Group of porcelainChinese, comprising of a double gourd vase decorated to the exterior with dragons and the neck surmounted with elephant handles, impressed seal mark to base, 25cm high, a yellow ground bowl decorated with dragons, with six character Guangxu mark to base, 6cm high, a blue and white lidded box, 10cm high, a bowl decorated with fish and flowers, seal mark to base, 9cm across, a blue and white dish decorated to the centre with a vase and birds, 11cm across, three miniature blue and white vessels and a Canton vase, 24cm high (9)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.
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A FRENCH STRAW WORK BOX POSSIBLY PRISONER OF WAR, 19TH CENTURY the cover with an image of a vase of flowers, above one false and one true drawer with scrolling floral decoration, the interior with a townscape to the cover, the base with a basket of flowers flanked by two lidded compartments, together with a coopered oval salt box, 19th century, possibly walnut and holly, with brass mounts (2) straw work box 13cm high, 29cm wide, 19.5cm deep (max)
A REGENCY MAHOGANY AND BRASS MOUNTED APOTHECARY CHEST EARLY 19TH CENTURY of square form, the hinged cover enclosing a silk lined, fitted interior with ten glass bottles and stoppers, above a single drawer with a fitted interior, containing a lift-out tray, four glass bottles and stoppers and a mixing vase, with campaign style brass handles and a brass escutcheon 22cm high, 17.2cm wide, 16cm deep
A VICTORIAN MAHOGANY ARMCHAIR BY WM. A. & S. SMEE, C.1880 the carved top rail above a vase shape splat and turned spindles, with outswept arms and a shaped solid seat, the cabriole front legs with foliate carving to the knees, tied with an 'H' stretcher, with a gilt metal manufacturer's label to the underside
Renamed and Defective Medal: New Zealand 1845-66, undated reverse, naming extremely neatly erased; together with two silver shooting medal, the first an Army Rifle Association British Armies in France Medal for Skill with the Rifle, unnamed; the second a National Rifle Association Cottesloe Vase Prize Medal, unnamed; and two Dunkirk Commemorative Medals, the second of which is a cast copy, extremely fine (5) £100-£140
Early 19th Century Derby Porcelain Bottle Vase and Cover,naturalistically modelled and painted with encrusted flowers on a blue ground picked out in gilt, crown mark in red, 25 cm H Some loss to the applied decoration throughout and cracked around the base, all damage left honest with no professional repair
+ LÊ PHỔ (VIETNAM & FRANCE, 1907-2001) ECOLE DES BEAUX-ARTS DE L’INDOCHINE (INDOCHINA FINE ARTS COLLEGE), 1ST CLASS (1925-1930) Bouquet de lys ou Nature morte au vase meiping fleuri d’hibiscus et au bol bleu blanc (Bouquet of Lily of Still life with a meiping vase with lily flowers and a bleu and white bowl) Gouache on paper Signed to the lower right Framed with a glass 44,3 x 36,3 cm (the full leaf out of the frame) Provenance: René et Raymonde Altobianchi, antique dealers active in the 1960s-1980s in l’Escarène, near Nice, French Riviera, where Lê Phổ settled after the French army, in which he enrolled in Carcassonne, was defeated by German. Their shop was named ‘César de Peluet’ after the first name of the father of Raymonde. Probably acquired in the 1970s from a local Estate. René Altobianchi was also an ornamental sculptor and was awarded the Medal of the French National Order of Merit for his volunteer role as a technical director of judo, which he practiced along with Yves Klein, a world-renowned artist of the School of Nice prized, notably, for his famous ‘Leap into the void’ and his ‘IKB blue’. + NOTICE TO BIDDERS: This lot has been authenticated by the Wally Findlay Institute, USA. According to them, it will be