We found 15862 price guide item(s) matching your search
There are 15862 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
15862 item(s)/page
Lot 108
A large Mintons Pottery Cloisonne moon flask designed by Dr Christopher Dresser, printed and painted in colours and gilt with a central flowerhead motif, inside a band of Chinese dragons, the neck with stylised mask panels, on a turquoise ground, printed factory mark, professional restoration to base, 32cm. high LiteratureWidar Halen, Christopher Dresser, Phaiden, page 104, plate 102 for a comparable vase illustrated.
Lot 549
Three South East Asian pottery vessels, comprising; a Sawankhalok celadon squat jard, 15th century, 6.5cm high, a blue and white Sawankhalok vase, of squat form, 5cm high, a green glazed and gilt highlighted ginger jar, 7.5cm high, with a Chinese lacquered cylindrical box and cover, with internal pewter liner, 9cm diameter, and a nephrite jade pendant (5)
Lot 223
A Moorcroft Collectors Club ‘Triple Choice’ circular pin dish, tubeline decorated with flowers, painted and impressed marks to underside, 12cms diameter; together with a Chinese Yixing terracotta tea pot (lacking cover); a Wenda Fisken studio pottery leaf bowl; and a studio pottery vase; and an assortment of ceramic coffee pots, by various makers, including: Midwinter; Myott; Royal Grafton; Eschenbach; and others.
Lot 147
A large Chinese pottery figure of a court lady, Republic period, modelled seated wearing a bird-form crown holding a bird in her left hand, her red-painted robe applied with scattered flowerheads, 47cm high, with fitted perspex stand.Provenance: Private Swedish Collection民國 彩陶仕女坐像，連亞克力底座來源：瑞典紳士私人收藏Condition Report: Extensive areas of encrustation throughout. Flaking and rubbing to pigment. Some possible restoration to the headdress, which is not visible under UV.
Lot 779
GEORGE OWEN FOR ROYAL WORCESTER, A FINE RETICULATED TEAPOT WITH COVER of double walled globular form, the outer wall pierced with wide bands of honeycomb, the spout with pierced lozenge shaped panel, the lid with reticulation and double knop spear finial, the piercing coloured in light blue with gold dots, the pink borders with zigzag designs of white and turquoise jewels, the handle with a band of larger turquoise jewels, applied mark in relief and printed mark in puce, date letter for 1878 12.5cm high In 1859 English potter George Owen (1845-1912), at only age 13, started work with Royal Worcester, where he was employed as a china presser in the ornamental department. He was responsible for cutting holes in porcelain using a moulded outline to imitate Sevres and Chinese examples.The ambidextrous George Owen set about perfecting the technique so that the finished product was made up of much smaller piercings, finer than those found in either the Chinese or Sevres creations. Always experimenting, Owen’s technique and his multiple kiln visits risked months of work with the ever-present possibility of having to start over a constant shadow.The 1896 edition of the Pottery Gazette best summed up the process when it reported “the artist (Owen) tooled every one of these miniature apertures without having any tracery, or any other assistance whatever to guide him to regularity, except his eye and hand… if on the last day of his work his knife had slipped, and so made two ‘holes’ into one, the whole piece would have been ruined”.So secretive was Owen about his technique, he worked behind closed doors and hid his tools if anyone entered his workspace. Even his own son, who provided thin-walled vessels for Owen to perforate, was never allowed to watch. Before he started work, he would use a pair of compasses and callipers to carefully measure the distance around a vessel, marking where each incision should be made – and then create the hexagonal holes with a sharp, oiled knife, deftly swapping from hand to hand as he worked his way around the piece.To date, no one has managed to replicate the finesse of Owen’s work. Condition generally good. Very light age related wear including gilt rub. Two surface hairlines (approx. 3cm) to the base of the teapot, though these are just to the surface and do not appear within. Manufacture seam to the spout. Multiple additional images now available
Lot 65
Full title: A massive Chinese flambe-glazed Shiwan pottery figure of Buddha, 18/19th C.Description:H.: 47,5 cm (incl. stand)H.: 41 cm (the figure)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 228
Full title: A rare Chinese semi-eggshell famille rose 'rooster' tea cup and saucer, Baiyun Shanren 白雲山人 seal mark, YongzhengDescription:Dia.: 11,5 cm (the saucer)Dia.: 7 cm - H.: 4 cm (the cup) A composite motif of a cockerel and peony represents wealth and success. The first character of the term cockerel in Chinese gong ji is a homophone of the first character of gong ming (official position), and the peony has long been associated with nobleness since the Tang dynasty. Provenance:- An important American private collection. Ref.: - The British Museum, inv. no. PDF A.835, for a set of twelve tea cups and saucers of the same design and measurements and with the same seals, where they are on display. (direct link available on rm-auctions.com) - The Victoria & Albert Museum, accession no. C.1071 & A-1917, for a set which also bears a cyclical date Jiazhen corresponding to 1724, where it is on display. (direct link available on rm-auctions.com) The artist name 'Baiyun Shanren' (Hermit of the White Cloud Mountain) was however mistaken by both museums as 'Baishi Shanren' (Hermit of the White Stone Mountain). Although the aliases 'Baishi' and 'Baiyun Jushi' are both related to one of the earliest and most famous Cantonese enamellers, Tang Jintang (active in the first half of the 18th C.), they can also have been produced by Tang Jintang's studio. For more about the career and style of Tang Jintang, see Gao Yang: 'A Pair of Canton Enamel Porcelain Masterpieces in the Rijksmuseum,' in Aziatische Kunst, October 2018, Vol. 48, No. 2, pp. 54-59. - A. Varela Santos, Uma Coleccao Particular, Yongzheng, A Private Collection, Estoril, Portugal, 2005, pp.16-17, no. 2, for an example which was formerly in the W. Martin-Hurst Collection.- Honey, A Guide to the Pottery and Porcelain of the Far East, Oxford, 1924, p. 90, fig. 128, illustrates a ruby-back saucer painted with a basket of flowers and fruit also in the British Museum. It is signed by the same artist and inscribed 'a Canton picture', indicating that indeed he was working in Guangzhou (Canton).Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Lot 119
