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Lot 217
GROUP OF SIX FAMILLE ROSE WARES QING DYNASTY, 18TH CENTURY 清 各色外銷粉彩瓷器（一組六件） comprising: a set of three wares, including a foliated quatrefoil dish, a lidded flask, and a milk jug, all similarly decorated with an arrangement of antiques with fruits and flowers on the body; a small lidded baluster vase, decorated with figures; and two thinly potted wine cups, one painted with European erotic subject, the other with flowers and the royal coat of arms of the United Kingdom(largest: 20cm wide)Provenance: Private Scottish collection
Lot 5
CARVED BAMBOO 'SCHOLAR AND PINE' BRUSH POT QING DYNASTY, 19TH CENTURY 清 竹雕文人松林筆筒 the hollow cylindrical body on the one side deeply carved in the reduced ground technique with three standing scholars engaging in a conversation and an attendant serving wine aside, on the reverse carved with three further seated scholars under pine trees with a pavilion afar(16.7cm high)
Lot 67
COLLECTION OF FIVE TEA AND WINE BOWLS SONG DYNASTY OR LATER 宋或以後 各式茶碗及酒碗 （共五件） each of conical shape, comprising: one tea bowl covered in dark brown glaze, 14m diameter; one Jian-ware tea bowl with splayed mouth rim and covered overall in oil-spot glaze, 12.2cm diameter; two Jian-ware wine bowls in 'hare's-fur' glaze, 9cm and 10cm diameter; and one Jian-ware wine bowl in 'partridge-feather' glaze, 9.7cm diameter(largest: 14cm diameter)
Lot 105
A WINE GLASS, c.1760, the round funnel bowl engraved with two flaming hearts resting on a plinth, below "Binden En Vereenigen", on a beaded knop and a triple angular knop, multi-spiral air twist stem with upper knop, on a conical foot, 7" high (Illustrated) (Est. plus 21% premium inc. VAT)All good, purchased from Wm. McAdam in 2000
Lot 116
A "NEWCASTLE" TYPE WINE GLASS, early 19th century, the round conical bowl engraved with a pair of love birds perched on a tree with a cherub beside holding a wreath and motto "Le Triomphe D' Amour", on a knopped Silesian style stem and domed folding foot (Illustrated) (Est. plus 21% premium inc. VAT)Condition excellent
Lot 118
A "NEWCASTLE" TYPE WINE GLASS, mid 18th century, the round funnel bowl Dutch engraved with the sun in splendour over two clasped hands issuing from floral scrolls over "De Vriendschap", on an opaque twist composite stem and domed foot, 7" high (Illustrated) (Est. plus 21% premium inc. VAT)Condition excellent
Lot 136
A COLLECTION OF FOUR VARIOUS GLASSES, mid 18th century and later, comprising a tulip bowl wine with spiral opaque twist stem, 6 1/2" high, a small cordial glass with trumpet bowl, 4 1/2" high, an ale flute, 5" high, and a wine with ogee bowl, plain stem and folded foot, 5 1/4" high (Illustrated) (Est. plus 21% premium inc. VAT)Ale flute and ogee bowl glasses both damaged
Lot 95
A COLLECTION OF GREEN GLASS WINE/SPIRIT BOTTLES, late 18th/early 19th century, comprising an onion bottle with deep kick to base, 8" high, and three cylindrical bottles, 11", 9" and 8 1/2" high, together with another bottle with rounded base, 11" high (5) (Est. plus 21% premium inc. VAT)All generally good, one bottle has very uneven base
Lot 97
FIVE GEORGIAN WINES AND OTHER GLASSES, mid 18th century and later, including a cordial glass with double series opaque twist stem, 4 1/2" high, a flute with panel moulded high round funnel bowl on multi-ply spiral stem, 6 1/2" high, and a wine with bird engraved bucket bowl on hollow waisted stem and domed folded foot, 6" high, together with an Anglo-Irish small jug of semi-wrythen fluted baluster form on short knopped stem with applied handle, 5" high (6) (One Illustrated) (Est. plus 21% premium inc. VAT)All good bar plain "U" bowl on large folded foot which has a chip to rim and plain wine which has an uneven foot (polished/cut down?) with chip
Lot 141
