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AN ARTS & CRAFTS OPAQUE IRIDESCENT GLASS BALUSTER VASE, early 20th Century, wavy rim with green interior, trailed green decoration, metallic inclusions, ground pontil mark, height 22cm, and an Arts & Crafts green iridescent glass wrythen bowl, broken pontil mark (s.d.), diameter 18cm (2).
A 14TH/15TH-CENTURY MING DYNASTY CLOISONNÉ VASE HANDLE AND SILK BANNER LOOTED AT THE SACK OF THE OLD SUMMER PALACE, PEKING, 1860, the 7in. handle with brass dragon’s head and terminating in scroll foot; the red silk banner with applied characters reading SI CHUAN / DU ZHONG / TOU QI -- 110 x 78in. (279.5 x 198cm.); together with autograph card inscribed a handle torn from a large vase at the ‘sack’ of the Imperial Summer Palace at Pekin 1860 - curious metal work inlaid with lapis-lazuli / Dr. Clarke A. Ducket, RN. , (3), Provenance: Dr. C.A. Duckett, RN, to family friends and thence by descent., The Old Summer Palace was a vast complex of gardens and palaces founded in 1707 and which was under constant expansion until the mid-19th Century and is several miles from the Summer Palace, also in Peking (now Beijing). During the Second Opium War of 1860, two British Envoys (Henry Loch and Harry Parkes) accompanied by a Times journalist and a small escort met the Prince on September 29th to negotiate peace under a flag of truce. After a day of talks they were imprisoned and tortured, resulting in about twenty deaths - the bodies almost unrecognisable. To deter the Chinese from using kidnap as a bargaining tool again, Lord Elgin, the British High Commissioner to China, reacted by ordering the destruction of the Old Summer Palace, which was carried out on October 18th by 3,500 British and French troops and took three days to set the whole complex ablaze. Dr. Duckett was aboard one of the ships carrying marines which assisted and where he acquired this lot. Charles Gordon, a contemporary officer in the Royal Engineers, gives a flavour of the episode: We went out, and, after pillaging it, burned the whole place, destroying in a vandal-like manner most valuable property which [could] not be replaced for four millions. We got upward of £48 apiece prize money...I have done well. The [local] people are very civil, but I think the grandees hate us, as they must after what we did the Palace. You can scarcely imagine the beauty and magnificence of the places we burnt. It made one’s heart sore to burn them; in fact, these places were so large, and we were so pressed for time, that we could not plunder them carefully. Quantities of gold ornaments were burnt, considered as brass. It was wretchedly demoralising work for an army., The banner removed/acquired by Duckett was the personal banner for a visiting official from one of the provinces.
A MOORE BROTHERS WHITE GLAZED CENTRE PIECE in the form of three cherubs and budding foliage surrounding a shaped vase on triform base with Greek key pattern, 8"" high; a similar Moore Brothers centre piece with putto astride a dolphin, 10"" high; and two closely matching Moore Brothers sweet meat dishes each in the form of a cherub aside a vine encrusted bowl, each piece with impressed mark and three pieces with printed mark, some restorations (4)
A PAIR OF LATE 18TH/EARLY 19TH CENTURY CHINESE SAUCER DISHES each painted with a procession of figures in famille rose colours, 5 1/2"" diameter; a Chinese 18th Century sparrow beak jug (repaired); a pair of Japanese Imari dishes; and a Chinese famille rose bottle vase (now with plated collar) (6)
A SPODE BLUE AND WHITE OVAL DISH with pierced border printed three figures looking towards a pavilion from a river bank, 9 1/4"" wide and various further China to include a 19th Century blue and white mug; a two handled vase painted with flowers in colours and green borders; an armorial cup; a Masons style leaf shaped dish; a Meissen blue and white pickle dish etc, seventeen pieces in total (17)
A Bohemian green overlay pedestal vase decorated with an oval white panel profusely enamelled with blooms above a similar panel enamelled with a half length portrait of a young beauty with a garland of ivy in her hair and verso with two further floral panels, both flanked by fretted white panels reserved on a gilt foliate ground, 37.5 cm high, mid 19th century.
A Chinese porcelain yen-yen vase the body painted in blue with a pair of deer and two cranes in a rocky landscape containing pine trees, the neck with a pair of recumbent deer and cranes in a similar landscape between narrow cloud scroll and fretted borders, 44.5 cm, blue concentric rings to base, Kangxi.
A Chinese porcelain yen yen vase the body painted in blue with a stag, a pair of does and three cranes in a landscape and the neck with a stag, doe and two cranes in a similar landscape, bisected by narrow cloud scroll borders, 45.5 cm high, concentric rings to base, Kangxi, rim repaired.
A Chinese porcelain yen yen vase the body painted in blue with a stag and doe and two cranes in a landscape and the neck with a stag, doe and two cranes in a similar landscape, bisected by narrow cloud scroll and fretted borders, 46 cm high, concentric rings to base, Kangxi, rim repaired.
A Chinese porcelain vase of reticulated square shaped form with raised flaring neck, each pierced facet enamelled in the famille verte palette with a pair of Lohan within a thunder key band, the shoulders with peony scroll the neck with a raised band of bats below stiff leaves, 36 cm high, embossed Qianlong seal mark, significant losses to rim.
A Chinese porcelain vase of shouldered cylindrical form with grotesque mask handles, the body enamelled with dragon and cloud medallions on a scroll ground between multiple lotus, diaper, stiff leaf, peony and thunder key bands the neck with pendants, 39 cm high.
A Chinese porcelain vase of oviform with garlic shaped neck enamelled in the Wucai palette and underglaze blue with two five clawed dragons chasing a pearl amongst cloud and lightning between stiff leaves and thunder key band the neck with a broad peony scroll and lappet band, the rim with apocryphal six character mark for Jaijing, early 20th century.
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653833 item(s)/page