included in the forthcoming catalogue raisonne of the artist. The buyer will bear the cost of this certificate. Please e-mail the department for further details: yuchen@adams.ie. This lot is stored at CADOGAN TATE PARIS. Please contact CADOGAN TATE at Parc des Docks, Batiment 553B, 50 rue Ardouin, St Ouen, 93400 Paris, France, +33 1 48 20 85 60. Notes: 1. One of the leading figures of modern Vietnamese art, Lê Phổ was born in 1907 in Hà Tây province into a respected Mandarin family, his father being the last viceroy of Tonkin. Showing a predisposition for painting and drawing, he entered the first class of the Indochina School of Fine Arts in 1925. He was soon noticed by the director and founder of the school, Victor Tardieu, for whom he retained a strong attachment throughout his life. In 1931, he came to France to present his works on the occasion of the International Colonial Exhibition. He chose to stay in Paris for a year to attend classes at the École des Beaux-Arts, then undertook several trips to Europe. He returned to Vietnam in 1933 and taught at the Indochina School of Fine Arts in Hanoi. He decided to settle permanently in France in 1937 and quickly became very well known. 2. Lily symbolizes purity and fertility. The sweet and innocent beauty of the lily flower has given it the association of fresh life and rebirth. In this painting, Lê Phổ pays tribute to the classic genre of still life, whilst bringing his fresh vision on it, thereby creating an image at the confluence of the Western and the East Asian pictorial traditions. The discreet and quickly painted low-tone grey background, possibly a reference to the Spanish Bodegones, contrasts with the vivid red of the round table. On the latter are depicted two antique Chinese porcelains: a Ming style blue and white bowl resting on a wooden legged-stand and a Yuan stype Meiping vase flowered with white lillies. 3. Bouquet of flowers was one of the main subjects depicted by Lê Phổ along with young women. In some paintings, he even combined both subjects, as one can see in a work entitled ‘Nostalgie’ sold at CHRISTIE’S Hong Kong, China, 2018-11-24, under lot number 44. The artist mastered at painting all varieties of flowers with bright colors and a rare freshness. The record price at auction for a bouquet of flowers was achieved at SOTHEBY’S Hong Kong, China, 2020-07-09, lot 268 at €273,153.
NGUYEN PHUOC (VIETNAM, B. 1943) SAIGON SCHOOL OF APPLIED ARTS (1960) THE NATIONAL UNIVERSITY OF FINE ARTS OF HO CHI MINH CITY ‘Autumn Evening’ 2002 Oil on canvas Signed on the lower left Bears an artist seal on the lower left Dated on the lower left: ‘02’ Framed 81 x 77 cm Provenance: A private collection of Vietnamese Art, French Riviera, France. NOTICE TO BIDDERS: This work has been authenticated by the artist himself (www.nguyenphuoc.com). The successful bidder will be provided with a certificate of authenticity with the serial #US-02-032 matching that which is on the stretcher, on the back of the painting. Notes: 1. Born in Saigon, Vietnam, Nguyen Phuoc began to paint as a teenager and later on graduated from the School of Applied Arts of Saigon (1960) and from the National University of Fine Arts (also in Saigon, 1965). He later settled in Minnesota, USA. 2. A thoughtful and attentive artist, Nguyen Phuoc always devotes a great deal of care to his compositions, meticulously executed on large formats by an unfailing hand. His works are profuse in their themes, using a rich chromatic palette. The artist is deliberately neglecting the rules of classical perspective. Amidst his main subjects are depictions of women and still lives. Our painting is the perfect combination of the two. Two beautiful Vietnamese ladies dressed in áo dài are resting outside on a terrace overlooking a river. On the first ground is a flowered antique blue and white porcelain vase with a fruit dish next to it. On the second and third grounds are the two ladies, the first one resting against an opium bed, the second one against a garden stool. In the background is a river with sampan boats. They are enjoying a quiet autumn evening outdoors. They are similar both by the color of their clothes and by their positions in the composition with the two women depicted by the same artist on a painting sold at SOTHEBY’S Singapore, 2004-04-04, lot 193. 