Full title: A Chinese bronze censer and a small jade and hardstone tree, 20th C.Description:H 12,3 - L 13 - D 10 cm (censer) H 27,4 - L 32 cm (tree) The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com
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Maqbool Fida Husain (Indian, 1915-2011)Untitled (Bhil Tribals) signed lower right and signed and dated 5/VIII/006 versoacrylic on canvas, framed181.5 x 120.5cm (71 7/16 x 47 7/16in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired from the artist in 2007.'A Painterly Journey of Husain in his own wordsBorn in the Second decade of the 20th Century Venue of landing - Pandharpur in MaharashtraMy mother Zainab took seven rounds around my frail bodyand bade farewell herself.My grandfather Abdul the tinsmith, my father Fida the accountantAn infant Maqbool, a would-be painter headed towardsIndore then ruled by the Holkar dynasty.My rocking cradle now firmly placed in princelypilferage and pageantry.A motherless Maqbool wandered alone in the lanes and landscapes of Malwa, now Madhya Pradesh.A sketching pad the only companion. The Third decade made me conscious of the British Raj and the arrival of Gandhi on the political horizon.Glancing through the pages of the most popular illustrated weekly called 'Riyasat.'The fourth decade put forward a decisive proposal towhich I at one clung like along deserted child dashesinto his mother's lap.My painterly journey commences against odds and orthodoxy.My brush dips down into deep reds and sweeps across the blue space above - I paint a woman, her navel red and breast blue whosemaroon tits swollen-Then comes the Fifth decade and I meet the painted woman whohas swallowed her darkness to shoe me the eternal entrance.The ecstasy of pain. The aroma of dying wounds. Then under the cover of my tattered umbrella and flickering lanternI take my woman to distant lands. To Chinese terracotta and jade horses, to Italian virgins of Cimabue and Giotto,to tormented Rembrandt portraits, to Van Gogh's lonely chair and abandoned shoes. All of a sudden I come to a halt in front of Guernica.As the Sixth decade declares war of self-destruction in the name of 'Avant-garde'But my painted man, woman and animal remain neutral-there I lay aside my conventional tools for a while.And hold the 16mm movie camera to shoot an experimental film in Rajasthan, based on visual equation of cow plus umbrellaplus a lantern minus a shoe is equal to one unit, Man-Woman.The film so baffled the Berlin Film Festival to award the 'Golden Bear.'Followed by hesitant National awards,And also the much awaited promotion from Padmashree to Padmabhushan to Padmavibhushan. The universities of Mysore and Benaras conferred doctorates.The New York at publisher Harry Abraham compiled a Comprehensive volume and how one reaps the reward of neutrality is still a question.But before I find the answer-The Seventh decade rings my doorbell, And as I open the door Goddess Durga enters riding thetiger followed by 'Kanya' the most beautiful woman on Earth, eternally waiting at the banks of the river Gomti.There joins another stream of thought, ripples of wave, the river Voltawa, Maria of Slovakia.The Eighth decade, the decade of eternal mother, her white sarilights up the unlit lanes of Calcutta. I paint and unfoldseveral layers of her sari in search of my lost mother.Sometimes her trembling hand appears from the bodiless bundle of cloth. To touch the fugitive son?The Ninth decade brings all the arc lights, sound effects and cameras, cranes and crackles of tinsel town. Shoot of an art and cinema episode.A hundred feet of visual script painted on the lemon yellow sari.Madhuri the metaphor for my Gaja Gamini,the beautiful walk, her dancing toes touching the crest of our time.Why a painter's dreamflashes on the silver screen instead of the wallsof Ajanta and the Sistine chapel?'Rashda Siddiqui, In conversation with Husain paintings, Mumbai, 2001, pg. 16-17.Dating from 2006, this enormous work was made in Husain's ninth decade. It encapsulates the motifs that Husain has come to be known for, the reclining woman and the fierce and protective elephants. A perennial artist, Husain adapted to and depicted various themes, religions and ideas throughout his career. Here he is depicting the Bhils, the largest tribal group in western India. They populate the states of Gujarat, Madhya Pradesh, Chhattisgarh, Maharashtra and Rajasthan, and Tripura in far-eastern India, on the border with Bangladesh. Also known as Adivasi's they speak various languages, and have regional dress variations, which might explain why Husain has refrained from depicting their clothing here. Known for their ability to live in the wild and hunt, the reclining woman appears to be protected by and content in the elephant's trunk. The elephant is perhaps shielding her from the blazing red sun emanating from the top left corner. Despite the sombre colours, there is a playfulness in the work. The brush strokes are sharp and short, and illustrate Husain's skilfulness as an artist, honed over a lifetime of experimenting, commenting and depicting innumerable topics.For further information on this lot please visit Bonhams.com
A quantity of costume jewellery to include an Austro Hungarian enamelled George and the Dragon pendant, cameo earrings with 9ct screw fixings, jade beads, cufflinks and Chepstow Race Club enamel badges (1960s-1980s) in a leather jewel case CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
A Chinese spinach jade vase and cover,20th century, of compressed tapering form flanked by two mask and ring handles, carved with a taotie mask surrounded by chilong and scrolls, the domed cover with a Buddhist lion finial, 49cm high (2)Condition ReportSmall chips and cracks in various locations.