A part drinking glasses set with monogram for Queen Maria PiaBlown and molded crystal Geometric and foliage motifs decoration Grooved base of concentric circles Cup with monogram MP surmounted by engraved and gilt diagonal royal crown 2 decanters, 1 water jug, 1 beer cup, 8 sorbet cups, 18 water glasses, 16 red wine glasses, 13 Reno wine glasses, 17 Port glasses, 17 Madeira wine glasses, 17 anise liqueur glasses, 17 champagne glasses, 16 champagne flutes, and 18 punch cups 157 pieces in total France, circa 1901-1902 (minor losses, chips to the bottles bases)Provenance: Colecção Dr. Ricardo Espírito Santo Silva, palácio do Sobralinho, Alverca. Adquiridos pela Rainha Dona Maria Pia em Paris em 1902 nos armazéns Grand DépôtHeight: 33 cm (largest decanter) About The National Palace of Ajuda Glass CollectionThe heterogeneous character of the glass collection at the Palace of Ajuda coincides with the period during which, King Luís I (1838-1889) and Queen Maria Pia of Savoy (1847-1911), made the Palace their official Lisbon residence. Perhaps due to her Italian origins, Queen Maria Pia of Savoy had a true passion for glass. Throughout her 48 years in Portugal, between 1862 and 1910, the Queen was an avid collector of a variety of decorative and utilitarian objects, lighting equipment, mirrors, drinking glass and dressing table sets from all the main and most renowned European glass makers. An assiduous traveller in the context of her time, Queen Maria Pia undertook numerous European trips, having visited, often more than once, such cities as Madrid, Paris, Nice, Vienna, London, Carlsbad, Turin – her birthplace, Rome, Venice and Murano. Researching her diaries, note books and personal records, as well as those from her accompanying ladies-in-waiting, extant purchase receipts and specialised catalogues, it is possible to find many references to the most fashionable and prestigious European department stores and glassmaker’s showrooms such as A La Paix, Grand Dépot, Au Bon Marché, Baccarat, Moser, J&L Lobmeyr, Compagnia di Venezia e Murano and Salviati & Co., which she visited in her travels and from which she acquired numerous glass objects. In addition to personal visits, the Queen had specialised illustrated catalogues sent to her in Lisbon, from which she could order her chosen pieces.The personal interest for interior decoration and a sophisticated taste for the applied arts, which include the arts of the table, were undoubtedly related to the Queen’s character. It is evident that her taste evolved, and that her refined, precise and contemporary awareness weighed on her preferences for the best and most fashionable pieces in the market. From vast table sets, emblematic of luxury living in private or state occasions, to dressing table sets, drinking verres d’eau or liqueur, refreshment or bedroom sets, the Queen’s purchases were enriched by specific ownership or heraldic motifs, such as individual monograms - “MP”, “LI”, “LM” or “LMP”, often interlinked and surmounted by the Royal Crown, the Portuguese Royal Shield or the combined armorial shield for the Braganza-Savoy alliance. In this instance, the important drinking glass set that we are bringing to sale, features the Queen’s interlaced monogram “MP” surmounted by an elegant Royal Crown. The purchase invoice for this service is kept at Ajuda National palace archive, where it’s described as “Service Cristal torses et rinceaux riches”. This invoice issued by the Grand Dépôt on March 19, 1902 allows us to consider that this service may have been acquired during the Queen's stay in Paris in the year of 1901. In the collection of the Ajuda National palace there are 16 pieces of this service. VERITAS Art auctioneers would like to thank Dr. Maria João Burnay, curator of the Glass Collection at Ajuda National palace, for her availability to help us studying this service.Tiago Franco RodriguesLiterature: AA.VV. – “A royal lunch. A visita a Sintra da Rainha Alexandra do Reino Unido. 24 de Março de 1905” Parques de Sintra Monte da Lua, 2019 Maria João Burnay – “Dos revilalismos ao movimento secessionista vienense: Vidros da Boémia da Rainha D. Maria Pia” in AA.VV.- Colecções de arte em Portugal e Brasil nos séculos XIX e XX. Colecções Reais e colecções oficiais, Caleidoscópio, Lisboa, 2020, pp. 115 a 131.