3. Currently, his works are preserved in several public collections such as the Singapore Museum of Arts, the Singapore Vietnam Heritage Foundation and the Singapore Emerald Hill Gallery. His record price at auction was achieved by SOTHEBY’S Hong Kong, China, 2020-10-06, lot 264, sold for €35,060. NGUYỄN PHƯỚC (VIỆT NAM, SINH NĂM 1943) TRƯỜNG MỸ THUẬT ỨNG DỤNG SÀI GÒN (1960) TRƯỜNG ĐẠI HỌC MỸ THUẬT QUỐC GIA CỦA THÀNH PHỐ HỒ CHÍ MINH “Buổi tối mùa thu” 2002 Tranh vải dầu Được ký ở góc dưới bên trái Có con dấu họa sĩ ở góc dưới bên trái Đề ngày ở góc dưới bên trái: “02” Được đóng khung 81 x 77 cm Xuất xứ: Một bộ sưu tập tư nhân của Nghệ thuật Việt Nam, French Riviera, Pháp. Lưu ý quan trọng đối với các nhà đấu giá tiềm năng: Tác phẩm này đã được chứng thực bởi chính họa sĩ (www.nguyenphuoc.com. Người đấu giá thành công sẽ được cung cấp một giấy chứng nhận tranh thật có số sê-ri #US-02-032 trùng khớp với số ghi trên khung căng vải, mặt sau của bức tranh. Ghi chú: 1. Sinh ra tại Sài Gòn, Việt Nam, Nguyễn Phước bắt đầu vẽ tranh từ khi còn là một thiếu niên và sau đó tốt nghiệp Trường Mỹ thuật Ứng dụng Sài Gòn (1960) và Đại học Mỹ thuật Quốc gia (cũng tại Sài Gòn, 1965). Sau đó ông đã định cư tại Minnesota, Hoa Kỳ. 2. Là một nghệ sĩ sâu sắc và tận tâm, Nguyễn Phước luôn dành nhiều tâm huyết cho những tác phẩm của ông, được thực hiện một cách tỉ mỉ trên khổ lớn bởi một bàn tay bền bỉ. Các tác phẩm của ông có chủ đề phong phú, sử dụng một bảng màu phong phú. Người nghệ sĩ cố tình bỏ qua các quy tắc của phối cảnh cổ điển. Đối tượng chính trong những bức tranh của ông bao gồm miêu tả phụ nữ và tĩnh vật. Bức tranh của chúng tôi là sự kết hợp hoàn hảo của cả hai. Hai người phụ nữ Việt Nam xinh đẹp mặc áo dài đang nằm nghỉ ngơi trên sân thượng nhìn ra sông. Ở tầng một là một chiếc bình sứ cổ màu xanh trắng in hình hoa với một đĩa hoa quả bên cạnh. Ở tầng hai và ba là hai người phụ nữ, người đầu tiên nằm nghỉ dựa vào giường thuốc phiện, người thứ hai tựa vào chiếc ghế đẩu. Ở cảnh nền là một dòng sông với những chiếc thuyền tam bản. Họ đang tận hưởng một buổi tối mùa thu yên tĩnh ngoài trời. Họ giống nhau cả về màu sắc quần áo và vị trí của họ trong bố cục với hai người phụ nữ được miêu tả bởi cùng một họa sĩ trong một bức tranh được bán tại SOTHEBY'S Singapore, 04-04-2004, lô số 193. 3. Hiện tại, các tác phẩm của ông được lưu giữ trong một số bộ sưu tập công cộng như Bảo tàng Nghệ thuật Singapore, Quỹ Di sản Việt Nam Singapore và Nhà Triển lãm Emerald Hill Singapore. Giá kỷ lục của ông tại cuộc đấu giá là €35.060 đạt được bởi SOTHEBY'S Hồng Kông, Trung Quốc, 06-10-2020, lô 264. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A BLEU DE HUE ‘DRAGON - RỒNG’ PORCELAIN PEAR-SHAPED BOTTLE VASE VIETNAM, LATE NGUYEN DYNASTY, LATE 19TH CENTURY It rests on a short ring foot and has a pear-shaped body surmounted by a long tubular neck with a slightly everted rim with a metal mount. It is finely painted in underglaze cobalt blue shades with one four-clawed dragon flying amidst clouds in pursuit of the flaming pearl. The base bears several old collector labels including ‘#2 dec 1800’. H: 20,2 cm Provenance: - a private collection; - formerly the property of Otto Gürgen, a German prominent industrialist