Bierkrug mit Emailmalerei. Harrach'sche Glashütte Neuwelt?. Um 1845. Weißes Alabasterglas, polychrome Emailmalerei, Goldstaffage, Silberstaffage. H 19 cm. Konischer Krug mit Bandhenkel und Knaufdeckel; ausgekugelter Abriss. Umlaufend bemalt mit feinen Floralranken und silbernen Rocaillen sowie Vögeln, Insekten und Chinesenfiguren in den Ranken. Minimaler Goldabrieb am Deckel. Literatur : Vergleiche Höltl (1995), Bd. 2, S. 157/Kat.-Nr. II.227. Aufrufzeit 13. | Juni 2024 | voraussichtlich 17:54 Uhr (CET)Beer mug with enamel painting. Harrach'sche Glashütte Neuwelt? Circa 1845. White alabaster glass, polychrome enamel painting, gold decoration, silver decoration. H 19 cm. Conical jug with ribbon handle and knobbed lid; dislocated neck. Painted all around with fine floral tendrils and silver rocailles as well as birds, insects and Chinese figures in the tendrils. Minimal gold abrasion to the lid. Literature : see Höltl (1995), vol. 2, p. 157/cat. no. II.227. Aufrufzeit 13. | June 2024 | probably 17:54 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
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TRÈS RARE PAIRE DE LOUCHES EN ARGENT INCRUSTÉES D'ORFin de la Période des Royaumes Combattants (475-221 avant J.C.)/Début de la Dynastie des Han de l'Ouest (206 avant J.C.-9 après J.C.)A VERY RARE PAIR OF GOLD-INLAID SILVER SPOONSLate Warring States/Early Western Han DynastyEach spoon with a racquet-shaped bowl decorated with a pierced design of two addorsed stylised dragons within a narrow border of linked S-scrolls, extending to a slender, slightly tapering stem and terminating in a handle with a pierced design of S-shaped scrolls terminating in a larger C-scroll, set with an eyelet suspending a ring, spoons and handles worked in a parcel-gilt openwork stylised bird scroll motif, the bowl and handle finely inlaid in gold with a variety of animals including prowling tigers, long-tailed birds, recumbent deer and seated hares, foxes and owls, all running and racing amidst stylised rockwork, the stem on one spoon set with a stylised, gold-inlaid bird head, the other spoon with a stylised taotie mask. 26.7cm (10 1/2in) and 27.2cm (10 3/4in) long. (2).Footnotes:戰國晚期/西漢早期 銀錯金長柄匙一對Provenance: Acquired from Priestley & Ferraro, London, November 1999A distinguished European private collectionPublished:Priestley & Ferraro, Out of Wind and Dust: Reflections of War and Peace in Chinese Art, London, 1999, cat.no.1.來源：於1999年11月得自倫敦古董商覺是軒（Priestley & Ferraro）歐洲顯赫私人珍藏出版：覺是軒（Priestley & Ferraro），《Out of Wind and Dust: Reflections of War and Peace in Chinese Art》，倫敦，1999年，編號1This highly unusual pair of gold-inlaid silver straining spoons appears to be unique and no other example appears to be recorded. Stylistically these beautifully made spoons follow the tradition of silver and gold-inlaid bronze vessels, fittings and ornaments made in the later part of the Warring States period and the Western Han dynasty. Their elaborate and highly fluid decoration displays the stylistic and technical influence of artistic developments that took place in the southern regions of China at the end of the Warring States