Lot 206
A monstrancePortuguese silver, 18th centuryProfuse decoration of acanthus leaves foliage motifs and gadroons to octagonal stand and to shaftPlain monstrance sustained by open winged angel and looped volutes having in the inside a gilt silver lunula with two angel's headsUpper finial decorated with motifs associated to bread and wine, wheatsheaf's and vines, framed by volutes and surmounted by crown and crossBraga hallmark (B-3.0) for 1725/1750, and unidentified maker's mark AA(missing tintinnabula)Height: 73 cm2895 g
Lot 182
Pina Ambrosino Off Her Tits Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About By the age of 14 I was drawing nudes at Roar Studios in Melbourne's then seedy Brunswick Street Fitzroy and sipping on glasses of red wine with Art Professors and students. I studied Bachelor of Fine Art at Monash University, then at RMIT in Melbourne. I was lucky enough to have been taught by great Australian lecturers and contemporary painters. I have always been interested in the human form, perhaps those early influences of the unashamedly nude forms have stuck with me. I am currently exploring these forms using Acrylic on 100% archival quality cotton paper. I love the fluidity that paper brings to my work. I am currently expanding my artistic medium by working on an extensive range of Ceramic Art Objects. I use underglazes and scratching techniques to explore the human form and explore the importance of human connection through my images. The vases, plates and Urns are all limited editions and one of a kind - exploring similar techniques. Each object has its own character and tells a different story, my figures often lean on each other for support & are a source of comfort to each other. Education Studied Bachelor of Fine Art Select Exhibitions/Awards June 24 2021- Solo Show at Lyons Gallery Sydney Australia November 11 2021- Group Show at Lyons Gallery Sydney Australia December 8th 2021- Solo Show at Coogee Wine Room - Hosted by Lyons Gallery Sydney Gallery Representation Unsigned Statement about AOAP Submitted Artwork The bottling up of emotions as well as the pouring out of feelings are referenced in my work. The figures appear to be trapped, however I feel they are sitting comfortably in the spaces that they occupy. My work reflects what makes me most uncomfortable and how I choose to look at myself with total equanimity. My work counters modern day culture: The desire to be liked, to be looked at and adored. It is disturbing to see the lack of self-love and acceptance of our physical selves in our modern-day communities. I hope to inspire others to look upon the human form and revel in the perfection of the imperfections. Working as a contemporary artist nothing has left me with the greater gift of introspection than being faced with one's own mortality. I choose to accept myself the way I am - post Breast Cancer treatment. I aim to focus on celebrating the human form and celebrate the human experience.
Lot 183
Pina Ambrosino The Resting Place Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About By the age of 14 I was drawing nudes at Roar Studios in Melbourne's then seedy Brunswick Street Fitzroy and sipping on glasses of red wine with Art Professors and students. I studied Bachelor of Fine Art at Monash University, then at RMIT in Melbourne. I was lucky enough to have been taught by great Australian lecturers and contemporary painters. I have always been interested in the human form, perhaps those early influences of the unashamedly nude forms have stuck with me. I am currently exploring these forms using Acrylic on 100% archival quality cotton paper. I love the fluidity that paper brings to my work. I am currently expanding my artistic medium by working on an extensive range of Ceramic Art Objects. I use underglazes and scratching techniques to explore the human form and explore the importance of human connection through my images. The vases, plates and Urns are all limited editions and one of a kind - exploring similar techniques. Each object has its own character and tells a different story, my figures often lean on each other for support & are a source of comfort to each other. Education Studied Bachelor of Fine Art Select Exhibitions/Awards June 24 2021- Solo Show at Lyons Gallery Sydney Australia November 11 2021- Group Show at Lyons Gallery Sydney Australia December 8th 2021- Solo Show at Coogee Wine Room - Hosted by Lyons Gallery Sydney Gallery Representation Unsigned Statement about AOAP Submitted Artwork The bottling up of emotions as well as the pouring out of feelings are referenced in my work. The figures appear to be trapped, however I feel they are sitting comfortably in the spaces that they occupy. My work reflects what makes me most uncomfortable and how I choose to look at myself with total equanimity. My work counters modern day culture: The desire to be liked, to be looked at and adored. It is disturbing to see the lack of self-love and acceptance of our physical selves in our modern-day communities. I hope to inspire others to look upon the human form and revel in the perfection of the imperfections. Working as a contemporary artist nothing has left me with the greater gift of introspection than being faced with one's own mortality. I choose to accept myself the way I am - post Breast Cancer treatment. I aim to focus on celebrating the human form and celebrate the human experience.
