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Click here to subscribeA group of Asian works of art, comprising; a Japanese Imari bottle vase, an Arita blue and white dish; a Chinese famille verte vase with fixed wood stand; two Japanese lacquer vases, ( 5). Condition Report The two lacquer vases have small chips to the lacquer, the Chinese famille verte vase with fixed wood stand is in good condition.
A pair of Berlin porcelain cobalt blue and apricot ground two- handled vases and covers, late 19th century, each painted each side after Philips Wouverman with equestrian panels inside gilt frames, blue sceptre marks, 35cm. high, (4). Condition Report One cover broken into four pieces and glued with some chips to the inner flange and small chips around the rim. The other cover with a glued knop. One vase with a crack and small chip across one handle where it joins the body. Possibly some regilding to the rims which covers rest on.
A Royal Worcester vase, circa 1892, of gently waisted form, painted with flowers and set with gilt elephant head handles, puce printed marks, shape 636, 22.5cm. high; also a Royal Worcester globular caddy decorated with flowers, circa 1889, 10.5cm. high; and a small Royal Worcester vase painted with roses by Spilsbury, (a.f), puce printed marks, 10cm. high, (3). Condition Report First vase- good condition.Caddy- lacking cover. Small vase- restored
A pair of Italian Capodimonte style campana shaped two-handled urns, late 19th century, each moulded in relief and coloured with bacchanalian scenes of revelry, blue crowned N mark, 22cm. high, (2). Condition Report A handle on one vase has been restored and broken off but is available. A handle on the other vase has been restored and subsequently cracked. Some wear to gilding.
A Muller Croismare `fluogravure' cameo cylindrical glass vase, early 20th century, acid etched in relief with a shepherdess with two sheep standing beside a tree, painted in colours and with a slight iridescent sheen to the background, ( restoration to foot), painted signature `Muller Croismare', 29.2 cm. high. Condition Report Area of restoration to footrim, approx. 4cm. by 1.5cm. Minor wear.
A group of George V and later silver wares, comprising a George V bon bon dish of dodecagon form with pierced decoration and outswept tripod base, Synyer & Beddoes, Chester 1924, 13 by 4.3cm high, another bon bon dish of circular form with pierced decoration and a flat base, Joseph Gloster Ltd., Birmingham 1911, 12 by 3.5cm high, a ERII small spill vase with square pedestal base, Viner's Ltd., Sheffield 1956, 3.5 by 3.5 by 7cm high, a candlestick, Francis Howard Ltd., Birmingham 1972, 6.7 by 15.5cm high and a pair of late Victorian silver rimmed cut glass salts, Sanders & Aquilar, London 1900, 5 by 2.8cm high, 5.70toz total weighable silver. (1 bag)
A Good 18th Century Ivory Fan with detailed and complex carving to the monture. Slender, the head carved as a shell, the shoulder to head section merits attention when closed as well as open. The upper guards are carved with meandering foliage, ivy leaves and berries. The double paper leaf is silvered, the upper border découpé, with further panels of this work appearing on most folds. The Chinoiserie design shows a lady seated under the shade of a parasol, scrolls, a traditional vase and sprays of flowers completing the scene. The verso is painted with a simple floral spray. Contained in the bottom half of a period card fan tube covered in muted green paper. Guard length 10.25 inches or 26cm.. Both guards have tiny nails at the shoulder, but if these were repairs, they are strong and done long ago. One sliver of ivory missing in the central gorge, one of the half circles that protrude from the side. Tube lid lacking.
An 18th Century Ivory Fan, the vellum leaf mounted à L'Anglaise, the upper guards carved with a profile of a lady to the recto and a gentleman to the verso, and a stylised vase. The gorge sticks are pierced with a regular design. The leaf features a lady seated at the roadside near to a church with steeple, engaged in conversation with a traveller who has doffed his cap in her presence. To the right, a vignette showing a gentleman in front of a rural dwelling, a lady on a riverbank to the right. The three scenes are bordered in gold and the reserves feature cornflowers, red roses and violets. The verso is plain. Guard length approx. 10 and 5/8 inches or 27cm. Together with Another 18th Century Fan in similar vein, the upper guards carved with Chinoiserie, the gorge pierced with two main circular panels. The double paper leaf features a real menagerie of animals. Centrally, a courting couple, seated outside a barn, surrounded by sheep, a dog sleeping at their feet, a farmer seemingly eavesdropping behind a bull, and the side vignettes well painted with colourful birds, themselves perhaps indulging in the courting ritual. The reserves are painted with colourful flowers. The verso features a simple but colourful floral spray. Guard length approx. 11.25 inches or 28.5cm (2). The first fan has some nibbles to the central folds seen when held to the light. The leaf has been cut down on the second fan, and each first stick in from the guards is stuck to a guard.