period and that continued well into the Qin and Western Han periods. The gold-inlaid designs on the handles and bowls of both spoons are filled with tiny animals including birds, hares, foxes and tigers, realistically rendered and vigorously moving along fine curvilinear lines. The underlying openwork design of addorsed stylised birds and dragons contributes to the overall dynamism of the design reflecting the influence of contemporaneous lacquer painting and silk weaving. The fluid, calligraphic representations on these two spoons recall painted designs found on Chu lacquer, such as the lacquer coffin from Baoshan, Jingmen, Hubei province, illustrated by Teng Rensheng, Lacquer Wares of the Chu Kingdom, Hong Kong, 1992, pp.58-59, no.6, or on outermost lacquer coffin found in the Western Han tomb No.1 of the Lady Dai (217–168 BC) at Mawangdui, Changsha, Hunan province. From the early sixth century BC, gold and silver were gradually adopted as inlays, and very few solid gold and silver vessels were made from the fifth century BC onwards. Vessels, ornaments and fittings made entirely in silver or even gold represented a 'new' element in the artistic repertory of this early period. However, among the rare pieces made in gold is a gold straining spoon that was discovered in the tomb of the Marquis Yi of Zeng in Sui Xian, Leigudun, Hubei province, dated to 433 BC. While it is not inlaid, the bowl of this spoon is rendered in a pierced design of stylised scrollwork similar to the design on the bowls on the present pair of spoons (Fig.1). Rare silver vessels of this period include a small silver bowl with a raptor-head handle formerly in the Carl Kempe collection, illustrated in Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl.76, and another small silver cup in the collection of the Metropolitan Museum of Art, New York, published in Jenny F. So and Emma C. Bunker, Traders and Raiders on China's Northern Frontier, Washington, D.C., 1995, cat.no.73.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
STATUETTE DU QUATRIÈME SAKYA TRIDZIN, SONAM TSEMO, EN ALLIAGE DE CUIVRE DORÉTIBET, XVIE SIÈCLE Himalayan Art Resources item no. 1825 13 cm (5 1/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF THE FOURTH SAKYA TRIDZIN, SONAM TSEMO TIBET, 16TH CENTURY Provenance Sotheby's, New York, before 1976 Sonam Tsemo (1142-82) held office as Sakya monastery's 'throne-holder' (Sakya Tridzin) for only three short years before passing it to his younger brother so that he could devote his life to unencumbered study. He never married or fathered children, preferring the life of a retreatant, yet Sonam Tsemo remained a lay practitioner, indicated by his long-sleeved cloak. Revered for his scholasticism as the Sakya's Second Founding Patriarch (Jetsun Gongma Nga), his foundational texts include a commentary on the Bodhicharyavatara by Shantideva, explanations on the final two chapters of the Hevajra root tantra, instructions for reading Sanskrit, and Door to the Dharma, a text giving an overview of all of the Buddha's teachings. Portraits of Sonam Tsemo, like the present lot, often show him wearing finely