in Buenos Aires, Argentina, in the 1930s (by repute). MỘT BÌNH HOA CỔ CAO HÌNH QUẢ LÊ ĐỒ SỨ MEN LAM BLEU DE HUE HỌA TIẾT “DRAGON - RỒNG”, CUỐI TRIỀU NHÀ NGUYỄN, CUỐI THẾ KỶ 19 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A BLEU DE HUE ‘PHOENIX - PHƯỢNG HOÀNG’ PORCELAIN PEAR-SHAPED VASE OR WATER SPRINKLER INSCRIBED WITH THE MARK NỘI PHỦ 内府 VIETNAM, LATE NGUYEN DYNASTY, LATE 19TH CENTURY Finely painted in underglaze cobalt blue enamels with two flying phoenix amidst clouds. H: 25 cm MỘT BÌNH HOA HOẶC BÌNH XỊT NƯỚC HÌNH QUẢ LÊ ĐỒ SỨ MEN LAM BLEU DE HUE HỌA TIẾT “PHƯỢNG HOÀNG” ĐƯỢC KHẮC DẤU HIỆU NỘI PHỦ 内府 VIỆT NAM, CUỐI TRIỀU NHÀ NGUYỄN, CUỐI THẾ KỶ 19 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A LARGE BLEU DE HUE TYPE ‘KUI DRAGON’ PORCELAIN TRUMPET-SHAPE VASE, YENYEN VIETNAM, 20TH CENTURY Adorned in cobalt blue with kui dragons, dragons faces, stylised cicadas and possibly peaches or pomegranates. On the neck, two repeated ideograms: '王壬' (vương nhâm). Sold together with a matching lacquered wooden stand by the studio of Thanh Lê. H (stand excluded): 43,5 cm MỘT BÌNH HOA LỚN HÌNH KÈN BẰNG SỨ MEN LAM BLUE DE HUẾ HỌA TIẾT “RỒNG XANH”, YENYEN VIỆT NAM, CÓ THỂ LÀ CUỐI TRIỀU NHÀ NGUYỄN HOẶC SAU ĐÓ MỘT CHÚT, VÀO KHOẢNG 1880-1930 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A LARGE BIEN HOA 边和 STONEWARE ‘ANGKOR VAT - KHMER FIGURES AND NAGA’ VASE VIETNAM, BIEN HOA 边和 SCHOOL OF APPLIED ARTS, 20TH CENTURY Resting on a short ring foot, with an elongated egg-shaped body surmounted by a waister neck and an everted rim. It is adorned in brown against a cream ground with a decor laid out in registers: swimming fish on the lower register; a procession of Khmer figures holding a snake or naga on the medium register; on the upper register, underlining the rim, a floral pattern. The base bears an impressed mark reading ‘边和’ for ‘Biên Hòa’. Offered at auction together with an old wooden collector stand, not perfectly fitted for it. H: 54,5 cm MỘT BÌNH HOA LỚN ĐỒ GỐM ĐÁ BIÊN HÒA 边和 HỌA TIẾT “ANGKOR VAT KHMER VÀ TƯỢNG RẮN BẢY ĐẦU” VIỆT NAM, TRƯỜNG MỸ THUẬT ỨNG DỤNG BIÊN HÒA 边和, THẾ KỶ 20 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A LARGE ‘RIVER LANDSCAPE’ BIEN HOA 边和 STONEWARE FACETED VASE OF PHOENIX-TAIL SHAPE, FENGWEIZUN BY THE STUDIO OF NGUYEN THÀNH LÊ (1919-1923) VIETNAM, BIEN HOA 边和 SCHOOL OF APPLIED ARTS, 20TH CENTURY Heavy potted, it rests on a short foot and has as a faceted elongated body of trapezoidal shape surmounted by a faceted trumpet shape neck. It is adorned in brown, blue and green with a river landscape planted with pine trees. The base bears an impressed mark both in chữ nôm and Western language reading ‘Thành Lê’ as well as a number: ‘6’. H: 57 cm MỘT BÌNH HOA LỚN NHIỀU VẠT HÌNH ĐUÔI CHIM PHƯỢNG ĐỒ GỐM ĐÁ BIÊN HÒA 边和 HỌA TIẾT “PHONG CẢNH SÔNG NƯỚC” CỦA XƯỞNG CỦA NGUYỄN THÀNH LÊ (1919-1923) VIỆT NAM, TRƯỜNG MỸ THUẬT ỨNG DỤNG BIÊN HÒA 边和, THẾ KỶ 20 NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
*A LARGE BIÊN HÒA 边和 STONEWARE VASE OF ARCHAISTIC HU BRONZE SHAPE VIETNAM, BIÊN HÒA 边和 SCHOOL OF APPLIED ARTS, SECOND HALF OF 20TH CENTURY This bronze imitation vessel is heavily potted. Of faceted shape, it rests on a spread foot, has an elongated pear-shaped body, a waisted shoulder and an everted neck. The neck and the body are linked together with two applied handles. The vessel is painted all over in green to imitate bronze patina but for reserved biscuit parts shaped as cicada and taotie masks. The base bears an impressed mark: ‘边和’, lit. ‘Biên Hòa’. H: 32,8 cm *MỘT BÌNH HOA LỚN ĐỒ GỐM ĐÁ BIÊN HÒA 边和 HÌNH DẠNG GIỐNG ĐỒ ĐỒNG CỔ XƯA VIỆT NAM, TRƯỜNG HỌC MỸ THUẬT ỨNG DỤNG BIÊN HÒA 边和, NỬA CUỐI THẾ KỶ 20 IMPORTANT NOTICE: *This lot is under temporary importation. An extra VAT will be applied to the final invoice. The rate will depend on the final country of destination. The sole buyers based in Ireland will be subject to an extra 13,5% VAT. Please contact our office (yuchen@adams.ie) for further information. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