Three 18th Century Ivory Fans, to include an unusual example with recto/verso painted on vellum en grisaille with a depiction of rolling English fields and copses stretching well into the distance under a cloudy sky. The more focused scene on the verso shows perhaps a tombstone or animal grave marked with a cross, close to a stone cottage (or is it simply a well?). The monture is well carved and the guards both feature a seated lady, and flowers. The gorge centre is elaborately pierced, the focus being on a shepherdess and her suitor in a shaped oval cartouche. Small square side vignettes are carved with flowers in containers, and all other sticks feature scrolling and flowers, the lower gorge particularly attractive with overlapping design. Guard length approx. 11 inches or 28cm. Together with Joseph: A Mid-18th Century Ivory Fan, probably Dutch, the vellum leaf mounted à l'Anglaise, the upper guards carved with the profile of a man to the upper guard and a lady to the lower, together with a vase and perched bird. The gorge is carved with three ovals, containing chinoiserie figures. The leaf features Joseph in the centre, and money changing hands. A camel is tethered in the bushes to the right. Side vignettes feature fruit. The verso is plain. Guard length approx. 11 inches or 28cm; and A Circa 1760's Découpé Fan, the monture of ivory, the upper guards carved and pierced and painted with flowers and bands of turquoise, complementing the painted gorge. The leaf features a distinctive bird, perched on a branch of blossom. To the left, a stylised vase, an open fan with floral leaf placed on the top. The decoupage is worked along the top border and in several sections in the body of the fan Guard length approx. 11 inches or 28cm (3). The scenic fan has subtle leaf repairs to either side, a nailed ivory repair to the lower section of the upper guard and another ivory repair to the first stick in adjacent. Repair near the lady on the upper guard. No signature noted. Joseph: the leaf is slightly tired and several folds are taped from the verso to prevent small splits enlarging. Lacking some sections to some ribs. A little grubby. The découpé fan lacks a rivet, and some parts of the leaf to the upper right. The tip of the lower guard has damage but is present, and some tape has been applied onto the verso over some of the leaf.
A Mid-18th Century Chinese Fan with Carved Export Monture, Qing Dynasty, the guards carved in sections on a minute scale, mainly with flowers. The gorge is carved in bands of different designs in geometric fashion. The double paper leaf, découpé, is painted with very naturalistic flowers in good colour, to include sunflowers, pansies, roses and daisies, poppies, ranunculi, and a passionflower, with butterflies arriving from the left. The verso is painted in a similar fashion with moths, heartsease, honeysuckle and soft fruits. Bears a previous auction label dated 21st October 1970. Guard length approx. 10.5 inches or 26.5cm. Together with Another Ivory Fan With Chinese Export Monture, Qing Dynasty, figures and buildings on the guards and a very stylised and geometric design in bands and columns, a central oval with entwined initials. The light cream leaf is painted with pink roses, grapevines with fruit, and swags of flowers of the hedgerow. The upper leaf sections are embroidered with tiny silver sequins. The verso is plain. Guard length approx. 11 inches or 28cm; and A Third 18th Century Ivory Fan, with birds and flowers carved to the upper guards, the gorge with regular carved and pierced design formed by seven shaped and pierced bands. The double leaf features an outdoor gathering in Chinoiserie style, a meeting of generations, with an elderly man at rest, holding a large fixed fan and perhaps a scroll, watching a younger man contemplating a board game, seated at a low table with stylised porcelain flower vase. To the right, perhaps his wife, with two young children, the lady with fixed fan in hand. To the far right, a crane partaking of the orange fruits of a bush on rocky outcrop. The verso is painted with a simple gnarled tree with several colourful blooms. Guard length approx. 11.25 inches or 28.5cm (3) . The first fan upper guard is slightly warped. Losses and tears to some of the découpage. The second fan has 4 major splits to the leaf, all holding, some by virtue of some restoration seen on the verso. The third fan lacks the tip of the upper guard. Fan three has a crisp leaf but some repairs to the bottom left corner. The upper guard is fitted with an old white metal repair plate at the shoulder. Above that, another break is holding with glue. The upper section of the lower guard has an un-repaired break.