ornamented robes, with curled locks and a gentle countenance. Two further bronzes, and a painting of the master with his younger brother, Dragpa Gyaltsen, depict him similarly (HAR 7835; Bonhams, New York, 21 March 2023, lot 521; and Museum of Fine Arts Boston, 67.831, respectively). In all three sculptural examples, his cloak features a cloud-collar, a Chinese motif with connotations of heavenly authority. The cloud-collar was adopted by the Sakya, who enjoyed administrative rule of Tibet under Mongol hegemony during the Yuan dynasty (1279-1368). The imperial support of Sonam Tsemo's noble line shows further articulation in the engraved saptaratna ('seven jewels'), the insignia of a chakravartin, or divine ruler. The intricately chased robe and the inscribed visvavajra on the sculpture's consecration plate underneath pay homage to the dynamic Yuan-Sakya alliance, which at its peak fostered an environment of cultural and artistic syncretism that would precipitate the creation of such jewel-like expressions of this figure's esteem.銅鎏金四世薩迦法王索南孜摩像西藏 十六世紀 來源 蘇富比，紐約，1976年前索南孜摩（1142-82）僅僅擔任薩迦寺之座主（薩迦法王）三年 ，便傳位予弟弟，此後得以無所掛慮、潛心修習。 其一生從未結婚、生子，傾心於避世的生活，但從其衣袍之長袖可以看出，索南孜摩始終為一名在家修行者，而非出家僧人。其以學術成就聞名於世，為薩迦五祖之第二祖師，其核心著作包括對寂天菩薩《入菩薩行論》之詮釋、對喜金剛根本續最後兩章之闡述、梵文閱讀指引，以及概述佛陀所有教義的《佛法入門》。 如本拍品一樣，索南孜摩肖像大多顯示其身穿精美長袍，頭髮鬈曲，面容溫和。另見兩尊銅像（分別見喜馬拉雅藝術資源網7835號以及邦瀚斯，紐約，2023年3月21日，拍品521）以及一幅其與弟弟扎巴堅贊之畫像（波士頓美術館，67.831），刻畫皆近似。本拍品與前述兩尊造像中，祖師皆穿着雲肩，此符號成為於中國文化中天人權威之象徵。在蒙古人所治之元朝時期（1279-1368），薩迦派享有對西藏的行政統治權，並將雲肩納入其著裝範疇。當時蒙古宮廷對索南孜摩所代表的薩迦傳承之支持，更體現在長袍的精心設計的雕刻圖案上，例如所刻「七寶」象徵神聖統治者「轉輪聖王」。雕刻精美的長袍，以及封底所刻十字金剛杵，皆向元代宮廷與薩迦派之結盟致敬，這段聯盟的鼎盛時期孕育了文化與藝術的交融，催生出如此造像般熠熠閃光的、對偉大人物的尊崇的表現方式。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Orovida Camille Pissarro, British 1893–1968 - Man & Beast, 1924; etching on paper, signed and dated in pencil lower right 'Orovida 1924', titled lower centre and numbered lower left 'final state no. 10/40', image size 27 x 22 cm: together with another etching on paper 'Moonlight Rider, 1922', signed and dated in pencil lower right and numbered 'state 1/4', image size 22.5 x 8.1 cm (2) (ARR) Provenance: with The Redfern Gallery, London (label attached to the reverse of the frame); Dr. Stella Churchill, purchased from the above (according to the label attached to the reverse of the frame); the Descendants of Sidney and Stella Churchill (1862-1921 and 1883-1954) and Ruth Plant (1912-1988) Note: the daughter of Camille Pissarro and sister of Lucien Pissarro, Orovida developed her own visual language influence by Chinese painting she had seen exhibited in London in 1914. Her work was the subject of a retrospective exhibition at the Ashmolean Museum in Oxford, which holds many works by members of her family, in 1969.
Victorian scrapbook containing photographs of Paris street scenes, Oxford city views, The Pantiles Tunbridge Wells, Photographs by Axel Lindahl 1892 Rich Andvord, Eneret girls drying hay, scenic views and Stockholm panoramic. St Petersburg, The Artists (Rifles) Volunteers preparing midday meal, and other photographs, cartoons, cuttings, engraving, verses and open. Small Chinese painting on silk Woman smoking opium.