A BLUE AND WHITE MING-STYLE FLOWER-HOLDER, QIANLONG MARK AND PERIODExpert's note: In an article discussing an exhibition by S. Marchant & Son by D. S. Freedman, "Qing Mark and Period Monochrome and Two-coloured Wares", Arts of Asia, May-June 1992, p. 147, related examples of similar form are referred to as “lotus pod bulb pots," an understandable but quite unique description. The author further explains that blue and white designs may fall under the category of monochromes as they feature a one-color design on a white ground. These differing taxonomies from the 1992 article to today are quite notable, leaving ample room for undiscovered pieces that may still be hidden in private and public collections.China, 1736-1795. Superbly potted, the compressed pear-shaped body supported on a short foot and rising to a waisted neck surmounted by a slightly domed top in the form of a lotus pod pierced with three circular apertures. The exterior is exquisitely decorated in shades of cobalt blue with lotus blossoms and auspicious blooms borne on leafy scrolling vines, above a lappet band encircling the foot and below a band of floral sprays below the top, which is similarly decorated with lotus scroll, all framed by neatly applied double-line borders.The recessed base with an underglaze-blue six-character seal mark da Qing Qianlong nianzhi and of the period. Provenance: From a private family collection in Cheltenham, United Kingdom. Condition: Superb condition with only minor wear and minimal firing irregularities, the interior with some traces of use.Weight: 252.9 g Dimensions: Diameter 8.4 cm, Height 6.5 cm Vessels of this form, variously described as 'flower holders' or 'incense holders', have been recorded from both the Yongzheng and Qianlong periods. The shape was likely inspired by a type of jarlet, made in bronze and pottery, which was popular during the Tang dynasty (see a sancai-glazed pottery jar from the Erwin Harris collection at Christie's New York, 16 March 2017, lot 877). The Qing potters took this design to new heights with variations in glazes from simple, crackled monochromes to brilliant turquoise examples with slip-molded decoration. While the size of the Qing form tended to remain small, usually under 9 cm, this should not allow them to be overshadowed by larger porcelain works of the period. The compact size would have allowed for easier handling and transport, making them suitable for personal devotion, private altars, and carrying during travel, creating a sense of intimacy and personal connection when using incense to cultivate a relationship with the divine realm. There are few other porcelain works that one could take on a pilgrimage so easily.Literature comparison:For two related examples of similar form, see Robert Jacobsen, Ye Peilan, and Julian Thompson, Imperial Perfection: The Palace Porcelain of Three Chinese Emperors, Kangxi - Yongzheng - Qianlong, Hong Kong, 2004, pp. 240, nos. 74 & 95. Celadon-glazed examples of similar form are illustrated in Monochrome Porcelain, The Complete Collection of Treasures of the Palace Museum, vol. 37, Hong Kong, 1999, no. 187, and Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, vol. 2, no. 869.Auction result comparison: Type: Near identical Auction: Sotheby's Paris, 16 June 2022, lot 204 Price: EUR 30,240 or approx. EUR 31,500 adjusted for inflation at the time of writing Description: A small blue and white 'floral' vase, Seal mark and period of Qianlong Expert remark: Compare the near identical form, decoration, and size (8.3 cm). Note that the present lot boasts an even more accomplished decoration as well as a stronger mark. Also note that this lot has a faint 1.5 cm hairline in the glaze between two of the holes on top of the vase, whereas the present lot is in perfect condition.Auction result comparison:Type: Closely relatedAuction: Christie's, Hong Kong, 30 May 2022, lot 2715Price: HKD 2,016,000 or approx. EUR 239,000 converted and adjusted for inflation at the time of writingDescription: A carved celadon-glazed flower-holder, Qianlong six-character seal mark and of the periodExpert remark: Both this example and the current lot have an extremely compressed form, and while the overall decoration is noticeably different, the molded decoration of the celadon example closely follows the underglaze blue decoration of the current lot. Note the size (7.8 cm). 乾隆款及年代仿明代風格青花花插中國, 1736-1795年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 429
A RARE POTTERY FIGURE OF A FULLY ARMORED CHINESE CATAPHRACT, SIX DYNASTIES PERIODExpert's note: Comprehensive armor for horses made of metal might have been used in China as early as the Three Kingdoms period, but the usage wasn't widely adapted as most cavalry formation requires maneuverability. It was not until the early 4th century, however, that cataphracts came into widespread use among the Xianbei tribes of Inner Mongolia and Liaoning, which led to the readoption of cataphracts en masse by Chinese armies during the Jin dynasty (266-420) and Northern and Southern Dynasties era.China, 3rd-7th century. The horse standing foursquare on a rectangular base, the head clothed in an embroidered covering flowing down the back of the neck with depictions of birds and rings, the body almost entirely covered in plated armor with similar figures of birds and seven-ring clusters. With ears pricked, the horse is saddled and standing at attention.Provenance: From the collection of Captain Walter Herbert Adgey-Edgar. Sotheby's London, 13 May 1969, lot 58. A private collection based in the United Kingdom and the United States, acquired from the above, and thence by descent. A copy of the original invoice from Sotheby's, dated 15 May 1969, signed by Graham D. Llewellyn, the later chief executive, dating the horse to the Six Dynasties period, and stating a purchase price for the present lot of GBP 1,200 or approx. EUR 30,000 (converted and adjusted for inflation at the time of writing), accompanies this lot. Walter Herbert Adgey-Edgar (1887-1977) was a well-known philatelist and writer on China and studied both Japanese and Chinese Stamps. In 1947, he self-published a book entitled 'A Catalogue of Imperial Japanese Overprints and Issues in Occupied British Territories'. He also wrote for stamp journals using the by-line 'London Chat'. In 1955 he wrote a paper that was widely published by the philatelic press entitled 'The Postal and Airmail Routes of Manchuria'.Condition: Condition commensurate with age. Extensive wear, losses, firing flaws, chips, old repairs and fills, calcification, and encrustations, all exactly as expected from an authentic earthenware statue dating to the Six Dynasties period.Weight: 1,280 gDimensions: Length 24.5 cm 六朝陶馬俑 中國，西元三至七世紀。馬俑四腿直立立於長方形底座上，頭部覆蓋繡花頭罩，從頸後垂下，可見鳥紋和環紋；身體覆蓋著身甲，上面有相近的鳥紋和七環圖案。馬豎起耳朵，身材矯健。專家注釋：早在三國時期，中國就已經開始使用金屬製成的馬甲，但由於大多數騎兵隊形需要靈活性，所以這種馬甲並沒有被廣泛採用。 直到四世紀初，鐵甲騎兵在內蒙古和遼寧的鮮卑部落中才得到大量使用，宋金戰爭中大規模使用鐵甲騎兵，至南朝時代。 來源：Walter Herbert Adgey-Edgar收藏；倫敦蘇富比，1969年5月13日，lot 58；英美兩地生活的一位私人藏家，購於上述拍賣。隨附一份1969年5月15日蘇富比出具的發票複印本，Graham D. Llewellyn簽名，他後來成爲首席執行官，發票上可見對這馬來自六朝時期，當時售價 GBP 1,200 或相當於 EUR 30,000 (根據通貨膨脹率)。Walter Herbert Adgey-Edgar (1887-1977) 是著名的集郵家和中國問題作家，研究過日本和中國的郵票。1947年，他自行出版了一本名為《A Catalogue of Imperial Japanese Overprints 和Issues in Occupied British Territories》的書。 他還使用署名“London Chat"為郵票期刊撰稿。1955 年，他寫了一篇題為“The Postal 和Airmail Routes of Manchuria"的論文，被集郵出版社廣泛發表。 品相：大面積磨損、缺損、燒製缺陷、缺口、小修、鈣化和結殼。 重量：1,280 克 尺寸：長24.5 釐米