A collection of 9ct gold jewellery to include a diamond and sapphire brooch, length approx 25mm, along with a Nephrite jade mounted 9ct gold oval brooch with fancy border, length approx 28mm, combined total gross weight approx 7.9gms Further details: some surface fractures to jade, wear and tear commensurate with age
A dusky pink and burgundy sprigged patterned long country skirt, size 12, 1970s, wide gathered frill round the bottom, by Laura Asley, two slit pockets with frills; to include a long country style jade cotton dress with strips of cotton lace in white down the pin-tucked bodice, high neck, long sleeves, with a white cuff (3 button fastening), tie belt, size 12, by Laura Ashley; and a coral red with white floral design with a high waist, sculpted bustline edged with cotton pico, shoestring straps and a deep frill round the hemline, size 14
A silk Jersey 1970s dress with a black background and short fan sleeves edged in jade and a pink floral design - the design of this garment is in a Persian vase with a pink and jade colourway, size 16, c.1970. Label detached but believes to be a De Parisini. Together with a long dress in a cornflower blue with a duck egg blue design, with the lower part of the dress in a floral design in pinks/lemons etc., long length and made in Italy by De Parisini. Size 14 to 16. (2)
Vintage 925 Sterling Silver Green Jade Panel Bracelet.A superb 925 Sterling Silver Green Jade Bracelet. A gorgeous bracelet with 6 x green jade stone panels (12x6mm) inter-spaced with decorative silver links. Bracelet measures 7.25 inches (18.5cm) and is marked 925. Condition: Very good no issues.
" Vintage Sterling Silver Multi-Colour Jade & Gemstone Bracelet. A fabulous vintage sterling multi colour Jade bracelet set with a 5x4mm emerald cut Amethyst, Topaz, Peridot and Citrine gemstone. The bracelet has a double row (10 in total) of curved jade panels each 23mmx5mm in size with silver at each end. The bracelet measures 7.5 inch's (19cm) long. Condition: Very good "
China, Ritualbronze GuiSpeisegefäß für Getreide für den Opferritus vom Typ "Gui" aus Privatbesitz.Bronze, im Stil der westlichen Zhou-Dynastie, wohl um 1900, Maße: Höhe 12cm, Durchmesser der Öffnung: 13,6cm, Gewicht: 1867g. Deckel und Sockel aus Hartholz (Rosenholz?) (besch.), Das archaische Speisegefäß Gui: Runde Schale mit hohem Standring und zwei hakbkreisförmigen Henkeln. Plastisch hervortretende Frontalansicht der Tiermaske "taotie" mit großen Augen, Fangzähnen, spitzen Ohren und C-förmigen Hörnern vor einem feingliedrigen Spiralgrund "leiwen" (Donnermuster). Ein hervortretender Grat bildet die Mittelachse, auf den Henkeln plastisch gestaltete Tierköpfe mit Hörnern. Auf dem hohen Fußring und unter dem Mündungsrand ein Reliefband mit kui-Drachen, auf der Unterseite des Gefäßes Rautenmuster. Signatur auf der Innenseite: "sun you" = die Enkel "sun" (machten dieses) Opfergefäß "You". Das Bronzegefäß zeigt eine graphit-schwarze Handpatina. Deckel mit Jade Knauf: Jadeknauf Höhe 3,5cm Deckel aus Hartholz (Rosenholz?), der Jadeknauf in der Mitte des Deckels eingelassen, feine Durchbruchschnitzerei. Motiv: Reiher im Lotosteich. Sockel mit Inschrift: Die Inschrift zeigt in der Mitte das Schriftzeichen "jia" = erstklassig, das erste Zeichen der zehn Himmelsstämme, umgeben von einem siebensilbigen Gedicht im Versmaß der klassischen Dichtung. Verfasser ist der Kaiser Qianlong. Er rühmt die Qualität der Jade aus Khotan (Hotian) und würdigt die Ritualbronze, die eine tugendhafte Gesinnung bei den Opfer-Zeremonien voraussetzt, die im richtigen Ritus ohne Fehler vollzogen werden müssen. Literatur: Helmut Brinker, Bronzen aus dem alten China, Zürich 1975, Nr. 10, S. 42/43 Für die Lesung der Signatur: Christian Deydier, Chinesische Bronzen, München 1981, S. 81/82 Bestimmung der Jade: Wang Chen-chiu, Hanau 1992, S. 9 Wir danken Frau Dr. Cornelia Morper / Würzburg für die freundliche Unterstützung bei der Katalogbeschreibung. Provenienz: seit mindestens 50 Jahren in einer Würzburger Privatsammlung - China, ritual bronze GuiFood vessel for grain for sacrificial rite of "Gui" type from private ownership.Bronze, in the style of the Zhou dynasty, probably around 1900, dimensions: height 12cm, diameter of the opening: 13.6cm, weight: 1867g. Lid and base made of hardwood (rosewood?) (dam.).The archaic Gui food vessel: round bowl with a high standing ring and two hook-shaped handles. Plastic protruding frontal view of the animal mask "taotie" with large eyes, fangs, pointed ears and C-shaped horns in front of a fine spiral background "leiwen" (thunder pattern). A protruding ridge forms the central axis, and on the handles are sculpted animal heads with