NGUYEN QUANG MAU (VIETNAM, 20TH CENTURY) Poissons rouges de l’Abondance / Goldfish of Abundance / 金玉滿堂 A lacquered wooden vase Signed on the base H: 27,4 cm NGUYỄN QUANG MẬU (VIỆT NAM, THẾ KỶ 20) Poissons rouges de l’Abondance / Cá vàng Thịnh vượng / 金玉滿堂 Note: A lacquer artist sometimes wrongly referred to as Nguyen Mai. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
BÙI MAI HIÊN (VIETNAM, B. 1957) Chat vert et vase fleuri (A jumping green cat with a flowered vase) Lacquer wooden panel Signed and dated on the lower right: ‘02’ () Unidentified artist Framed 48,8 x 69,2 cm BÙI MAI HIỀN (VIỆT NAM, Sinh năm 1957) Chat vert et vase fleuri (Chú mèo xanh nhảy lên bình hoa) Tấm gỗ sơn mài NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
ĐỖ ANH (VIETNAM, ACTIVE 20TH CENTURY) A GRADUATE FROM HO CHI MINH CITY (HCMC) UNIVERSITY OF FINE ARTS Jeune beauté vêtue d’un áo dài et au vase fleuri (lit. ‘A young beauty wearing an áo dài with a flowered vase) 1994 Ink and colors on silk Signed on the lower right Also bear an artist seal on the lower right Also dated on the lower right Framed with a glass 57 x 76 cm ĐỖ ANH (VIỆT NAM, HOẠT ĐỘNG VÀO THẾ KỶ 20) SINH VIÊN ĐẠI HỌC MỸ THUẬT THÀNH PHỐ HỒ CHÍ MINH (TP.HCM) Jeune beauté vêtue d’un áo dài et au vase fleuri Thiếu nữ xinh đẹp mặc áo dài cắm bình hoa NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A CLOISONNÉ ENAMEL ‘LILY FLOWERS’ VASE AND COVER MAYBE BY NAMIKAWA YASUYUKI (JAPAN, 1845-1927) JAPAN, 20TH CENTURY This vase rests on a short ring foot. It has a flattened elongated egg-shaped body with round shoulder surmounted by a short rim topped by a dome-shaped lid set with a chrysanthemum finial. Its front part is finely adorned with lily flowers of different colors against a tea-dust enameled. The base bears a mark reading ‘京都並河’, i.e. ‘Kyoto Namikawa’, maybe an apocryphal one. Offered at auction together with a matching collector wooden stand. H (stand excluded): 10,5 cm Note: Namikawa Yasuyuki was a Japanese cloisonné artist. His work was highly sought-after in his own lifetime and is held in several collections today. He and Namikawa Sōsuke were the most famous cloisonné artists of the 1890 to 1910 period, known as the ‘Golden age’ of Japanese enamels. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
AN IRON-RED DECORATED ‘PROCESSION OF THE DAIMYO’ BALUSTER PORCELAIN VASE BY THE STUDIO OF MAKUZU KOZAN JAPAN, MEIJI PERIOD Resting on a short ring foot, with a waisted base and a globular body surmounted by a long tubular neck with a slightly everted rim. Finely painted in deliberately ‘faded’ iron red design depicting an interesting procession of insects. The base is inscribed in cobalt blue with a mark in Japanese script reading ‘Makuzu-gama Kozan Sei’. H: 20,7 cm ****WARNING: THIS LOT IS LOT 454 = NOT THE BOWL IN THE PRINTED CATALOGUE**** Notes: 1. Miyagawa Toranosuke, birth name of Makuzu Kōzan 宮川香山 (1842-1916) was of the major potters of the Meiji period appointed artist to the Japanese Imperial household. He won prizes at fifty-one (51) exhibitions. 2. The design may have been made after an oshi-e panel – i.e. a tradition Japanese craft of folded silk over stiff paper cuttings, puffed up with stuffed cotton – by the artist Sakurai Seppo (1753-1824) currently preserved at the Whyte Museum of the Canadian Rockies, Canada, under accession number SeP.15.01. It is a parody of a procession of the daimyo, i.e. a the regional and feudal warrior lords. Those approximately two hundred and fifty (250) lords were required to spend alternate years in the shogun court in the capital Edo, thus the roads to Edo were often the sigh of formidable pageants. The original piece of art depicts forty-two (42) insects in total, either grasshoppers, wasps and mantises – bearing flowers and fruits over their stiff limbs, banners and even a palanquin. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