Size: box with cover: D 10.3cm, H 4.2cm, vase: H 12.5cm, W 8cm, strainer: L 17/16cm, H 5cm, salts: 5x4cm, box: 5.4x2.5cm, snuffbox: 4x2.5cm comprising a fine dragon tea strainer, a book shaped snuffbox and a round box and cover,a pair of silverware, a fine parcel gilt lidded strainer,and a horn shaped flower vase with wood stand, various marks, as shown in photos
A Pottery Vase, Gansu Province, Qijia Culture (2050-1700 BC): Height: 13.7cm, Length: 14cm with bulbous body and flared neck. The three wide handles that extend from the rim with a raised design of moulded circles. A Buff Grey Pottery Funnel, Gansu Province, Qijia Culture (2050-1700 BC): Length: 23cmProvenance: The Professor Conrad Harris Collection
A Bronze Age Painted Pottery Ewer, Xindian Culture (1200 – 500 BC): Height: 15.6cm Ovate-form body with a tall neck and flared mouth with opposing handles A Bronze Age Painted Pottery Vase, Xindian Culture (1200 – 500 BC): Height: 17.2cm, Diameter: 13.5cm Ovate-form body with a tall neck and flared mouth with opposing handles For a similar painted pottery jar excavated in Zhangjiazui, Gansu Province, see Gansu Painted Pottery, Chongqing Publishing, p.178.Provenance: The Professor Conrad Harris Collection
A Heavy Black Pottery Pot, Lower Xiajadian Culture (2300 – 1600 BC): Height: 12.8cm, Width (widest): 19cm with everted rim. Brushed pattern on lower half, upper half burnished and painted, though much of the pigment is lost A Painted Black Pottery Tripod Vase, Li, Lower Xiajadian Culture (2300-1600 BC): Height: 26.5cm with a flared mouth and retracted waist. The surface of the jar is decorated with red and white painted designs of an abstract and mystical nature in the style of the Xiajadian culture. The tip of one of the legs has been repaired. The Xiajiadian culture, which was contemporary with the Xia Dynasty, is found mainly in Inner Mongolia, with the type site at Xiajiadian, Chifeng. The culture was preceded by the Hongshan culture. Painted pottery vessels of this type are typical of Xiajiadian culture. Similar examples decorated with the same motif in white against a red ground, are illustrated in The Complete Works of Chinese Ceramics, vol. 1: Neolithic Period, Shanghai: Shanghai People’s Arts Publishing, 2000, pl. 80, 81. A similarly decorated black pottery tripod vase was excavated in Dadianzi Tomb, Inner Mongolia from 1974 to 1983 and is now in the Institute of Archaeology, Chinese Academy of Social Sciences, as illustrated in Ancient Chinese Pottery, Hubei Arts Publishing, 2001, no.208. See also, another similar decorated vase excavated in Inner Mongolia in 1977 and now in the Institute of Archaeology, Chinese Academy of Social Sciences, as inllustrated in Chinese Neolithic Pottery, Muwen Tang Fine Arts Publication, 2015, No. 231; for another example, see Chinese Neolithic Pottery, Muwen Tang Fine Arts Publication, 2015, no. 117. Oxford TL test consistent with Xiajiadian period, sample C130d43 Provenance: The Professor Conrad Harris Collection
A Burnished Black Pottery Vase, Western Zhou (1045-771 BC): Diameter: 10cm, Height: 17cm A Buff-Grey Square Pottery Vessel, Siba Culture (1900 – 1500 BC): Size: 11 x 10 x 12.6cm A Burnished Black Bronze Age Pottery Vase, Erlitou Culture (2000-1500 BC): Height: 13.6cm, Diameter: 11.5cmProvenance: The Professor Conrad Harris Collection
Susanna Coffey EST. Sunflowers 1, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
Susanna Coffey EST. Sunflowers II Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
Susanna Coffey EST. Sunflowers III, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
Susanna Coffey EST. Sunflowers IV, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "These watercolours were made in one day last week. Lately I've had to change location a few times, and am often confused about where I am and what I should be doing. That grey September day, confined to my tiny NYC apartment, I was wondering what to paint. AND I was reading, first Colette, then Proust on Chardin, and thinking about the beauty of prosaic things, longing for the pastoral. While dithering over what kind of work to make for you, I finally noticed the jug of sunflowers and my box of watercolours on the table which is now my studio. What else could I do? Both so luminous, colourful and well known. The blue vase, yellow flowers and a feeling of autumn gardens had me picking up my brushes and before I knew it I was painting." Susanna Coffey's portraits are investigations of the iconic human head. The work is driven by questions about what a portrait image can mean. What is a beautiful appearance? Why do conventionally gendered images involve caricature? Can inchoate feeling-states be adequately portrayed? Meticulously observed, most works show her in many guises and locations: under dramatic lighting, highly costumed, inside a studio, within landscapes, foliage, places of fiery devastation, and amidst phantasmagoric patterns. Some portraits seem almost entirely abstract with only the barest suggestion of a human face. Coffey's artwork has been exhibited in many museums including The Weatherspoon Art Museum, The Aldrich Museum, The Hood Museum, The American Academy of Arts and Letters. Her work is in the collections of The Yale University Art Gallery, The Art Institute of Chicago, The Minneapolis Museum of Art, The National Portrait Gallery, Washington D.C., The Karamay Museum of Art, Xinjiang China and Museum of Contemporary Art, Seville, Spain, among others. Among her awards are The John Simon Guggenheim Memorial Foundation Fellowship, and the Louis Comfort Tiffany Award. Susanna Coffey lives and works in New York City. Susanna Coffey's work is represented by Steven Harvey Fine Arts Projects in New York City, Alpha Gallery in Boston and Galeria Isabel Ignacio in Seville, Spain.
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