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PANOFKA, T. Recherches sur les véritables noms des vases grecs et sur leurs différens usages, (…). Paris, Debure Frères, (e.a.), 1829. W. 9 plain engr. plates. Lge-fol. Or. printed brds. (Some foxing both to bind. and text/plates). NOTE: The endeavour by archaeologists to match vase forms with those names that have come down to us from Greek literature began with this pioneer study by the German (later French) historian and archaeologist Theodor Sigismund Panofka (1800-1858).
A SMALL CHINESE FAMILLE VERTE ROULEAU VASEKANGXI 1662-1722Painted with a colourful bird perched on a flowering prunus branch above rockwork and bamboo leaves, the reverse with two seal marks, paper label no.103, 21.2cm.Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), purchased by Viscountess Broome (1893-1896), Sotheby's London, 17th November 1938, lot 227, and thence by descent through the family.清康熙 五彩花鳥紋棒槌瓶來源:霍雷肖•赫伯特•基奇納元帥(1850-1916),由布魯姆子爵夫人(1893-1896)從倫敦蘇富比1938年11月17日(編號227)購回,之後由家族繼承。
A CHINESE FAMILLE VERTE ‘THREE FRIENDS OF WINTER’ YEN YEN VASEPLEASE NOTE THE DATING SHOULD READ 19TH CENTURYPainted with yellow, black and green grumpy-looking magpies perched on a gnarled prunus tree trunk, with peony and bamboo, beneath pine trees, chrysanthemum and with four smaller magpies in flight, with iron-red geometric bands to the rim, shoulder and foot, 45.5cm.Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family.Magpies are always auspicious symbols, the birds of good fortune and love. The first character for the name of the bird, xi que, has the same sound as xi, 'happiness'. Magpies are also a symbol for the wish for a happy marriage, success at examinations and for getting rich.清康熙 五彩喜上眉梢鳳尾尊來源:霍雷肖•赫伯特•基奇納元帥(1850-1916),之後由其後人繼承。
A RARE CHINESE BLUE AND WHITE CYLINDRICAL MING-STYLE ‘POMEGRANATES’ VASE SIX CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35 The tall body supported on a low foot and delicately painted in underglaze cobalt blue with eight stylised pomegranates growing from leafy stems issuing from stylised scrolls which form vases. The decoration arranged in two tiers, the four fruit of the upper register divided by ribbon-tied lozenges, the shoulder with pendent scrolls with ruyi motifs and with florets to the neck and a band of scrolls above the foot, all painted to simulate ‘heaping and piling’, 25cm. Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This appears to be the vase recorded in the Hall at Broome Park, in the Christie, Manson & Woods inventory of December 1916 on page 42, no.466; the inventory describes the decoration as ‘formal asters’ rather than pomegranates. Cf. The Exhibition of Ming and Ch’ing Porcelain from the Collection of the T Y Chao Family Foundation, cat. no.84, for a closely related vase. See also Christie’s, London, 6th November 2012, lot 278 and also Sotheby’s Hong Kong, 10th April 2006, lot 1677, for two closely related vases but painted with flowers. This rare vase is an 18th-century reinterpretation of an early Ming design that was commonly employed on vases of all forms. The Yongzheng Emperor was fascinated with history and the design incorporates the deliberately painted ‘heaping and piling’ characteristic of Yongle and Xuande underglaze-blue porcelains. 清雍正 青花多子多福瓶 《大清雍正年製》青花楷書款 來源:霍雷肖•赫伯特•基奇納元帥(1850-1916),之後由其後人繼承。據佳士得Manson & Woods出版的, Broome Park庫存手冊中記載,1916年12月,頁42, 編號466。
A CHINESE FAMILLE VERTE ‘PHOENIX’ YEN YEN VASEPLEASE NOTE THE DATING SHOULD READ 19TH CENTURYPainted with two phoenix standing on green rocks beneath a wutong tree, flanked by large peony blooms and with four yellow and black magpies, two cranes, and a pair of mandarin ducks swimming in a lotus pond, the tall flaring neck decorated with a pheasant and a fifth magpie amidst blossoming peony and magnolia branches growing around rocks, with iron-red and green geometric bands to the rim, shoulder and foot, 45.5cm.Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family.清康熙 五彩鳳求凰紋鳳尾尊來源:霍雷肖•赫伯特•基奇納元帥(1850-1916),之後由其後人繼承。
A MASSIVE CHINESE 'QIN QI SHU HUA' POWDER BLUE-GROUND AND GILT DECORATED ROULEAU VASE KANGXI 1662-1722 The cylindrical body decorated with four panels of auspicious objects and with six further panels containing flowers and rockwork, the rim with a band of key fret, 78cm. Provenance: from the collection of Anouska Hempel.清康熙 灑藍地描金琴棋書畫紋棒槌瓶來源: Anouska Hempel收藏。