horns. On the high foot ring and under the mouth rim a relief band with kui dragons, on the bottom of the vessel diamond pattern. Signature on the inside: "sun you" = the grandchildren "sun" (made this) sacrificial vessel "You". The bronze vessel shows a graphite-black hand patina. Lid with jade knob: jade knob height 3.5cm Lid made of hardwood (rosewood?), the jade knob embedded in the center of the lid, fine openwork carving. Motif: heron in a lotus pond. Pedestal with inscription: The inscription shows in the center the character "jia" = first-class, the first character of the ten celestial stems, surrounded by a seven-syllable poem in the verse meter of classical poetry. The author is the emperor Qianlong. He praises the quality of the jade from Khotan (Hotian) and pays tribute to the ritual bronze, which presupposes a virtuous attitude in the sacrificial ceremonies, which must be performed in the correct rite without error. Literature: Helmut Brinker, Bronzen aus dem alten China, Zurich 1975, No. 10, p. 42/43 For the reading of the signature: Christian Deydier, Chinesische Bronzen, Munich 1981, p. 81/82 Determination of the jade: Wang Chen-chiu, Hanau 1992, p. 9 We thank Dr. Cornelia Morper / Würzburg for the kind assistance with the catalog description. Provenance: for at least 50 years in a Würzburg private collection
A Chinese Jadeite Bracelet, four octagonal jadeite plaques alternate with yellow plain polished hieroglyphic links, indistinctly marked, length 18cmThe bracelet is in good condition with slight surface abrasion throughout the jade plaques and the tongue appears to have been acid tested. It fastens with a tongue and box catch and features a safety chain. Clasp indistinctly marked. Gross weight 18.6 grams.
Group of two Chinese Qing dynasty pale jade snuff bottles. One well-hallowed rounded bottle with carvings along both sides and an orange coral-form stopper. One rectangular rounded bottle with a green jade stopper.Green lid; height: 2 7/8 in x width: 1 1/2 in x depth: 7/8 in. Orange lid; height: 2 1/2 in x width: 1 1/8 depth: 3/8 in.
Group of three small decorative objects. One 900 silver pumpkin or gourd vessel, marked along the underside. One pale spinach jade bowl or cup. One small black bronze Egyptian-style figurine in the form of a seated cat from the Metropolitan Museum of Art, stamped MMA along the base.(Bronze) Height: 3 3/8 in x width: 1 5/8 in x depth: 2 3/8 in. (Jade) Height: 1 3/4 in x diameter: 4 1/8 in. (Silver) Height: 2 1/8 in x diameter: 2 3/8 in.
An early 20th century Arts & Crafts silver and jade goblet by Omar Ramsden and Alwyn Carr, London 1913, the conical jade bowl above a slender stem with spot hammer finish, chased with urn and the motto 'THE WINE OF LIFE KEEPS OOZING DROP BY DROP', on a circular pedestal foot, engraved inside 'Omar Ramsden et Alwyn Carr me fecerunt MCMXIII', 17.5cm high
An early 20th century Arts & Crafts silver and jade goblet by Omar Ramsden and Alwyn Carr, London 1913, the jade bowl above a chased lobed stem with spot hammer finish, engraved with the motto 'BETTER BE JOCUND WITH THE FRUITFUL GRAPE', on a circular spreading foot, engraved inside 'Omar Ramsden et Alwyn Carr me fecerunt MCMXIII', 13cm high, the bowl 10cm diameter
Three period gem-set brooches and an Edwardian nephrite jade necklace; including a Victorian seed pearl brooch, in the form of a swallow and crescent, hinged pin stem with C-catch and safety chain, yellow metal unmarked and tests 15ct, measures 2.3 cm across; an Edwardian seed pearl and cushion-cut aquamarine brooch, of floral design within a circular frame, fitted with pin stem, C-catch and safety chain, 2.4 cm across; a garnet bar brooch with scrollwork design, hallmarked '9ct', 4.1 cm in length; the Edwardian lavaliere necklace comprising a heart-shaped nephrite jade pendant with applied foliate motifs in gold, embellished with pink paste nad seed pearls, to bow surmount and suspending from a lozenge-shaped nephrite jade panel, attached to cable chain and completed with a tube clasp, hallmarked '9ct', drop length of chain measures 18.0 cm, pendant overall measuring 5.5 x 2.6 cm; Total weight of items 19.8 grams (4).one seed pearl missing from the crescent brooch
A Chinese saddle ring set with jadeite and diamonds, comprising a saddle-shaped jadeite jade, approximately measures 22.8 x 7.1 mm, in bright chrome-green colour with mottled white patches and sub-translucency, framed within a scalloped surround with twenty-six circular-cut diamonds, to a wirework mount and shank, yellow metal marked '750', ring size U, total weight of item 8.7 grams.

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64936 item(s)/page