Lot 434
A PAINTED POTTERY FIGURE OF A DANCING LADY, TANG DYNASTYChina, 618-907. Well modeled, depicted in an animated pose with the body swaying and head tilted to one side. Her right hand raised and the left lowered at her side, both concealed within long billowing sleeves. Dressed in voluminous robes with incised folds, the face with finely painted details, the hair pulled up into two buns.Provenance: French trade.Condition: Some repairs, fills, and touchups as generally expected from authentic Tang-dynasty excavations. Expected old wear, some losses and cracks, signs of weathering and erosion, encrustations, remnants of ancient pigments. Overall presenting remarkably well.Weight: 478.9 gDimensions: Height 24.3 cm Dancers, musicians, acrobats, and other entertainers were popular subjects for the numerous pottery figures buried in tombs. The Tang capital at Chang'an (present-day Xi'an) was cosmopolitan in character, with merchants from most parts of Asia trading there. Dancers and musicians were brought to the capital from central and southern Asia, and especially from the city states along the Silk Route. There was probably competition among the elite as to who had the more exotic musicians and dancers at any one time performing in their households. These ladies may not, however, represent foreigners, as their hair is dressed in Chinese fashion in the mode of the early eighth century, as seen in the wall paintings of the tomb of the Princess Yongtai (see Akiyama et al., Arts of China: Neolithic Cultures to the T'ang Dynasty. Recent Discoveries, 1968, no. 230; and Wenwu, 1964.1, p. 7-33, fig. 10).Literature comparison: Compare five closely related pottery figures of dancers, dated to the second half of the 7th century, formerly in the collection of Robert Rousset and now in the Musee Guimet, Paris, object numbers MA 4687, 4292, 4699, 4686, and 4698. Auction result comparison: Type: Closely relatedAuction: Christie's New York, 10 May 2018, lot 967Price: USD 18,750 or approx. EUR 21,000 converted and adjusted for inflation at the time of writingDescription: A painted pottery figure of a dancing lady, Tang dynastyExpert remark: Compare the related modeling with similar pose, robe, and hairstyle. Note the size (28.6 cm).Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 14 September 2019, lot 1370Price: USD 35,000 or approx. EUR 38,000 converted and adjusted for inflation at the time of writingDescription: Two painted pottery figures of female dancers, Tang dynastyExpert remark: Compare the related modeling with similar pose and hairstyle. Note the size (28.3 cm) and that the lot comprises a pair. 唐代彩繪舞俑中國，618-907年。舞女身體搖擺，頭部向一側傾斜，右手舉起，左手垂在身側，兩隻手都藏在長袖裡。身著寬大的長袍，臉上表情生動，頭髮挽成兩個髻。 來源：法國古玩交易。 品相：一些修復、填充和修飾，磨損、裂縫、風化和侵蝕的跡象、結殼、顏料的殘留物。 重量：478.9 克 尺寸：高 24.3 厘米文獻比較： 五件非常相近的七世紀上半葉舞俑，曾於Robert Rousset收藏，現藏於巴黎吉美國立亞洲藝術博物館，館藏編號MA 4687，4292，4699，4686和4698。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2018年5月10日，lot 967 價格：USD 18,750（相當於今日EUR 21,000） 描述：唐代彩繪舞俑 專家評論：比較相近的姿勢、長袍和髮型。請注意尺寸(28.6厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年9月14日，lot 1370 價格：USD 35,000（相當於今日EUR 38,000） 描述：唐陶加彩女舞俑兩件 專家評論：比較相近的姿勢和髮型。請注意尺寸(28.3厘米)，以及此為一對。
Lot 437
A BLACK POTTERY AMPHORA WITH APPLIED COPPER BOSSES, LIFAN, HAN DYNASTYChina, 206 BC-220 AD. Elegantly potted, the lozenge-form mouth rim tapering to form two wide strap handles above the neck with a finely incised band running parallel. The ovoid body with spiral designs. Applied overall with conical copper bosses with beaded decoration.Provenance: French trade.Condition: Good condition with old wear and casting flaws, small nicks here and there, the bosses with malachite-green encrustations, some losses and scratches, all exactly as expected from an authentic piece with this age. Weight: 1,144 g Dimensions: Height 18.2 cm This type of black earthenware amphora was produced from the Warring States period and throughout the Han dynasty. The surface of the vessel has been shaped with tools and then burnished. This process of manufacture gives the jar its attractively rugged, yet carefully detailed and distinctive characteristics. The surface of the body is an amalgamation of complex curves with various convex and concave shapes. As noted by Regina Krahl in Yuegutang, A Collection of Chinese Ceramics in Berlin, 2000, page 55, amphorae of this distinct type are characteristic products of the Western Sichuan province where they were made by non-Chinese peoples. Hence, this type of vessel is known as Lifan, named after the area of Sichuan province in the far west of China, in which such jars have been found.There are obvious stylistic similarities between these Lifan vessels and objects from much earlier periods such as the Neolithic cultures of Machang (c. 3000-2000 BC) and Xindian (c. 1500-1000 BC). Similar black ware food containers with two handles have also been unearthed in Dena County, Yunan, an area that was the home of the southwestern Yi tribe during the Spring and Autumn period.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 5 March 2021, lot 138 Price: EUR 56,880 or approx. EUR 67,000 adjusted for inflation at the time of writing Description: A black pottery amphora with applied bronze bosses, Han dynasty Expert remark: Compare the closely related form and decoration. Note the larger size (33 cm). 漢代黑陶嵌銅泡釘雙耳壺中國，西元前206 至西元220年。縮頸，壺口外撇，鼓腹，寬大的雙耳從壺口延伸到腹部。壺上鑲嵌泡釘。 來源：法國古玩交易。 品相：狀況良好，有磨損和鑄造缺陷，大面積小刻痕，泡釘上有藍綠色結殼，還有一些缺損和劃痕。 重量：1,144 克 尺寸：高 18.2 釐米 這種黑陶雙耳壺從戰國到整個漢代都有生產。據推測，這些器皿上的泡釘，是在這個時代的巔峰時期製造的，例如漢朝上半葉。 正如 Regina Krahl 在《悅古堂-柏林中國陶瓷收藏》，2000 年，第 55 頁所指出的，這種獨特類型的雙耳瓶是四川西部省份的特有創作，以中國最西部的四川省地區命名。 這些器皿與更早時期的器物在風格上有明顯的相似之處，例如馬廠（約西元前 3000-2000 年）和新店（約西元前 1500-1000 年）的新石器時代文化，春秋時期西南彝族聚居地雲南德納縣也曾出土過類似的雙柄黑瓷食器。 拍賣結果比較： 形制：非常相近 拍賣：Galerie Zacke，維也納，2021年3月5日，lot 138 價格：EUR 56,880（相當於今日EUR 67,000） 描述：漢代黑陶嵌銅泡釘雙耳壺 專家評論：比較非常相近的外形和裝飾。請注意尺寸較大 (33 厘米)。
Lot 438