Two 19th century Chinese painted feather with bone brisé guards, one painted with a central figural cartouche, the other flowers***CONDITION REPORT***Both fans have damage to the feathers and painting, the brise guards are not damaged.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
FIVE BOXES OF JIGSAWS, ANNUALS AND MISCELLANEOUS SUNDRIES, to include seventeen jigsaws, a framed painting on silk of three Indian elephants, a tall German stein, a clear twisted Perspex table lamp, a vintage Ridgway dinner set, a Chinese porcelain doll, twelve Wedgwood 'The Baby Owls' collector's plates, a framed set of decimal currency, a display case of 1967 British currency a Diana Princess of Wales commemorative coin 1961-1997, a vintage 'Noddy' alarm clock, two Royal Delft cottages, together with thirteen children's annuals comprising Ideal Book for Girls, The Sue Dat Annual, Princess Pony Book No.2, Playbox Annual 1956, T.V Comic annual, a 1966 Pony annual, the Brownies annual, Diana for Girls 1965, Play hour annual 1957, School Friend annual 1960, Monster Book for Girls, Diana for Girls 1966, etc. (s.d) (5 boxes)
Maqbool Fida Husain (1915-2011)Untitled (Three Horses) signed 'Husain' lower right; further signed and dated '07 versofelt pen and acrylic on cardboard, framed90.5 x 58.8cm (35 5/8 x 23 1/8in).Footnotes:ProvenanceProperty from a private collection, Dubai.Acquired from the artist.'My horses like lightning, cut across many horizons. Seldom their hooves are shown. They hop around the spaces. From the battlefield of 'Karbala' to Baukura terra cota, from the Chinese Tse pei Hung horse to St. Marco horse, from ornate armoured 'Duldul' to challenging white of 'Ashwamedh' .... the cavalcade of my horses is multidimensional.' (Husain, Tata Steel Publications, 1987, p. 83)Horses figure prominently in Husain's work. The reasons for this are likely to be varied, though Husain notes that one of his earliest influences comes from the procession to commemorate the Prophet's grandson which involved the carrying of an effigy of his horse through the streets. The manner in which these horses are painted is reminiscent of a puppet or wooden effigy, strengthening the link with the Islamic holiday of the prophet's grandson. Additionally, Husain had worked in a children's toy and furniture factory during the 1940s and it is possible that many of his horse paintings draw heavily on the manner of the construction of puppet horses. Husain was also heavily influenced by the terracotta horses he saw during his visit to China. Since their domestication, horses have been important subjects for art and religion and have helped build civilizations, no less so in Hinduism. Husain was fascinated with his own roots but also learning and assimilating other cultures as sources of inspiration. As such this painting exemplifies this wonderfully: the horse as a symbol of power and tradition, a part of Islamic culture, an influence from China, and painted in a style reminiscent of European Cubism. 'All forms of art are born from one's roots', perhaps Husain wished to explore as many artistic roots as possible.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A THANG-KA DEPICTING BUDDHA, TIBET, 19TH CENTURY pigment with gold on cloth, seated in padmasana at the centre on a lotus throne, his hands holding a bowl, a shrine behind him, surrounded by bodhisattvas, attendants and lamas in a hilly landscape, in Chinese brocade mount with pole at the top, framed in perspex, 57 x 39cm (painting), 109 x 67cm (brocade mount)Provenance: Private collection, Kensington, London
A CHINESE SCHOOL PORTRAIT OF A MONGOLIAN KHAGAN QING DYNASTY (1644-1911) Painting on silk, framed 28 cm x 22 cm Provenance: Purchased by William Alexander Palmer, 1925-2020 (date of purchase unknown) 清 《蒙古貴族像》絹本設色 鏡心拍品來源：英國帕瑪家族顯赫私人收藏 Condition Report: some fading and marks to surface unexamined out of frameplease see additional images for a visual reference to condition Condition Report Disclaimer
A CHINESE RECTANGULAR REVERSE GLASS PAINTING OF TWO FIGURES BY A RIVER QING DYNASTY, 18TH CENTURY With building by a lake in the background and hills beyond 19cm high x 29cm wide, not including frame Condition Report: the glass plate is typically distressed and there are losses to the silvered surface and there is some flakingchips to gesso on framesee additional images for a visual reference to conditionCondition Report Disclaimer
A CHINESE REVERSE GLASS PAINTING OF A MUSICIAN Late 19th/Early 20th Century, a female musician wearing traditional costume holding a guqin string instrument 58 x 43cm including frame Condition: Condition Report There are some occasional chips to the edges of the frame. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Chinese Jinshan peasant painting, interior scene with loom, watercolour, red seal mark to lower right, 44.5 x 61.5cm, framed and glazed, Chinese School, Look After Your Mind and Body, ink calligraphy, red seal mark lower left, 34 x 43cm, framed and glazed, Chinese silk embroidered panel, 61 x 23cm, framed and glazed and a Qing Period Famous Chinese painting calendar
After Xu Beihong （徐悲鸿款） Galloping horse - 20th century Ink colour on Xuan paper, mounted as a hanging scroll With artist's red seal Measures approx. 133cm x 66cm 徐悲鸿款 奔马 设色纸本 立轴 款识： 三十二年春日悲鸿 磐西中国美术学院 鈐印： 徐悲鸿 江南布衣 Xu Beihong (Chinese, b. 1895 - 1953) Born in Yixing, Jiangsu province; Painter, art educator. Xu studied painting and calligraphy from his father Xu Dazhang, moved to Shanghai in 1915, studied arts in Tokyo in 1917, taught at Peking University. He spent 1919-1921 in Paris & learnt oil painting and drawing at Ecole Nationale des Beaux-Arts, before moving to spend 1921-23 in Berlin, travelling Europe until 1927. He returned to China in 1927, teaching at institutions including National Central University (now Nanjing University); after 1949 he became President of the Central Academy of Fine Arts and Chairman of the China Artists Association.
