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A Canton famille rose vase, late 19th century, painted with figures in shaped panels, applied chilong to shoulder and Buddhist lion handles, all against flowers and birds ground, 36cm, a pair of blue and white vases and covers, painted with dragons and peony, Buddhist lion knops, 38cm, and a famille rose vase, modern, with auspicious animals in shaped panels, against scrolling lotus on a turquoise ground, 42.2cm (6)
A Chinese blue and white vase,late Qing dynasty, of baluster form painted with a couple seated in an interior setting with a maid holding a candle, the reverse with a ruyi, all between banana leaf borders, the neck with ruyi handles, four character Kangxi mark,20.5cm, wood stand (2) 清晚期 青花人物故事图如意耳瓶 《康熙年制》青花楷书款 连木底座
A collection of Chinese ceramics, 19th/early 20th century, including a famille rose tea bowl, with lobed rim, painted with precious objects against crackled ground, the interior with peach blossoms, 11.5cm diameter, a double gourd vase, with Eight Daoist Immortals, 11.5cm, a famille rose saucer, painted with scholars, 14.3cm diameter, and a famille verte vase, painted with Daoist immortals, 13.3cm (4)
A Chinese two-handled vase,Tang dynasty (618-907), formed with two bottles joined together to a reeded neck and tall rim, the handles in the shape of dragons biting at the rim, the horned beasts each with a channelled back with buttons, all covered with a cream glaze running down the body to the base,27cm唐 邢窑白瓷双腹龙柄传瓶
A Chinese famille rose vase, mid-20th century, painted with the story from 'Romance of the Three Kingdoms', where Dong Zhuo caught the affair of Diao Chan and Lü Bu at Fengyi Ting, which led to the falling out between Dong and Lü, the reverse with inscription, four character Qianlong mark in red, 22.8cm
Two Chinese vase stands,late 19th century, carved with scrolling lotus above pierced key fret with ruyi ends, on square legs with claw and ball feet, inset with famille verte rectangular ceramic panels with scholars in different pursuits within a border of flowers and birds,42.5cm wide33cm deep48cm high (2)清十九世纪末 缠枝莲回纹嵌五彩人物故事图瓷板长方几 一组两件
A Japanese cloisonné vase,Meiji period (1868-1912), of hexagonal shape in the style of Namikawa Yasuyuki, enamelled with roundels of flowers within gold wire against a diapered ground, the neck and foot with kikumon,15.3cm, anda pair of cloisonné vases,decorated with lilies on a black ground,17.5cm (3)
A Chinese famille rose plate,Guangxu (1875-1908), painted with a pair of bulbul on a blossoming branch above peony and rocks, the reverse with peach, pomegranates and finger citron, gilt rim,27.4cm diameter,a wall pocket vase,Republic period (1912-1949), painted with a deity spreading flowers between ruyi head shaped borders,24.4cm, anda tea caddy and cover,Republic period, decorated with a bird and flowers,12cm high (4)清光绪 粉彩富贵白头纹盘、民国 粉彩天女散花纹壁瓶 花鸟图茶叶盖罐 一组三件
An attractive two-handled 'amphora' vase,Tang dynasty (618-907), the well-potted ovoid body applied with a pair of dragons arching over and descending to bite into the galleried rim on a short, waisted neck, each beast's back applied with three buttons and a mane curling back from between a pair of spiked horns or ears, the compact white ware dipped in a finely crackled clear glaze running down to the widest part of the body, the foot with finely knife-pared edge,27.8cmLiterature: A very similar but taller amphora (standing at 33.3cm), from the collection of Ronald W Longsdorf, was exhibited by Jim Lally in his October 2015 exhibition in which he ascribes the piece to having been produced by the Xing or Gongxian kiln. The Longsdorf amphora was published by Liu, 'A Survey of Chinese Ceramics', Vol. 1, 'Early Wares: Prehistoric to Tenth Century', Taipei, 1991, p.224; Lally also compares this piece with other published pieces:Krahl, 'Chinese Ceramics from the Meiyintang