A GREEN-GLAZED POTTERY EAR CUP, HAN DYNASTYChina, 206 BC to 220 AD. Of oval shape, the robust vessel is covered overall in a vibrant green glaze which is finely crackled. The thick ear-shaped handles protrude from the sides and the vessel stands on a short, flat foot.Provenance: From the personal collection of Michael B. Weisbrod, New York. Michael B. Weisbrod is a noted scholar of Chinese art, who has published extensively on the subject over a time span of more than 50 years. In 1972, Michael joined his father Dr. Gerald Weisbrod's Asian art gallery in Toronto, Canada. The father-and-son team opened their New York location on Madison Avenue in 1977, and during the next 45 years the gallery held a significant number of exhibitions, selling to museums and private collectors across the globe, eventually adding further locations in Shanghai and Hong Kong. Condition: Good condition, commensurate with age. Some firing irregularities, such as glaze recesses, signs of weathering, a few losses to the glaze with associated minor touch-ups. The glaze has undergone some oxidization, amplifying the ear cup's bright green color.Weight: 274.5 g Dimensions: Width 15 cm Literature comparison:Compare a related glazed ear cup, 9.2 cm long, dated to the Han dynasty, in the Victoria & Albert Museum, accession number FE.150-1974. Compare a related green lead-glazed ear cup, 11.1 cm, dated to the Han dynasty, in the Victoria & Albert Museum, accession number C.50-1911.Auction result comparison: Type: Closely related Auction: Sotheby's London, 8 December 2022, lot 220 Price: GBP 4,788 or approx. EUR 5,800 converted and adjusted for inflation at the time of writing Description: A green-glazed pottery earcup, Han dynasty Expert remark: Note the vibrant green glaze similar to this lot. Note the size (13.5 cm).13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU. 漢代綠釉陶耳杯中國，西元前206-西元220年。耳備呈橢圓形，短平足，雙耳，胎體堅固，通體覆蓋著綠釉，細碎的裂紋。 來源：美國紐約Michael B. Weisbrod私人收藏，在20世紀90年代以約30,000美元的價格在蘇富比拍賣會上購得。Michael B. Weisbrod是一位著名的中國藝術學者，他在 50 多年的時間裡就該主題發表了大量著作。1972 年，Michael加入了他父親 Gerald Weisbrod 博士在加拿大多倫多的亞洲藝術藝廊。這對父子團隊於 1977 年在麥迪遜大道開設了他們的紐約分館，在接下來的 45 年裡，藝廊舉辦了大量展覽，向全球的博物館和私人收藏家出售作品，最終還在上海和香港開辦分店。 品相：狀況良好，一些燒製缺陷，釉面凹陷、風化跡象、釉面缺損，輕微小修。釉面有一些氧化，綠色更爲鮮亮。 重量：274.5 克 尺寸：寬15 釐米 文獻比較： 比較一件相近的漢代陶耳杯，長9.2 釐米，收藏於維多利亞和亞伯特博物館，館藏編號FE.150-1974。比較一件相近的漢代綠釉 陶耳杯，11.1 釐米，收藏於維多利亞和亞伯特博物館，館藏編號C.50-1911。 拍賣結果比較： 形制：非常相近 拍賣：倫敦蘇富比，2022年12月8日，lot 220 價格：GBP 4,788（相當於今日EUR 5,800） 描述：漢綠釉耳杯 專家評論：請注意與此杯的釉料相似。請注意尺寸 (13.5 釐米)。
Lot 441
A WHITE-GLAZED JAR, TANG DYNASTYChina, 618-907. Of globular form, the body rising from a narrow foot to voluminous rounded shoulders with a short waisted neck surmounted by a rolled rim. The interior and exterior covered in a translucent creamy white glaze above a white slip. Parts of the lower body and the flat base unglazed, thus exposing the pale buff body with its characteristic pinkish hue.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Good condition, commensurate with age, showing some old wear and minor manufacturing irregularities, including glaze recesses and dark spots. Expected glaze flaking, minor losses, light scratches.Weight: 1018.1 gDimensions: Height 16.5 cm Literature comparison:Compare a related jar in the Idemitsu Museum of Arts, illustrated in Selected Masterpieces from the Idemitsu Collection, Tokyo, 1996, no. 90; and in Mayuyama, Seventy Years, Tokyo, 1976, p. 83, no. 219. Compare a related white-glazed pottery jar illustrated by Krahl in Chinese Ceramics from the Meiyintang Collection, London, 1994, pp. 138-139, no. 229. Compare four related jars of varying sizes (14.3 to 25.5 cm. high), illustrated in Mayuyama, Seventy Years, vol. 1, Tokyo, 1976, p. 97, pl. 261 and p. 83, pls. 219-22.Auction result comparison: Type: Closely relatedAuction: Christie's 29 March 2006, lot 394Price: USD 3,600 or approx. EUR 5,100 converted and adjusted for inflation at the time of writingDescription: A white-glazed baluster jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (20.9 cm).Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 20 March 2023, lot 4Price: USD 7,013 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: Two white glazed pottery vessels, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.5 cm) and that this lot also comprises a shallow bowl.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 24 Mar 2023, lot 1002Price: USD 6,300 or approx. EUR 5,900 converted and adjusted for inflation at the time of writingDescription: A glazed white ware jar, Tang dynastyExpert remark: Compare the closely related form and glaze. Note the size (18.4 cm). 唐代白釉罐中國，618-907年。侈口，短頸，豐胸，弧腹，平底。 通體覆蓋著半透明的白色釉。足部無釉，露淺黃色胎。來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008 年從上述人士手中收購，並自此在同一家族傳承。 品相：品相良好，有一些磨損和輕微的製造缺陷，包括釉面凹陷和黑點，輕微缺損與劃痕。 重量：1018.1 克 尺寸：高 16.5 厘米 拍賣結果比較： 形制：非常相近 拍賣：佳士得，2006年3月29日，lot 394 價格：USD 3,600（相當於今日EUR 5,100） 描述：唐代白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(20.9厘米)。 拍賣結果比較： 形制：非常相近 拍賣：紐約邦翰斯，2023年3月20日，lot 4 價格：USD 7,013（相當於今日EUR 6,500） 描述：唐白陶萬年罐及白陶壁足碗各一 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.5厘米)，以及此有一件淺碗。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2023年3月24日，lot 1002 價格：USD 6,300（相當於今日EUR 5,900） 描述：唐白釉罐 專家評論：比較非常相近的外形和釉面。請注意尺寸(18.4厘米)。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 446
A HENAN RUSSET-SPLASHED BLACK-GLAZED JAR, NORTHERN SONG TO JIN DYNASTYChina, 960-1234. The globular body rising from a short straight foot to a cylindrical neck with a lipped rim, set with a pair of strap handles. Covered to the horizontally ribbed interior and the exterior with a lustrous black glaze splashed with russet around the rim and handles, the glaze falling well short of the foot and pooling attractively in thick drops to reveal the buff-colored body.Provenance: From the collection of Grahame Clarke, and thence by descent within the same family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974 he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts.Condition: Very good condition with expected old wear and manufacturing irregularities, including glaze recesses, the foot chipped.Weight: 776.9 gDimensions: Height 10.8 cm Auction result comparison: Type: Closely relatedAuction: Sotheby's New York, 15 September 2018, lot 1414Price: USD 9,375 or approx. EUR 10,500 converted and adjusted for inflation at the time of writingDescription: A russet-splashed black glazed jar, Northern Song/Jin dynastyExpert remark: Compare the related form and glaze with similar pooling and russet splash. Note the size (11.6 cm). 北宋至金河南黑釉鐵鏽斑雙耳罐中國，960-1234年。直口，削肩，雙繫耳，圈足。內外施有光澤的黑釉，邊緣和雙耳有鉄鏽斑色釉，釉料到罐身中間不問形成釉滴，露出淺黃色的身體。足下露胎。 來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008 年從上述人士手中收購，並自此在同一家族傳承。Grahame Clarke（1940-2014）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 Highland Stoneware。 在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：狀況非常好，有磨損和製造不規則，包括釉面凹陷、腳部缺口。 重量：776.9 克 尺寸：高 10.8 厘米拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2018年9月15日，lot 1414 價格：USD 9,375（相當於今日EUR 10,500） 描述：北宋 / 金黑釉醬斑雙繫罐 專家評論：比較相近的外形和褐黑色滴釉釉面。請注意尺寸(11.6厘米)。