A LARGE YELLOW-GLAZED ‘DRAGON’ PORCELAIN VASE BY THE STUDIO OF MAKUZU KOZAN JAPAN, MEIJI PERIOD It rests on a ring foot and has a round body surmounted by slightly waisted shoulders and a tubular neck with an everted rim. It is delicately adorned with a flying and coiled three-clawed dragon under a covering yellow glaze. The base is inscribed in cobalt blue with a mark in Japanese script reading ‘Makuzu-gama Kozan Sei’. H: 42,5 cm *****HEIGHT SHOULD READ 42,5 CM***** Note: Miyagawa Toranosuke, birth name of Makuzu Kōzan 宮川香山 (1842-1916) was of the major potters of the Meiji period appointed artist to the Japanese Imperial household. He won prizes at fifty-one (51) exhibitions. NOTE: CONDITION REPORTS AND MEASUREMENTS It is up to the bidder to satisfy themselves prior to buying as to the condition of a lot. In relation to Condition Reports, whilst we make certain observations on the lot, which are intended to be as helpful as possible, references in the condition report to damage or restoration are for guidance. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. The condition report is an expression of opinion only and must not be treated as a statement of fact. Measurements and weight are approximate and the potential bidder may re-ask it to be checked when asking for a condition report.
Continental Porcelain - an early 20th century Meissen porcelain jug, painted in underglaze blue with flowers, raised on three feet, painted mark to base, 15.5cm high; a 19th century French porcelain tea caddy, painted with panels of pagodas, the shoulder painted with flowers, 11.5cm high; a Zolnay Pecs reticulated bottle vase (3)
A LONGQUAN CELADON RING-HANDLED VASE, YUHUCHUNPING, 1900sChina, Qing dynasty (1644-1912) - Republic period (1912-1949). The pear-shaped body rising from a slightly spreading foot to a waisted neck with flaring mouth, the neck applied with two C-shaped dragon handles suspending large fixed rings, covered overall with a bluish-green glaze thinning to white at the edges and around the carved decoration, the foot rim left unglazed and burnt orange in the firing.Provenance: Estate of Sear Hang Hwie Pao (1937-2009). Pao was one of Canada's leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Mrs. von Moltke, who descended from a German and Danish noble family, was a fixture in Toronto's trendy Yorkville area from the 1980s to early 2000s.Condition: Excellent condition with minor wear and firing irregularities.Weight: 965.1 gDimensions: Height 24.6 cm
A FAHUA GLAZED BALUSTER VASE, MING DYNASTYChina, 17th century. The ceramic vase with a baluster body decorated with jeweled pendants cascading down the shoulder above birds, flowers, and figures, the neck enveloped in swirling clouds and the foot with a lappet band, painted in turquoise, white and yellow, all reserved on a deep blue ground. The glaze stopping shortly above the foot to reveal the reddish ware.Provenance: German private collection, assembled in the 1980s and 1990s.Condition: Good condition, minor wear, few burst glaze bubbles with glaze flakes.Weight: 4,388 gDimensions: Height 26.9 cmAuction result comparison: Compare a related Fahua baluster pottery jar, dated to the 17th century, of larger size (38 cm height), at Bonhams San Francisco in Fine Asian Works of Art on 29 June 2009, lot 8161, sold for USD 7,320.
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