Collection', Vol. 1, London, 1994, p.137, no. 224; in the Musée Guimet, Paris, illustrated by Paul-David, et. al., 'The World’s Great Collections: Oriental Ceramics', Vol. 7: Musée Guimet, Paris, Tokyo, 1975, no. 21; and in the Turner Collection, now in the Columbia Museum of Art, illustrated in 'Eye to the East: The Turner Collection of Chinese Art', Columbia, 2008, p. 31.This classic Tang Dynasty shape, in both white and sancai-glazed variants, is among that dynasty's most elegant and admired forms, so much so that, one thousand years after the originals, the emperor-collector Yongzheng (r.1723-1735) commanded potters at Jingdezhen to create revivals of the earthenware forerunners in celadon-glazed porcelain.唐 邢窑白瓷双龙盘口尊
A pair of Chinese porcelain blue and white vases,Kangxi (1662-1722), of baluster form, each painted with numerous panels of trees in mountainous river scenes, the neck with a continuous band of a stag, also in a mountain river scene, between bands of diaper pattern,38.7cm (2)Provenance: Formerly from the Barons, later Comtes, Van Den Steen de Jehay and by descent from the family.Literature: An almost identical vase is published in 'Chinese Ceramics in the Collection of The Rijksmuseum, Amsterdam: The Ming and Qing Dynasties', by Christiaan J A Jorg, colour plate 90, p.100.清康熙 青花开光山水图纹瓶 一对
A collection of Chinese ceramics, 18th century and later, including a blanc de Chine pot and cover, Kangxi (1662-1722), the cover moulded with flowers and leaves, the pot with applied blossoming prunus branch, 21cm, a teapot, 18th century, with precious objects in blue in shaped panels against coffee glazed ground, 7.7cm high to spout, a pair of famille rose vases, 19th century, painted with ladies and boys, or flowers against iron red ground with crackled ground and prunus in gilt, 26cm, a famille verte dish with phoenix and flowers, a famille rose bowl with dragons and flowers, a green glazed vase with moulded decoration of precious objects, wood stand, and a Canton enamelled dish with cockerels (10)
A pair of Chinese famille rose plates, Guangxu (1875-1908), painted with five roundels encircling dragons and phoenixes, against yellow ground with scrolling flowers, six character Guangxu mark in red, 23cm, a blue and white bowl, possibly Daoguang (1821-1850),with dragons chasing flaming pearls, the interior similarly decorated, six character Daoguang mark in blue, 9.7cm diameter, a blue seal box with no lid, four character Qianlong mark, 8.5cm diameter, and three further items including a brass Bodhisattva, a hardstone turtle and a metal vase (7)
A Chinese overlay Peking glass vase,decorated in blue against a snowflake ground, with mandarin ducks in a lotus pond in a shaped panel, the reverse with pomegranates and butterflies, between key fret and banana leaf borders, mask and ring handles above chilong, four character Qianlong mark,21.5cm雪霏地套蓝料荷塘鸳鸯纹双环耳瓶 《乾隆年制》篆书模款
A Chinese hard stone carving, 20th century, of a vase and cover, carved with a carp turning into a dragon amongst other sea creatures and precious objects, surrounded by chilong and clouds, the cover with bats and cranes, 20cm, wood stand, and a puzzle ball, on waves spuming from a double gourd, 12.5cm (3)
A Chinese blue and white vase,19th century, of baluster form, painted with a pair of phoenix standing on a rock surrounded by other birds and peony, the neck with applied iron oxide prunus flowers and branch handles, all on a crackled ground, four character Chenghua mark,61cm high清十九世纪 仿哥釉开片青花凤凰牡丹纹双耳瓶
A Japanese lacquered panel,Meiji period (1868-1912), of a blue vase with roundels of butterfly and lotus in relief on a black ground, sprigs of flowers and leaves in gilt coming out from the vase amongst butterflies, some inlaid with mother-of-pearl and ivory, surrounded by a border with butterflies,69 x 47.5cm
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653685 item(s)/page