Lot 493
A COLLECTION OF SIX DIFFERENT SANCAI-GLAZED CERAMIC PARROTS, EARLY QING DYNASTYChina, late 17th to mid-18th century. Each bird accurately modeled with its wings tucked to the side and perched on an openwork rock base, all covered in emerald green, dark brown, and ochre glazes. The parrots decorated with neatly incised swirls and lines to denote their feathers, some with their head slightly bowed, the round white eyes with black pupils. (6)Provenance: From the collection of David C. Lindeman, and thence by descent in the same family. Several of the figurines have the remnants of old Chinese export seals. David C. Lindeman (1944-2022) was an American economist, serving as a senior pension specialist at the World Bank in the US between 1995 and 2001. He was an avid collector with a special fondness for Chinese pottery and art.Condition: Overall very good condition with minor old wear and expected firing flaws including kiln grit, fritting, and firing cracks. Few small nicks, tiny chips, and light scratches. One parrot with minor glaze touchups to the head.Weight: 2,590 g (total)Dimensions: Height 22.6 cm (tallest) and 14.5 cm (smallest) 清初一組六件三彩陶鸚鵡中國，十七世紀末至十八世紀中葉。每隻鸚鵡的造型都十分精細，翅膀收起，站立在岩石上。岩石底座通體覆蓋著翠綠、深棕色和赭石色的釉。鸚鵡細節生動，有些鸚鵡還微微低頭，圓圓的眼睛和黑色的瞳孔，十分神采。(6) 來源：David C. Lindeman私人收藏，在同一家族保存至今。David C. Lindeman (1944-2022年) 是一位美國經濟學家，1995年至2001年擔任美國世界銀行高級養老金專家。他是一位收藏家，對中國陶器和藝術品情有獨鍾。 品相：總體狀況良好，有輕微的磨損和燒製缺陷，包括窯砂、燒結和燒製裂紋。輕微小缺口和輕微劃痕。一隻鸚鵡的頭部有輕微的小修。 重量：總2,590克 尺寸：最高的鸚鵡22.6 厘米，最小的鸚鵡14.5 厘米
Lot 547
A BLUE AND WHITE DOUBLE-GOURD 'WATER TOWN' VASE, CHINA, 19TH CENTURYPainted in sophisticatedly graduated shades of cobalt blue, the pear-shaped upper bulb with two figures crossing a bridge, opposite further figures resting in a courtyard below drooping willow branches, all set in a mountainous landscape below a floral band, the lower apple-shaped bulb similarly decorated with an oxherd driving an ox over a bridge, two women crossing, and a small child playing with the water amongst the reeds.Provenance: From the collection of David C. Lindeman, and thence by descent in the same family. David C. Lindeman (1944-2022) was an American economist, serving as a senior pension specialist at the World Bank in the US between 1995 and 2001. He was an avid collector with a special fondness for Chinese pottery and works of art.Condition: The rim of the neck with a small old repair. Otherwise in good condition with minor old wear and expected firing irregularities.Weight: 1083.8 gDimensions: Height 28.9 cm The recessed base with an apocryphal underglaze-blue four-character mark Kangxi nianzhi.Water towns (shuixiang) are settlements built along rivers, lakes, and canals. Such towns exist in many regions in China, although those in Jiangsu and Zhejiang provinces are often the most renowned. They are of great cultural and historical significance, with some even dating back to the Warring States period, such as Xitang (lit. 'oblique pond'). The water towns of Suzhou and Hangzhou near Shanghai are known as the 'Venice of the East', because the towns are composed of an interconnecting network of canals navigated by boat. 十九世紀青花水鄉人物葫蘆瓶葫蘆瓶青花渲染描繪水鄉人物景觀。瓶子上部可見有兩個人物過橋，還有一些人在柳樹下的庭院裡休息；瓶子下半部可見牧童趕著牛過橋，還有一個小童在水中的蘆葦之間戲水。 來源：David C. Lindeman私人收藏，在同一家族保存至今。David C. Lindeman (1944-2022年) 是一位美國經濟學家，1995年至2001年擔任美國世界銀行高級養老金專家。他是一位收藏家，對中國陶器和藝術品情有獨鍾。品相：頸部邊緣有小修，其他方面狀況良好，有輕微磨損和燒製不規則現象。 重量：1083.8 克 尺寸：高 28.9 厘米 圈足內寄託款“康熙年製“四字款。
Lot 62
A PAINTED POTTERY 'MYTHICAL BEAST' STAND, EASTERN HAN DYNASTYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 12 July 2018, based on sample number C118j1, sets the firing date of two samples taken between 1400 and 2200 years ago. A copy of the report, signed by Doreen Stoneham for Oxford Authentication, accompanies this lot.China, 25-220 AD. Crisply modeled as a crouching winged mythical beast, with large eyes, upturned snout, pricked ears, and a short mane extending to the rectangular socket in the back, painted in red, yellow, blue, and black with feather markings and details on a cream-colored ground. The creature, made from two different types of clay, stands on four large three-clawed feet.Provenance: From a private collection in the Cotswolds, United Kingdom.Condition: Good condition, commensurate with age. Extensive wear with signs of weathering and erosion, flaking to pigments, surface scratches, minor losses including the lower section of the tail, small chips, a few structural cracks, encrustations, drilled holes from sample-taking, all exactly as expected from ancient Han dynasty excavations of this size. Presenting remarkably well.Weight: 5.9 kg Dimensions: Length 42.5 cm Literature comparison:Compare a similar figure excavated from an Eastern Han tomb at Xianyang, Shaanxi, illustrated in Zhongguo Meishu Quanji, Diaosu Bian 2, Qin Han Diaosu (The Great Treasury of Chinese Fine Arts, Sculpture, Qin and Han), Beijing, 1985, volume 2, page 48, pl. 129. Compare a similar pair included in the exhibition, Visions of Man in Chinese Art, Kaikodo, 17 March - 19 April 1997, no. 32. Auction result comparison: Type: Closely related Auction: Christie's New York, 16 September 1999, lot 265 Price: USD 25,300 or approx. EUR 43,000 converted and adjusted for inflation at the time of writing Description: An unusual painted gray pottery mythical beast stand, Eastern Han dynasty Expert remark: Compare the closely related modeling and manner of painting. Note the related size (43.2 cm).Auction result comparison:Type: Closely relatedAuction: Christie's New York, 24 March 2011, lot 1304Price: USD 25,000 or approx. EUR 31,500 converted and adjusted for inflation at the time of writingDescription: An unusual painted gray pottery mythical beast-form stand, Eastern Han dynastyExpert remark: Compare the closely related modeling and manner of painting. Note the related size (40.7 cm). 東漢彩繪神獸俑中國，西元 25-220 年。 造型簡潔，神獸成蹲伏狀，有翼、大眼，上翹的口鼻，立耳，短鬃毛延伸至背部，紅色、黃色、藍色和黑色彩繪。由兩種不同類型的粘土製成。 科學鑒定報告: 牛津認證公司於 2018年 年 7 月 12 日出具的一份熱釋光分析報告，基於編號為 C118j1 的樣本，確定了兩個樣本的製作日期為 1400 至 2200 年前。隨附一份由Doreen Stoneham 簽署的牛津認證報告副本。 來源：英國科茨沃爾德的私人收藏。品相：狀態良好，大面積磨損，有風化和侵蝕的跡象，顏料剝落，表面劃痕，包括尾部下段在內的輕微損失，小碎片，一些結構裂縫，結殼，取樣鑽孔。重量：5.9 公斤 尺寸：長 42.5 厘米 文獻比較: 比較一件相似的陶俑出土於陝西咸陽東漢墓，見《中國美術全集‧雕塑編2‧秦漢雕塑》，北京，1985年，卷 2，頁48，圖129。比較一件相似的一對陶俑，展覽於《Visions of Man in Chinese Art》，Kaikodo，1997年3月17日 - 4月19日，編號32。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，1999年9月16日，lot 265 價格：USD 25,300（相當今日EU R 43,000） 描述：東漢彩繪灰陶神獸俑 專家註釋：比較非常相近的模型和繪畫風格。請注意相近尺寸 (43.2 厘米)。 拍賣比較： 形制：非常相近 拍賣：紐約佳士得，2011年3月24日，lot 1304 價格：USD 25,000（相當今日EUR 31,500） 描述：東漢彩繪灰陶神獸俑 專家註釋：比較非常相近的模型和繪畫風格。請注意相近尺寸 (40.7 厘米)。