Gu Gan (1942-2020) Darting Happily in water - 涛中乐 Ink and colour on paper Unmounted Titled, inscribed and signed, with three red seals of the artist Measures approx. 86cm x 86cm Gu Gan was born in 1942, into a prosperous family in Hunan province in central China. His aptitude for painting led to his admission at the age of twenty to China's Central Academy of Fine Arts and he was assigned to work in the cultural bureau of the Beijing Municipal Government. In the late 1960s he turned to calligraphy as a means of achieving a measure of comfort and scape through the repeated and disciplined practice of this art. In 1975 he was transferred to a position as art editor of the People's Literature Publishing House, where he was able to resume his study of painting. At the same time he was gaining recognition as a traditional Chinese painter, Gu Gan was becoming increasingly excited by Western art, specially Kandinsky, Klee and Miró. Through studying Western art Gu Gan came to believe that there were a number of ways in which Chinese calligraphy could be revitalized, and by the late 1970s he began to adopt a more radical approach to calligraphy, which led to his becoming the prime mover in the Modernist school of Chinese calligraphy. He started experimenting with changes in the outer shape of individual characters by elongating or widening them into new forms. He then took the characters apart, spreading their constituent elements across his compositions. In addition, he would write each of these elements in a different script. Another innovation was his use of coloured ink. In recognition of his achievement in mounting the Modernist Calligraphy Exhibition of 1985, Gu Gan was elected chairman of the newly established Society of Modern Calligraphy. In 1987 Gu Gan travelled to Europe and met Professor K.P.Brehmer in Hamburg, with whom he has worked on occasional collaborative pieces ever since. Greatly encouraged by him, Gu Gan wrote his highly influential book "The Three Steps of Modern Calligraphy", first published in English in 1990. Gu Gan produced works on Buddhist themes throughout the 1990s. The highly innovative use of seals bearing images of Buddha and other Buddhist symbols further strengthens the visual message. Many of these seals were inspired by his research into the ancient monastery of Dunhuang, whose caves contain lively images that entered China via the Silk Route. After his return from Germany in 1993, nostalgia featured more prominently in Gu Gan's work. Increasingly he recalled his happy childhood, growing up in a country village. Gu Gan gained international recognition in 1998 when he was honoured with an invitation to provide the painting for the label of Château Mouton Rothschild's grand cru of 1996. He was the first Chinese artist ever to receive this distinction, joining a exclusive group of artists including Picasso, Bracque, Matisse, Kandinsky, Miró and Hockney. Five of this works are being displayed in the British Museum, London. 古干 涛中乐 1996年作 設色紙本 款識：唐校笙先生闲玩 05年夏 古干画 鈐印：「古干」 古干（1942年-2020年）湖南长沙人。擅长绘画、书法、书籍装帧。1962年毕业于中央美术学院中专，大学因病肄业。1975年到人民文学出版社工作。1987年至1993年多次应波恩大学、汉堡美术学院之邀，讲授中国现代书法。现供职于人民文学出版社美术编辑室。中国美术家协会会员、中国茶掸学会理事、中国现代书画学会首任会长、世界书法家协会荣誉顾问。书画作品七次获奖，曾在国内外举办个人书画展览。《西游记》插图为中国美术馆收藏。作品曾出展维也纳博物馆、科隆博物馆、美国、英国、日本、加拿大、香港等地。被中国美术馆、大英博物馆、科隆博物馆等收藏。出版有《舞姿拾零》、《古干书法作品选集》、《古干书画》等。著有《现代书法构成》、《现代派书法三步》、《现代书法三步》(英文版)。主编《硬笔新华书法字典》、《佛教画藏》。
![China.- The Ten Bamboo Studio [Shuzhuzhai shuhuapu (Ten Bamboo Studio collection of calligraphy and painting)], artist's](https://cdn.globalauctionplatform.com/e2830e18-1c28-4df1-b257-b16a00f522c2/b5678268-6103-495d-88d4-b16a0114c508/468x382.jpg)
