes and archetypes through a contemporary perspective Education BA in Web and Graphic Design and an Advanced Technician Diploma in Communication from L'école Multimedia Select Exhibitions/Awards Beers London Gallery in London (2021) "Eternal Flowers" Durand Mashaal Gallery (2022) at Future Fair (New-York City) "Master of botanical" Gallery Representation Beers London - Durand Mashaal Gallery - Over The Influence Statement about AOAP Submitted Artwork Some flowers in a perspective view Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.
Sophie Wake Miniature Vase w/ Birds, 2022 Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About I am a contemporary British artist, working from my studio in Ashburton, Devon I worked for almost 20 years as a busy freelance illustrator. Today however my fine art practice responds to the rhythms of meditation and ancient tree tea ceremony which has become a fundamental companion to my creative approach.Guided by direct somatic experience my works are instinctive and intuitive, each one a process of deep self enquiry and profound reflection. Working with oil on canvas or gouache on paper, my paintings imbue a liminal quality, a sense of in-betweenness that delights in intangible wordlessness. My fine art practice has become suffused with my spiritual practice. Any subject matter is treated as divine, iconic, and dances, uninhibited in its own light. Birds rejoice in liberation, female figures bathe in their own inner beauty and freedom. Influences of Shamanism, African rock art, Ancient clay models, and Greek pottery can be felt throughout the collections, which celebrate the power of storytelling and basic human emotion in simple and authentic form. Education Brighton University, BA Hons in Graphic Design & Illustration, graduated 1996. Select Exhibitions/Awards 2017 Best Artists Open House Newcomer award 2018 HERD selected for the Royal Academy's 250th Summer Exhibition by Grayson Perry for his hand-curated Yellow Room. 2019 Best Artists Open House award for my solo show Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising.
A Kerman/Kirman style blue and white fritware vase, 20th centuryOf ovoid form with everted rim, decorated with stylised flowering plants in a landscape beneath a formal scroll border, in underglaze blue outlined in black.27.5cm highTypical crazing lines throughout. Minor/negligible signs of age and use.
A Chinese blue and white baluster vase and cover from the Bintan cargo, KangxiOf ovoid form, the domed cover with cone finial, decorated with panels of flowering plants and rocks beneath a border of lapet flower panels and ruyi.30cm highA private English collector. Bearing a 'Blue Chrysanthemum Wreck' auction label.The Bintan wreck, sometimes referred to as the Blue Chrysanthemum, is believed to have been discovered in 2012 off the coast of Bintan Island, with recoveries of the cargo from 2014. Few details have emerged but the ship is believed to date between 1700 and 1720, and the style of blue and white porcelain found certainly follows this late Kangxi template.Typical glaze wear/seawater erosion. Some fine hairlines around the base.
A Chinese blue and white baluster vase and cover from the Bintan cargo, KangxiOf ovoid form, the domed cover with cone finial, decorated with panels of flowering plants and rocks beneath a border of lapet flower panels and ruyi.30cm highA private English collector. Bearing a 'Blue Chrysanthemum Wreck' auction label.The Bintan wreck, sometimes referred to as the Blue Chrysanthemum, is believed to have been discovered in 2012 off the coast of Bintan Island, with recoveries of the cargo from 2014. Few details have emerged but the ship is believed to date between 1700 and 1720, and the style of blue and white porcelain found certainly follows this late Kangxi template.Chip to inside rim. Glaze erosion and surface marks. Typical glaze wear/seawater erosion. Chip to rim edge. Small chip to base above foot rim.
A Chinese famille rose vase and cover, late Qing Dynasty, 19th centuryOf ovoid form, the flat round cover with a cone finial, decorated with auspicious flowers and precious objects between mixed borders.30cm highVery small flat chip to inside of rim. Gilt line at the rim is rubbed. Otherwise good condition with only negligible signs of age.
An 18K gold keyless wind open face pocket watchDate: Circa 1890Movement: Swiss lever, cut and compensated bi-metallic balanceDial: White, black Arabic numerals, black outer minute track with 5 minute markers, gilt Louis XV handsCase: Engine tuned hinged, foliate engraved bezels, decoration to reverse depicting a vase, flora and ribbons, No.2983Size: 29mmFor further information on this lot please visit Bonhams.com
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