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Lot 23
An amber glazed stoneware pilgrim flask, Liao dynasty, modelled after a leather prototype, the swelling body flattened at the top with a finger pinched loop handle, attached to a cylindrical spout, covered with thin-bright green glaze over a white slip falling irregularly to reveal the buff coloured body, 23cm high. Vessels bearing similar shape to the present one were also known as “cockscomb pots”, jiguanhu, or horse-stirrup pots, madenghu. These bottles appear to have originated from the Mongolian leather satchel-like containers employed by early Qidan people from as early as the 4th century AD, to store liquids such as water, milk and wine. Such vessels have been mainly excavated from graves belonging to members of the Qidan aristocracy. The simulated holes for attachment of a carrying strap and the raised stitched-like decoration and rivets are typical features occurring on the earliest ceramic versions of this form. Indeed, later forms, bearing loop handles, would seem to suggest the adoption of a sedentary life on behalf of the Qidan, following their contacts with their Han Chinese neighbours. Comparable examples of cockscomb bottles have been unearthed from Liao dynasty tombs in Liaoning and Inner Mongolia and can also be found in notable private collections, mainly located in Hong Kong, such as the Mengdiexuan, Xiwenguo Zhai and Jiurutang.Bid Live at the-saleroom.com
Lot 62
A collection of ten Chinese blanc de Chine libation cups of various sizes decorated with the Eight Horses of Muwang and flowering prunus branches, a blue and white bowl decorated with cranes and geese amid pine trees, two small blue and white wine cups, a famille rose tea bowl decorated with flowering prunus branches, and a porcelain water sprinkler modelled as a crouching rat, and a small blue and white vase decorated with court figures,18th centuryBid Live at the-saleroom.com
Lot 23
An amber glazed stoneware pilgrim flask, Liao dynasty, modelled after a leather prototype, the swelling body flattened at the top with a finger pinched loop handle, attached to a cylindrical spout, covered with thin-bright green glaze over a white slip falling irregularly to reveal the buff coloured body, 23cm high. Vessels bearing similar shape to the present one were also known as cockscomb pots, jiguanhu, or horse-stirrup pots, madenghu. These bottles appear to have originated from the Mongolian leather satchel-like containers employed by early Qidan people from as early as the 4th century AD, to store liquids such as water, milk and wine. Such vessels have been mainly excavated from graves belonging to members of the Qidan aristocracy. The simulated holes for attachment of a carrying strap and the raised stitched-like decoration and rivets are typical features occurring on the earliest ceramic versions of this form. Indeed, later forms, bearing loop handles, would seem to suggest the adoption of a sedentary life on behalf of the Qidan, following their contacts with their Han Chinese neighbours. Comparable examples of cockscomb bottles have been unearthed from Liao dynasty tombs in Liaoning and Inner Mongolia and can also be found in notable private collections, mainly located in Hong Kong, such as the Mengdiexuan, Xiwenguo Zhai and Jiurutang.
Lot 62
A collection of ten Chinese blanc de Chine libation cups of various sizes decorated with the Eight Horses of Muwang and flowering prunus branches, a blue and white bowl decorated with cranes and geese amid pine trees, two small blue and white wine cups, a famille rose tea bowl decorated with flowering prunus branches, and a porcelain water sprinkler modelled as a crouching rat, and a small blue and white vase decorated with court figures,18th century
Lot 11
A Chinese Export Blue and White Porcelain Covered Cistern, probably 18th c., rectangular body with molded corners and mythical beast-and-fixed-ring handles on integral four footed base relief molded with archaistic motifs repeated at the overhanging top, sloping cover surmounted by a qilin figure, flat back pierced with a "cash" roundel, metal tap, height 24 in., width 11 in. Note: Restoration. Note: Based on a Western wall-fountain prototype, this form was used in 18th century dining rooms for serving red wine. Reference: Godden, Oriental Export Market Porcelain, London, 1979, pl. 33, p. 133. See also the Peabody Essex Museum, Salem, MA, for a similar cistern with gilt decoration.