China.- The Ten Bamboo Studio [Shuzhuzhai shuhuapu (Ten Bamboo Studio collection of calligraphy and painting)], artist's manual with images from Chinese art, including flowers, rocks, birds, and bamboo, some text leaves, each mounted onto thin tissue support [as issued?], each leaf approx. 270 x 320 mm (10 5/8 x 12 1/2 in), all loose in brown paper wrappers, minor browning and surface dirt, handling creases, 4to, [1775 but later]; together with proof leaves and publication for Jan Tschichold' 'Zehnbambushalle', c. 1940 (Sm. qty.)Provenance:Collection of Henri Vever (1854-1942)
Yang Yang (Chinese, b. 1953). Acrylic and mixed media on canvas painting depicting a man lounging on a horse's back. Signed along the lower left.Unframed; height: 30 in x width: 30 in. Framed; height: 32 3/4 in x width: 32 3/4 in x depth: 1 1/2 in.Condition:The colors are bold and bright and the surface is stable. There are no tears, losses, or restorations when viewed under UV light. Clean verso. Light wear to the frame.
TENG-HIOK CHIU 周廷旭 (Chou Ting-Hsu) (Chinese, 1903-1972) oil on board - Landscape with tree and pond to the fore, signed CHIU, the reverese painted with another landscape with pencil annotations, 22 x 31cmsProvenance: private collection Cardiff, purchased c. 1994 Arundel in West Sussex, UK.Auctioneers Notes: Born in Xiamen, Fujian Province in 1903 to a prestigious family, Teng-Hiok Chiu had the opportunity to study abroad from a young age. By 1924 he had enrolled in the University of London, and in 1925 studied Western painting under Sir George Clausen, Sir Walter Russell and Charles Sims at the RA Schools. He became the first foreigner to be granted membership of the Royal Society of British Artists. Chiu also trained at the School of the Museum of Fine Arts in Boston, and Paris, but he reached the turning point in his career when working alongside his mentor Laurence Binyon, a renowned Oriental scholar, in the British Museum in 1930. Working together they analysed many significant Chinese calligraphic works and paintings and it was from this point onwards that Chiu fused Eastern and Western artistic ideas and philosophy, to produce works with Chinese sensibilities and Western technique. From 1930 Chiu travelled extensively through Europe, Africa and Asia, including his homeland Xiamen in China. From 18 November to 4 December 1936 he exhibited a one-man show at The Fine Art Society in London. In the preface to the catalogue, Binyon wrote: “Mr. Chiu has travelled over many parts of the world, in the East and in the West, and has developed an eclectic style, in which it seems to me that through all the mastered technique of Western oil-painting the original Chinese element becomes more apparent than in the pictures shown six years ago […] Mr. Chiu, […] like so many Oriental painters who practice the Western style, found it a heavy and unpleasing means of expression: he has subdued it to a lightness of handling and felicities of colour natural to his gift.” (See T. H. Chiu, An Exhibition of Paintings by Teng H. Chiu, A.R.B.A. (London: Fine Art Society, 1936).Comments: framed ready to hang