Lot 184
Pina Ambrosino Consumed By Space Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About By the age of 14 I was drawing nudes at Roar Studios in Melbourne's then seedy Brunswick Street Fitzroy and sipping on glasses of red wine with Art Professors and students. I studied Bachelor of Fine Art at Monash University, then at RMIT in Melbourne. I was lucky enough to have been taught by great Australian lecturers and contemporary painters. I have always been interested in the human form, perhaps those early influences of the unashamedly nude forms have stuck with me. I am currently exploring these forms using Acrylic on 100% archival quality cotton paper. I love the fluidity that paper brings to my work. I am currently expanding my artistic medium by working on an extensive range of Ceramic Art Objects. I use underglazes and scratching techniques to explore the human form and explore the importance of human connection through my images. The vases, plates and Urns are all limited editions and one of a kind - exploring similar techniques. Each object has its own character and tells a different story, my figures often lean on each other for support & are a source of comfort to each other. Education Studied Bachelor of Fine Art Select Exhibitions/Awards June 24 2021- Solo Show at Lyons Gallery Sydney Australia November 11 2021- Group Show at Lyons Gallery Sydney Australia December 8th 2021- Solo Show at Coogee Wine Room - Hosted by Lyons Gallery Sydney Gallery Representation Unsigned Statement about AOAP Submitted Artwork The bottling up of emotions as well as the pouring out of feelings are referenced in my work. The figures appear to be trapped, however I feel they are sitting comfortably in the spaces that they occupy. My work reflects what makes me most uncomfortable and how I choose to look at myself with total equanimity. My work counters modern day culture: The desire to be liked, to be looked at and adored. It is disturbing to see the lack of self-love and acceptance of our physical selves in our modern-day communities. I hope to inspire others to look upon the human form and revel in the perfection of the imperfections. Working as a contemporary artist nothing has left me with the greater gift of introspection than being faced with one's own mortality. I choose to accept myself the way I am - post Breast Cancer treatment. I aim to focus on celebrating the human form and celebrate the human experience.
Lot 293
Bunmi Agusto Aruaro (In Blue and Green) Pastel Pencil on Sandpaper, Ink and Watercolour on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Bunmi Agusto's practice follows the inhabitants of a surrealist wonderland in her mind called Within. The indigenous inhabitants of this world are hybrids whose human form is combined with elements she finds integral to her sense of self and cultural consciousness. Non-Hybrid humans are also present in Within as family members, friends and passersby in the artist's waking life are subsumed into the world through encounters and begin to occupy the role of immigrants into her mind. Her works therefore explore cultural theory and the evolution of selfhood through the lens of fantasy. She cites stories such as Amos Tutuola's The Palm Wine Drinkard, Lewis Carroll's Alice In Wonderland and the Marvel Cinematic Universe as major influences. She also works predominantly with pastel pencils and mixed media. Education MA History of Art & Archaeology, SOAS University BA Fine Art, Central Saint Martins Erasmus Exchange, Royal Academy of Art, The Hague Select Exhibitions/Awards Solo Exhibitions: Kenneth Ize SS22, Palais de Tokyo, Paris (2021) Escape To Within, DADA Gallery, London (2021) Group Exhibitions: 1-54 Contemporary African Art Fair, DADA Gallery, London (2021) Art X Lagos, DADA Gallery, Lagos (2021) Redefining The Trend- Histories In The Making, Christie's, London (2021) Now, Now, TAFETA, London (2021) London Grads Now, Saatchi Gallery, London (2020) Awards: Cass Art Prize, UAL Graduate Showcase (2020) Cass Art Prize, Xhibit (2019) Gallery Representation DADA Gallery Statement about AOAP Submitted Artwork This artwork features a member of Agusto's fictional Aruaro clan. This clan is known for their unique tribal marks in which lie a second set of eyes that allows them to tap into a more insightful ancestral perspective. However, in this piece, the Aruaro hides all four of their eyes as they engage in conversation leisurely.
Lot 43
A George III silver wine funnel,by Rebecca Emes & Edward Barnard I, London 1814, the bowl with gadrooned rim, shell clip and engraved initials, leading to a fixed spout, 13cm longtogether with a pair of Victorian silver grape scissors,by William Batt & Sons, Sheffield 1896, engraved with scrolling vines, in a fitted case, a pair of George V silver vases, with pierced rim and base, 15cm high, and a modern silver bud vase, with loaded base, total 12.6ozt (4)Condition report: Tarnishing, marks and surface scratches throughout.Wine funnel) Dents to the bowl. Visible join lines across the spout. The end of the spout has crumpled. Maker's mark is partially rubbed.Grape scissors) Marks to the case.
Lot 44
A collection of silver plated items,to include a claret jug, the finial modelled as a lion holding a crested shied, 26.5cm high, a pair of wine coasters, 15.5cm diameter, a pair of filled candlesticks, 21cm high, a goblet with gilt interior, 20.5cm high, and a teapot, with engraved monogram and swag decoration, 20cm high (7)Condition report: Marks and wear throughout. Heavily tarnishing and would benefit from a good clean and polish. The drip pans of the candlesticks are dented. Marks on goblet are partly rubbed but appear to read 'C S'.
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166820 item(s)/page