Lot 63
A LARGE GREY POTTERY FIGURE OF A TORTOISE, HAN DYNASTYScientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 24 April 2006, based on sample number C106j27, sets the firing date of three samples taken between 1500 and 2400 years ago. A copy of the report, signed by Doreen Stoneham for Oxford Authentication, accompanies this lot.China, 206 BC-220 AD. Heavily potted, the large tortoise stands with its head slightly raised. The boldly modeled face with round bulging eyes and thick lips, the carapace lined with an elegantly curved outer ridge and applied at the top with a row of bosses.Provenance: Guus Roeell, Fine Arts & Antiques Maastricht, Netherlands, c. 2006. A European private collection, acquired from the above. Guus Roeell is an expert in the field of colonial antiques and rare artifacts from across the world, including Chinese works of art. An impressive art connoisseur, Roeell curates his gallery with an exquisite taste for unique craftsmanship and historical contexts.Condition: Very good condition, commensurate with age. Extensive wear, signs of weathering and erosion, minor losses, encrustations, firing cracks, drilled holes from sample-taking. Possibly with old fills and repairs, as expected from ancient Han dynasty excavations.Weight: 11.9 kg Dimensions: Length 61.2 cm Literature comparisonCompare a related pottery tortoise, 11.7 cm long, dated to the Han dynasty, in the Metropolitan Museum of Art, accession number 68.149.2.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 19 March 2019, lot 143 Price: USD 20,000 or approx. EUR 22,000 converted and adjusted for inflation at the time of writing Description: A pottery tortoise-form ink stone and cover, Eastern Han dynasty Expert remark: Compare the related subject, pottery, and modeling with similar pose. Note the much smaller size (20.3 cm). 漢代大型灰陶烏龜中國，西元前 206 年至西元 220 年。 巨大的陶龜，微微抬頭。 臉部造型生動，圓凸的眼睛和厚厚的嘴唇，甲殼上可辯脊梁，一排凸起的甲片。科學檢測報告：牛津認證公司於2006年4月24日出具一份熱釋光分析報告，樣本編號為C106j27，確定三個樣本的製作日期在1500至2400年前之間。 隨附一份由Doreen Stoneham 簽署的牛津認證報告副本。 來源：Guus Roeell，荷蘭馬斯特里赫特美術與古董店，約在 2006年；歐洲私人收藏，購自上述藝廊。Guus Roeell 是殖民時期古董和稀有文物（包括中國藝術品）領域的專家。他以對獨特工藝和歷史背景的出色品味來策劃他的畫廊。 品相：狀況非常好，大面積磨損、風化和侵蝕跡象、輕微缺損、結殼、燒製裂紋、取樣造成的鑽孔。可能有填充和修復。 重量：11.9 公斤 尺寸：長61.2 厘米文獻比較： 比較一件相近的漢代陶龜，長11.7 釐米，收藏於大都會藝術博物館，館藏編號68.149.2。 拍賣結果比較： 形制：非常相近 拍賣：紐約蘇富比，2019年3月19日，lot 143 價格：USD 20,000（相當於今日EUR 22,000） 描述：東漢灰陶龜形硯連蓋 專家評論：比較相近的主題、陶製和相似的姿勢。請注意此為一個硯台。請注意尺寸小許多 (20.3 厘米)。
Lot 65
A COMPLETE SET OF ANTHROPOMORPHIC ZODIAC FIGURES, PAINTED POTTERY, TANG DYNASTYExpert's note: It is rare to find a complete set of twelve zodiac animals. The present set is also unusual for the crispness of its modeling, especially the inspired sculpturing of the heads, with each face showing a unique expression and character. Special care was given to the ox, tiger, and monkey sculptures who are the only figures robed in red, black, and yellow, possibly suggesting a personal connection between the original owners and these years.China, 618-907. Each modeled as a human figure standing ramrod straight with hands clasped beneath the long sleeves of court robes belted below the waist, falling in crisp folds and fanning out in a circle over the tips of their shoes. The robes in shades of red, yellow, cream, and brown. The heads finely modeled comprising the complete group of twelve animals of the Zodiac: the rat, ox, tiger, rabbit, dragon, snake, horse, ram, monkey, rooster, dog, and pig. (12)Provenance: From a private collection in Sussex, United Kingdom, assembled during the 1990s, and thence by descent.Condition: Excellent condition overall, commensurate with age. Wear, weathering and erosion, the original pigments partially faded. Minor chips, cracks, and losses. Soil encrustations. Possibly with small old repairs here and there, as expected from ancient potteries aged more than a millennia.Scientific Analysis Report: A thermoluminescence analysis report issued by Oxford Authentication on 19 April 2021, based on sample number C121c56, sets the firing date of two samples taken between 900 and 1500 years ago. A copy of the report, signed by Doreen Stoneham for Oxford Authentication, accompanies this lot.Weight: 14.9 kg Dimensions: Height 31 cm (the tallest) Zodiac figures first appeared during the Han dynasty as artisans began casting representations of the animals in bronze as offerings. Form the Northern Wei dynasty (386-534 AD) onwards, the zodiacal animals began to be anthropomorphized, such as in the present lot, and often functioned as grave goods. The heads of each of these figures were molded separately from the bodies and were attached before firing. The hollow interior can be seen from the base, which was necessary to access when attaching the heads to the bodies. Remnants of the sculptors fingerprints are preserved in the interior of many of these figures.Literature comparison:Compare a closely related complete set of twelve zodiac animals, each 30.5 cm high, dated to the 8th century, in the Metropolitan Museum of Art, accession number 2000.662.7a-l. A related complete set of twelve pottery Zodiac figures, Tang dynasty, unearthed in the suburbs of Xi'an, Shaanxi Province in 1955 and currently in the Museum of Chinese History, Beijing, was included in the exhibition China. 5000 Years: Innovation and Transformation in the Arts, The Guggenheim Museum, New York, 1998, cat. no. 108. A related complete set of twelve zodiac animals, excavated in 1950 at Ba Qiao, Shaanxi Province, and currently in the Shaanxi Beiling Museum, was included in the exhibition Gilded Dragons, The British Museum, London, 1999, no. 63. Compare a related set of five zodiac animals, 25.4 cm high, dated to the Tang dynasty, in the Minneapolis Institute of Art, accession numbers 50.46.197-50.46.201.Auction result comparison: Type: Closely related Auction: Christie's New York, 16 January 2019, lot 69 Price: USD 35,000 or approx. EUR 38,000 converted and adjusted for inflation at the time of writing Description: A set of six Chinese large painted red pottery zodiac figures, Tang dynasty Expert remark: Compare the closely related modeling and manner of painting. Note the size (54.2 cm) and that this lot is an incomplete set of only six figures, as opposed to the present lot which is a complete set of twelve. 唐代彩繪十二生肖陶俑中國, 618-907年。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 66