A SMALL CHINESE LONGQUAN CELADON MALLET-SHAPED VASE SOUTHERN SONG DYNASTYThe cylindrical body tapering slightly to towards the foot, surmounted by a tall neck, all below a wide everted mouth rim, covered overall in an unctuous bluish-green glaze, 16.8cm. Provenance: formerly a French private collection.Cf. Christie's New York, 22nd March 2019, lot 717, for a similar example of this type, see also one excavated from Simaqiao, a Song dynasty tomb, now in Sichuan Museum. 南宋 龍泉青釉紙槌瓶 來源:法國私人舊藏。
A LARGE CHINESE BLUE AND WHITE AND UNDERGLAZED-RED BOTTLE VASE PROBABLY LATE QING DYNASTYDecorated with nine qilin playing with brocade balls amidst swirling clouds and flames, the base with a six character Qianlong mark, 56cm.Provance: English private collection, Portsmouth. 晚清 青花釉裡紅獅子繡球紋大瓶 《大清乾隆年製》青花篆書款 來源:普斯茅斯英國私人收藏。
A CHINESE IMPERIAL GREEN-ENAMELLED 'DRAGON' JARSIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95The ovoid body rising to a rounded shoulder and a short straight neck, painted in green enamel with two five-clawed dragons striding amidst clouds and flames in pursuit of flaming pearls, beneath a border of the Eight Buddhist Emblems, Bajixiang, around the shoulder and a band of lotus lappets encircling the base, 20.5cm.Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 84, no.64 where it is located in the Billiard room.Cf. Chinese Porcelain, The S C Ko Tianminlou Collection, p.156, pl.114, for a green-enamelled jar of this design.清乾隆 綠彩趕珠龍紋罐《大清乾隆年製》青花篆書款來源:霍雷肖•赫伯特•基奇納元帥(1850-1916),之後由其後人繼承。據佳士得Manson & Woods出版的, Broome Park庫存手冊中記載,1916年12月,頁84, 編號64。
A CHINESE FAMILLE VERTE ‘FEAST AT HONG GATE’ BALUSTER VASEKANGXI 1662-1722The body is decorated with a banqueting scene depicting the rival generals including Xiang Yu (232–202BC), a general famous for his incredible strength, lifting an ancient bronze vessel with one arm before the assembled party. The flared neck with a single rib is painted with flowering peony and prunus sprays, the reverse with pine and wutong trees in a rocky landscape, 47cm.Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family.The Feast at Hong Gate, also known as the Banquet at Hongmen, was an episode of the interregnum that took place in 206 BC following the Qin Dynasty where Xiang Yu (232–202BC), a duke of the insurgent Chu forces attempts to assassinate Liu Bang (256–195BC), a rival rebel general. In Chinese culture, the term 'Feast at Hong Gate' hong men yan is used figuratively to refer to a trap or a situation ostensibly joyous but in fact treacherous.清康熙 五彩項羽舉鼎紋瓶來源:霍雷肖•赫伯特•基奇納元帥(1850-1916),之後由其後人繼承。
A LARGE AND IMPOSING CHINESE BLUE AND WHITE ‘BAJIXIANG’ MOONFLASK, BIANHU SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95Finely painted on both sides in underglaze blue with eight lotus petal-shaped panels, each enclosing one of the Eight Buddhist Emblems which radiate from central raised bosses. The narrow sides are decorated with bands of stylised lotus scrolls. The neck is flanked by a pair of scroll handles and painted with lingzhi scrolls and with a key-fret band to the rim, which is similarly repeated on the foot, 50cm. Provenance: formerly in the collection of Ted and Gladys Roberts, and according to the family records, the present vase is one of a pair inherited in 1947. These large Qianlong flasks are based on fifteenth century prototypes, which had a single convex side that was decorated and a flat unglazed back with a countersunk medallion in the centre. An early Ming dynasty Yongle example in the Freer Gallery of Art, is illustrated in Oriental Ceramics, The World’s Great Collections, Tokyo, vol. 9, no.94. These fifteenth century blue and white flasks were themselves based on silver-inlaid brass prototypes. See also Good Fortune, Long Life, Health and Peace, A Special Exhibition of Porcelain with Auspicious Designs, Taipei, 1995, no.11 for an example in the National Palace Museum, Taipei. Another in the Nanjing Museum is illustrated in Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, p.295. 清乾隆 青花佛教八吉祥抱月瓶 《大清乾隆年製》青花篆書款 來源:泰特及格拉迪斯·羅伯特伉儷舊藏,據家族史料記載這尊抱月瓶原為一對,由泰特·羅伯特於1947年從祖母處繼承。