‡ ZAO WOU-KI 趙無極 (Chinese-French, 1920-2013) etching with aquatint - Composition I from Randonnées (Rambles), Ågerup 257, signed (in Pinyin and Chinese) and dated in pencil 74, unumbered, (pl) 24 x 18.5cmsProvenance: private collection MonmouthshireAuctioneer's Notes: This composition is the first of five created for the book Randonnées (Rambles) by Roger Caillois. It was printed by Atelier Bellini and published by Yves Rivière in 1974. There were also three artist’s proofs and 4 hors commerce (out of trade) impressions on Japan paper. A master of post-war art and among the highest-selling Chinese painters of his generation, Zao Wou-Ki synthesized tenets of modernism, calligraphy, and traditional Chinese landscape painting. Using primarily oil paint, watercolor, and eventually ink, Zao developed a unique style defined by contrasting colours, intense linework, and lyrical abstraction. Like traditional Chinese landscapes, Zao’s paintings function as fragments of larger scenes and possess a fluidity, transparency, and graceful luminosity that reflect the interior energies of the artist himself. Zao cited Paul Cezanne, Henri Matisse, and Pablo Picasso as early influences. In 1948, he moved to Paris, where he immersed himself in the city’s avant-garde scene and befriended artists including Alberto Giacometti, Joan Miro and Sam Francis. During his lifetime, Zao exhibited worldwide. He received the Japan Art Association’s Praemium Imperiale Award for Painting and the Ordre national de la Légion d’honneur. Today, his work can be found in the collections of the Louvre, Pomidou Centre, the Gudggenheim Museum, the Metropolitan Museum of Art, and the Tate.Literature: Ågerup, J. (1994). Zao Wou-Ki - The Graphic Work - A Catalogue Raisonné 1937-1995, Copenhagen: Heede & Moestrup.Comments: glazed ready to hang
Henri Cartier-Bresson (1908-2004) was a French photographer and pioneer of modern photojournalism. He is widely considered one of the greatest photographers of the 20th century. Cartier-Bresson's work helped define the genre of street photography, characterized by capturing spontaneous and candid moments of everyday life. Born in Chanteloup-en-Brie, France, Cartier-Bresson developed a passion for photography in his early years. He received his first camera at the age of 14 and began taking photographs while traveling. In the 1930s, he studied painting and became exposed to the Surrealist movement, which influenced his photographic style. In 1947, Cartier-Bresson co-founded the renowned Magnum Photos agency along with Robert Capa, David Seymour, George Rodger, and William Vandivert. Magnum Photos became one of the most influential photo agencies, providing photographers with the freedom to document events and stories across the world. Cartier-Bresson's photography focused on capturing decisive moments, emphasizing composition, geometry, and timing. He often worked with a small Leica camera, which allowed him to be inconspicuous while photographing his subjects. Throughout his career, Cartier-Bresson traveled extensively and documented significant historical events, including the Spanish Civil War, the liberation of Paris in World War II, the partition of India, and the Chinese Revolution. His photographs became iconic representations of these events and demonstrated his ability to capture the essence of a scene or person. Apart from his photojournalistic work, Cartier-Bresson also pursued personal projects and produced numerous portraits of artists, writers, and intellectuals. He published several books featuring his photography, including "The Decisive Moment," which remains one of his most influential works. Henri Cartier-Bresson's legacy continues to inspire photographers around the world, and his contributions to the field of photography have had a lasting impact. His ability to capture the fleeting and decisive moments of life helped shape the art of visual storytelling and street photography. Measures 9.26 x 8.26 Printed Circa 1950's >Verso is blank.Mounted to archival quality paper.