AN EXCEPTIONALLY LARGE PAINTED POTTERY FIGURE OF A BACTRIAN CAMEL AND A SOGDIAN RIDER, TANG DYNASTYExpert's note: The present lot is extremely rare for its exceptional size of 104 cm, with exceedingly few other examples of comparable height recorded in private or public collections.China, 618-907. Powerfully modeled, the large camel with its head turned to the left, the animal with a wild expression marked by protruding eyes, flaring nostrils, and the wide-open mouth with the tongue extended. The Sogdian rider wearing a fur coat and tall cap, his right arm raised to goad the camel, his mustachioed face with a stern expression as he sits on several rolled mats beneath the red saddle blanket with a dog propping himself up on his leg. The camel further ladened with a saddle bag and two flasks, as well as the yield of a hunt, a slain wild goat, tied to the saddle.Provenance: From a noted private collection in Aix-en-Provence, France. Condition: Some restorations and touch-ups as generally expected from Tang dynasty excavations. Losses, fissures, and encrustations. Drilled holes from sample-taking. Overall, very good condition and displaying magnificently.Scientific Analysis Report: A thermoluminescence analysis report issued by QED Laboratoire, Reference QED1346/FC-0101, dated 20 November 2013, sets the firing date of two samples as consistent with the suggested period of manufacture in Tang dynasty. A copy of the report accompanies this lot.Weight: 35.2 kg Dimensions: Height 104 cm The rider with fur coat and peaked hat represents a Sogdian merchant. A similar hat is worn by a small Tang bronze figure of a Sogdian dancer, included in the exhibition Monks and Merchants: Silk Road Treasures from the Northwest China, Asia Society Museum, New York, 2001-2, and at present on view in the Norton Museum of Art, Palm Beach, Florida, which is discussed and illustrated in the catalog, no. 82. Compare also a standing pottery figure of a similarly attired foreigner, excavated from a tomb of AD 724, illustrated in Treasures of a Nation, Beijing, 1999, pp. 216f, and a camel drover with a pointed hat, depicted together with his animal on a brick from one of the Dunhuang caves in Gansu province, included in The Exhibition of Ancient Art Treasures of the People's Republic of China, Tokyo National Museum, 1979, cat. no. 75.The highly animated depiction of the camel is reminiscent of the running camels from the hunting scenes painted on the walls of Crown Prince Zhuang Huai's tomb in Qianxian near Xi'an, Shaanxi province. The two-humped Bactrian camel was an exotic beast known in China from the Han dynasty, when it was first introduced as a form of tribute offered by the tribes of Turkestan and Central Asia. Prized for their ability to survive extreme hardships of heat, cold, and lack of water when travelling across the desert, camels came to symbolize the freely-flowing trade established along the Silk Road and thus the wealth and cosmopolitan nature of the Tang Court.Literature comparison:A related large painted pottery group of a camel and foreign rider, dressed in a fur coat and wearing a large pointed hat, excavated from the tomb of Wang Chen (buried 679), Chengzhi, Shaanxi province in 1954 and now in the Museum of Chinese History, Beijing, is illustrated by Li Jian (ed.), The Glory of the Silk Road, Art from Ancient China, The Dayton Art Institute, 2003, p. 170, pl. 85.Auction result comparison: Type: Closely related Auction: Sotheby's New York, 15 September 2015, lot 258 Estimate: USD 180,000 or approx. EUR 210,000 converted and adjusted for inflation at the time of writing Description: A magnificent painted pottery camel with Sogdian rider and hunting owl, early Tang dynasty Expert remark: Compare the closely related modeling with a similarly animated camel and Sogdian rider, who however is holding a hunting owl in his hand. Note the related size (99.1 cm).唐代彩繪胡人騎駱駝陶俑由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
Lot 687
A BRONZE DEATH MASK, GOA MADE, EAST JAVA, INDONESIA, 1ST MILLENNIUM BC - 1ST MILLENNIUM ADPublished: Claudio Giardino, Massimo Vidale, and Gian Luca Bonora (editors), Goa Made - An Archeological Discovery, Rome, 2012, page 220, no. 112.Indonesia. Finely cast from thin bronze, the mask is realistically styled with thin arched brows above heavy-lidded pierced eyes, a broad nose, and full butterfly lips curling into a calm smile. The face has finely aged, covered overall in a solid layer of malachite green encrustation.Provenance: A private collector in London, United Kingdom, and thence by descent to his daughter Amanda Torri. Alex Torri, Bologna, Italy, inherited from the above. Paolo Bertuzzi, acquired from the above in 2002. A copy of the original invoice from Alex Torri, dated 7 October 2002, showing an image of the present lot, and stating a purchase price of ITL 8,000,000 or approx. EUR 6,300 (converted and adjusted for inflation at the time of writing), accompanies this lot. Paolo Bertuzzi (1943-2022) was a fashion stylist from Bologna, Italy, and the son of Enrichetta Bertuzzi, founder of Hettabretz, a noted Italian fashion company with customers such as the Rothschild family, Audrey Hepburn, and Elizabeth Taylor. Paolo Bertuzzi later took over his mother's business and designed exclusive pieces, some of which were exhibited in the Costume Institute of the Metropolitan Museum in New York, USA. He was also an avid collector of antiques for more than 60 years. His collection includes both archaic and contemporary art, and he edited two important books about Asian art, Goa Made - An Archaeological Discovery, about a large-scale archaeological project carried out with the Italian and Indonesian governments, and Majapahit, Masterpieces from a Forgotten Kingdom.Condition: Excellent condition commensurate with age. The shape has remained in its original form. As expected, the bronze has corroded overall and there are a soil encrustations. Minor losses and old wear.Weight: 191.1 g Dimensions: Height 18.5 cm Goa (or Gua) Made (Made Cave) is a site north of the Brantas River in East Java. Its importance was first discovered by Anacleto Spazzapan, an Italian archeologist, designer, and collector of ethnographic and folk art who frequently traveled to Indonesia. He was first introduced to the site in 1999. He brought back several sample fragments of fired clay, which he sent to Arcadia labs in Milan for thermoluminescence testing. The first official excavations were subsequently conducted in an underground temple by the Bureau for the Archaeological Conservation of East Java (BACEJ) in 2001 and 2006, the latter funded by Paolo Bertuzzi (the last owner of the present lot), who had developed a profound interest in the site. Finds included imported glazed