A CHINESE TEA-DUST GLAZED BOTTLE VASESIX CHARACTER QIANLONG SEAL MARK AND OF THE PERIOD 1736-95 The compressed circular body raised on a splayed foot, and with a tall cylindrical neck, covered overall with an even flecked olive-green tea-dust glaze, 32cm. Cf. R Kerr, Chinese Ceramics, Porcelain of the Qing Dynasty 1644-1911, pl.25, for a similar vase in the Victoria and Albert Museum, London. For other closely related vases of this type, see Christie’s New York, 21st September 2000, lot 377 for an example formerly in the collection of the Cleveland Museum of Art, and Sotheby’s London, 9th June 2004, lot 11, for another formerly in the Toguri Collection. Although the origin of the tea-dust glaze is uncertain, it was during Yongzheng's reign that the repertoire of the Jingdezhen imperial kilns was expanded to include a wide variety of glazes for which evocative names, such as 'tea-dust', were devised. 清乾隆 茶葉末釉荸薺瓶《大清乾隆年製》篆書刻款
A RARE CHINESE QUATRE-LOBED ‘BUTTERFLIES AND FLOWERS’ VASE SIX CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95 With a bulbous body and waisted neck painted with colourful flower sprays interspersed with butterflies, the neck set with pink enamelled handles, the rim with a band of ruyi-heads and with a band of tall pink, yellow and turquoise lappets above the foot, the base glazed turquoise, 30cm. Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 84, no.50 where it is located in the Billiard room and described as ‘A Vase of detached quatrefoil section, enamelled with detached sprays of flowers and butterflies. 11 3/4in. high. Kien Lung’. 清乾隆 粉彩蝶戀花紋海棠式瓶 《大清乾隆年製》礬紅篆書款 來源:霍雷肖•赫伯特•基奇納元帥(1850-1916),之後由其後人繼承。據佳士得Manson & Woods出版的, Broome Park庫存手冊中記載,1916年12月,頁84, 編號50。
A CHINESE CELADON-GLAZED OVOID JAR, GUAN SIX CHARACTER DAOGUANG SEAL MARK AND OF THE PERIOD 1821-50 Well potted with full rounded sides, gently rising to a short neck, moulded on each side in low relief with a C-shaped ear, covered overall with an even soft sea-green glaze, the base with a paper label inscribed ‘547’, 19cm. Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 51, no.547, under the title heading of ‘Whole Colour Porcelain’. For another Daoguang celadon-glazed vase of this type, see Christie’s Paris, 15th June 2005, lot 97. 清道光 青釉月牙耳罐《大清道光年製》青花篆書款來源:霍雷肖•赫伯特•基奇納元帥(1850-1916),之後由其後人繼承。據佳士得Manson & Woods出版的, Broome Park庫存手冊中記載,1916年12月,頁51, 編號547。
A RARE CHINESE RU-TYPE HU-SHAPED VASESIX CHARACTER YONGZHENG SEAL MARK AND OF THE PERIOD 1723-35Modelled after a Song dynasty prototype, with a faceted octagonal-section body raised on a tall flared foot pierced with two rectangular apertures to the sides, with a double band encircling the upper body, covered overall with a pale blue celadon glaze, 27cm.Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916 on page 46, no.543, under the title heading of ‘Whole Colour Porcelain’.For a similar vase in the collection of the National Palace Museum, Taipei, with a Guan-type glaze, cf. A Special Exhibition of Ch’ing Dynasty Monochrome Porcelains in the National Palace Museum, p.135, no.81. See also Bonhams London, 15th May 2014, lot 27, for a closely related Yongzheng hu with a Ge-type glaze.清雍正 仿汝窯貫耳瓶《大清雍正年製》青花篆書款來源:霍雷肖•赫伯特•基奇納元帥(1850-1916),之後由其後人繼承。據佳士得Manson & Woods出版的, Broome Park庫存手冊中記載,1916年12月,頁46, 編號543。
A GOOD CHINESE ZITAN INCENSE TOOL VASE QING DYNASTYElegantly carved with a slightly tapering body with the cross-section of a five-petalled mallow flower, with the top as a series of overlapping petals, raised on five panel feet which extend down from the petals, the wood with an attractive grain, 12cm.Cf. Christie’s New York, 17th September 2010, for a closely related larger example but with six petals, from the collection of Philip Wood.清 紫檀香插
A SMALL CHINESE CELADON-GLAZED CYLINDRICAL VASEKANGXI 1662-1722 Elegantly potted with a slightly tapering body, a waisted neck and flared rim, coated with an even green glaze suffused with bubbles, the base unglazed and with a paper label inscribed ‘109’, 23cm. Provenance: Field Marshal Earl Kitchener of Khartoum (1850-1916), and thence by descent through the family. This vase is recorded in the Christie, Manson & Woods inventory at Broome Park, in December 1916, on page 49, no.109, under the title heading of ‘Whole Colour Porcelain’. 清康熙 青釉瓶 來源:霍雷肖•赫伯特•基奇納元帥(1850-1916),之後由其後人繼承。據佳士得Manson & Woods出版的, Broome Park庫存手冊中記載,1916年12月,頁49, 編號109。
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653833 item(s)/page