Lot 22
§ MARCEL BROODTHAERS, BELGIAN (1924-1976). Pair of green glass wine bottles with printed labels `Pluie` and ` Mer du Nord`. English translation: `Rain` and `North Sea`. With a negative image of the bottles labelled `Heini Schneebeli Photographer`. PROVENANCE: Gifted to Michael Compton by the artist`s widow, Maria, when he was working with her on a proposed catalogue-raisonné of the artist`s work. This involved regular visits to Brussels to do research in the 1980s and 1990s. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. MARCEL BROODTHAERS (1924-1976): A writer, poet, filmmaker, photographer, journalist and artist. As Broodthaers himself said, he would rather have put off the choice of profession until his death. Language, as a symbol that conveys meaning, is a central theme in his texts, objects, installations, films, photographs, slide projections and prints. Broodthaers was born in Brussels in 1924. Aged 16 or 17 he had some contact with the Belgian Surrealists, particularly Magritte, who gave him a 1914 copy of `Mallarmé`s `Un Coup de Dés` where the contradiction between the printed word and their layout were later a crucial influence on him. From 1945 he was associated with the Groupe Surréaliste-revolutionnaire. Also a keen photographer, in 1958 he began to publish articles illustrated with his own photographs. At the end of 1963 he decided to become an artist, symbolically embedding fifty unsold copies of his book of poems `Pense-Bête` in plaster, creating his first art object. A Broodthaers press release from 1964 read as follows: "I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. `But it is art` he said `and I will willingly exhibit all of it.` `Agreed` I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects." - MARCEL BROODTHAERS, 1964 Broodthaers made use of found objects and collage, incorporating the written language in his art and using whatever was at hand for raw materials, most notably the shells of eggs and mussels. Such as in `Grande casserole de moules`, 1966; and `Coupe avec coquilles d`oeufs`, 1967 (Marcel Broodthaers, Walker Art Center, Rizzoli, P.126/127). From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died in Cologne in 1976 on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design. In 1980 Compton curated the exhibition `Marcel Broodthaers` at Tate Gallery, London, the first retrospective after the artist`s death in 1976. In 1989 Compton curated `Marcel Broodthaers` at the Walker Art Center Minneapolis for which he received a Weisman award (Lot 1 in this Sale). The exhibition travelled to the Museum of Contemporary Art, Los Angeles and the Carnegie Museum of Art, Pittsburgh. Other important Broodthaers exhibitions include Jeu de Paume, Paris, 1991; and Palais des Beaux Arts, Brussels, 2000. In England his work was shown at Milton Keynes Gallery, 2008 and Michael Werner London, in 2013. Mark and slight lifting to the Mer Du Nord label. Some slight discolouration to labels.§ ARR (Artist Resale Right) is additionally payable on this lot please contact the auctioneer for details.
Lot 1
A Chimu Woven Camelid Wool Textile Panel, ca. 1100-1400 A.D., Decorated with four standing warrior figures on a wine red ground.Appraised and authenticated by Kenneth Jay Linsner ASA, SCV, Harmer Johnson and Jane Werner-Aye.Dimensions: 23 x 14 1/2 in.Note condition: thread loss, surface soiling and staining, and holes due to oxidation and moth damage.
Lot 2
A Chimu Woven Camelid Wool Textile Panel, ca. 1100-1400 A.D., Decorated with nine standing warriors on a wine red ground.Appraised and authenticated by Kenneth Jay Linsner ASA, SCV, Harmer Johnson and Jane Werner-Aye.Dimensions: 28 x 18 1/2 in.Note condition: holes due to oxidation, moth damage, some losses throughout and surface staining.
Lot 4
A George II wine glass circa 1750, drawn and flared trumpet form bowl above a tapering stem enclosing an acorn form bubble, supported on a slightly domed circular foot, inscribed `John Crawford Sneddon` to foot with other indistinct marks to foot surface, ground pontil, 7in. (17.8cm.) high. See Illustration.
Lot 11
An early 19th century small wine glass the bowl of drawn trumpet form, on a plain foot with ground pontil, 10.6cm. high; together with a small collection of Victorian glass including a cranberry glass bowl, a pair of miniature enamelled tankards and a pair of enamelled barrel form tumblers. (8)
Lot 69
A good pair of George III silver wine coasters John & Thomas Settle, Sheffield 1818 and 1820, of circular form, the sides with broad bands of repoussé floral and foliate scrolling decoration, conforming decoration to the cast rim, with inset wooden bases centred by plain bosses, 6¼in. (16cm.) diameter, gross weight 23 tr.oz. (2) See Illustration.
Lot 29
A pair of 19th century Meissen style figural centre piece groups depicting a peasant woman playing a hurdy gurdy, the man playing bag pipes with a bottle of wine in his right pocket, both standing on naturalistic flower encrusted rocky bases each surrounded by four children dressed in 18th century costume holding garlands of flowers, accompanied by a pair of coves, set on gilded circular plinths, painted blue cross sword and star marks to undersides, 40cm high
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166771 item(s)/page