A SANCAI GLAZED PEACH SHAPED WATER DROPPER Ming Dynasty, 16th-17th Century, modelled as a peach with a parrot perched on top, an opening to the back and the stalk forming the spout, covered in green, yellow and aubergine glaze Provenance: The collection of Adrian Zecha, acquired prior to 1977, listed as No.36 in Sothebys inventory of April 1977 Exhibited: South-East Asian and Chinese Trade Pottery, Oriental Ceramics Society, Hong Kong, 1979, No.157, illustrated p,145 of the catalogue, exhibition label to base Notes: A very similar example in collection of Museum Pusat, Jakarta, The World's Great Collections Oriental Ceramics Vol. 3, 1982, illustrated in colour No.86; also another peach shaped example but surmounted with a monkey, Oriental Trade Ceramics in South-East Asia, 1990, No.93, p.103 in which the present lot is referenced 9cm high Condition: Condition Report The spout has been restored and re-painted, this re-painting is flaking. The parrot also appears to have been repaired at the base of its feet and the tail feathers. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
(China, Xi River, Wuzhou, Guangxi, Guangdong, Pearl River.) Photograph Album WEST RIVER TRIPS. China, Leonard Philpott 1902 – 1907. landscape 34cm x 24 cm. An early 20th Century photograph album containing 88 mounted photographs of China, 1902-1907, Guangxi and Guangdong provinces, Southern China, images include Wuchow (now Wuzhou), Kwei Ping (now Guiping), including Pagoda, Pingnam (now Pingnan), Shiuhing (now Zhaoqing), Takhing (now Deqing), etc etc. The first page pencil note ”WEST RIVER TRIP S.CHINA” – THE THREE TRAVELLERS TAKEN DEC 1903”. tipped in photo and duplicate, of the 3 travellers pencil note, “Browne on left Grant in middle.” Then follows 29 pages of photographs. 13 of the photos are approx., 20 cm x 13 cm and 70 are 7cm x 9.5 cm. All neatly mounted and mostly with pencil notes identifying places, people etc and in very good condition. The photos show places i.e. Wu chow, Kwei Ping, Ping Nam, Kong How, Shiu Hing. Temples, the Ting Mo Shan Monastery ,officials, people , river scenes, house boats, native boats, Junks etc. One page has a mounted pencil sketch of Kong How At the end of the album 3 pages with tipped on, 5 red paper sheets and one loose, 20cm x 9.5cm with script in Chinese with pencil notes besides, 2 identifying the Prefect & Magistrate of Kwog Chan, the over 3 Barwick. S . Browne - G.C Lindsay Grant and Leonard. D. Philpot, and a similar loose sheet possibly a travel permit. Followed by a full-page photo “Lotus Pond.” There is also a large folding sheet in a Chinese text. Then 9 blank pages. An interesting tour album of original material and photographs of Southern China one of the most influential parts of China bordering Hong Kong . The 3 travelers were Philpot, Leonard Daniel, 1877–1973 Painter, architect, and designer, born in London. Studied architecture at South Kensington Schools and practised in Britain, China, and America. Also designed rooms and furniture. Took up painting and exhibited RA, RI, Fine Art Society, etc. Barwick Sharpe Browne (1881 - 1963) A British Army officer, the first librarian of the Institute of Archaeology Grant Lindsay G. C No information found.Oblong folio album landscape 24 x 34cm, rebound modern quarter black leather, black leather gilt title label to spine
NO RESERVEA CHINESE ARCHAISTIC PALE CELADON JADE 'CHANGYI ZISUN' PLAQUE QING DYNASTY OR LATER Carved as a disk with an openwork decoration of four phoenix alternating with the characters chang yi zi zun (blessings for future generations); together with a fitted box, the hardwood cover inscribed feng ji zhen fu, opening to reveal a painting of a lotus, 15.6cm. (2) PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. 注：本拍品不設底價。 Provenance: from an English private collection, Sussex.
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