pottery, Chinese copper or bronze coins, and highly distinct bronze heads such as the present lot. Thermoluminescence analysis of terracotta bricks found in the excavations indicated a date in the early 1st millennium BC. This would not only suggest the discovery of a lost civilization but also challenge widely held notions of Southeast Asian history. The earliest uncontested architectural remains in East Java are two temples dating from the 8th - 9th century AD.In 2007, larger-scale excavations were carried out by a team of Italian and Indonesian archeologists, which revealed a previously overlooked shaft, a complex subterranean structure displaying a sophisticated integrated design that would have required mass community involvement in both its construction and usage. In the following years, disagreements between archeologists involved in the Goa Made project began to emerge. A 2010 article by Andreas M. Steiner and Massimo Vidale in the renowned Italian magazine Archeo supported the dating of to the early 1st millennium BC. In the same year, however, Fiorella Rispoli wrote an article for World Archeology Magazine wherein she questions the accuracy of the thermoluminescence analysis and instead proposed a post-10th century AD dating for the bronze heads. Rispoli suggested that the underground temple was most likely a water control system but offers no explanation as to why or how the heads, a clear part of East Java religious practices, came to be placed there. Most scholars disagree with Rispoli's arguments, especially given that it is primarily based off a single faulty thermoluminescence test she discovered.Cultural acculturation, the mixture of elements from various cultures over various ages implemented in religious contexts is a well-known practice in Indonesia. Settlers of the Indonesian archipelago had consistent contact with Indian traders which led to the adoption of many foreign religious practices. Unsurprisingly, this had a direct effect on the cultural material of Indonesia. Dong Son, the earliest bronze culture in Southeast Asia, was likely introduced to Indonesia by traders during the 1st millennium BC. More than 100 objects from Goa Made are bronze objects, and the majority of these are bronze masks. Many of the masks have characteristics elements which reflect the style of face common to the Majapahit period (13th-16th century). However, the masks which do not illustrate Indonesian facial styles, like the Malayan-Mongoloid face of this lot, are similar to nekara bronzes. This suggests a far earlier dating for these masks. Given the origin of bronze working in Indonesia came from the Don Son culture, these masks can be dated as far back as 2000 BC. However, archeologists are still not unified on this dating. In his 2016 book Hitawasana, Studies on Indonesian Archeology (where the present lot is illustrated, page 55), Prof. Dr. Agus Aris Munandar from the University of Indonesia wrote that further scientific studies remain necessary, and that additional research is expected to step-by-step resolve the questions regarding this important archeological site.
Lot 75
A SMALL QINGBAI CENSER AND COVER, NORTHERN SONG DYNASTYChina, 960-1127. Standing on a short tapered foot, the deep rounded sides carved with overlapping petals. The domed cover of the incense burner is pierced with three rows of apertures encircling the central bud finial, all above an openworked pattern of radiating petals. The white ware of the censer and cover is glazed with a vitreous, bubble-suffused pale-blue glaze.Provenance: Brian Page, Brighton, United Kingdom. Grahame Clarke, acquired from the above in 2008, and thence by descent in the family. Grahame Clarke (1940-2014) was a noted ceramic artist, influenced by pioneers of small-scale studio pottery such as Harry Davis, Bernard Leach, and Shoji Hamada. In 1974, he founded Highland Stoneware in Lochinver, Scotland. Driven by the historic and natural environment, his work combined the durable porcelain body, modeled on ancient century Chinese pottery, with a free hand-painted style inspired by Delftware blue-and-white decorations of the 16th and 17th centuries. His passion for ceramics led him to collect artifacts from all over the globe, but especially from China. Inspired by historic porcelain, Clarke's work itself ended up in museums like the Victoria & Albert, exemplifying the modern movement of micro-kiln ceramic arts. Condition: Very good condition with minor old wear and expected firing irregularities, few shallow chips, some of which have smoothened over time.Weight: 158.8 g Dimensions: Height 8.9 cm Literature comparison: Compare a related Qingbai censer with an openwork cover, 6 cm high, dated to the Northern Song dynasty, in the Art Institute of Chicago, accession number 2013.190. Compare a related tripod censer with pierced cover which was excavated in 1981 from a site near Jingdezhen in Boyang county and is now in the Jiangxi Provincial Museum, illustrated in Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty), Volume 8, Shanghai, 2000, no. 171. Compare a related Qingbai censer, illustrated in Selected Masterpieces of the Manno Collection, Osaka, 1988, no. 84. Compare a related Qingbai openwork censer, illustrated in Chinese Ceramics from the Meiyintang Collection, Volume I, London, 1994, page 329, no. 611. 北宋青白小蓋爐中國，960-1127年。香爐的圓蓋中央有花蕾鈕，穿有三排小圓孔。爐身外壁刻有重疊花瓣紋。香爐通體施青白色釉，釉色瑩潤。 來源：英國布萊頓Brian Page收藏；Grahame Clarke 於 2008年 年從上述人士手中收購，並自此在同一家族傳承。Grahame Clarke（1940-2014年）是一位著名的陶瓷藝術家，受到 Harry Davis、Bernard Leach 和 Shoji Hamada 等陶藝風格的影響。1974 年，他在蘇格蘭洛欽弗創立了 高land Stoneware。在歷史和自然環境的推動下，他的作品將仿照中國古代陶器的耐用瓷體與受十六世紀和十七世紀代爾夫特青花裝飾啟發的自由手繪風格結合起來。他對陶瓷的熱情促使他收集來自世界各地的陶瓷，尤其是來自中國的文物。受到古物的啟發，Clarke的作品本身最終被收藏在維多利亞和阿爾伯特博物館等博物館。 品相：狀況極好，有輕微磨損、製造不規則和小缺口。 重量：158.8 克 尺寸：高 8.9 厘米 文獻比較: 比較一件相近的北宋青白小蓋爐，高6 厘米，收藏於芝加哥藝術博物館，館藏編號2013.190。比較一件相近的三足爐，1981年出土於景德鎮 ，現藏於江西博物館，見《Zhongguo Taoci Quanji: Song (The Complete Works of Chinese Ceramics: Song Dynasty)》，卷8，上海，2000年，編號171。比較一件相近 Qingbai censer，illustrated in Selected Masterpieces of the Manno Collection，Osaka，1988，編號84. 比較一件相近的青白小蓋爐 ，見《Chinese Ceramics from the Meiyintang Collection》，卷 I，倫敦，1994年，頁329，編號611。
Lot 83
A PAIR OF SANCAI FIGURES OF PERSIAN AMBASSADORS, LATE MING DYNASTYChina, 16th - 17th century. Well modeled in mirror image, each standing on a shaped base holding a tributary vase in both hands, wearing elaborate robes secured with a belt and carved with floral and foliate designs, high boots, and tall caps. Their faces with curling mustaches and bushy eyebrows, their mouths agape. (2)Provenance: From an Italian private collection. Each with an old label to the base inscribed in Italian, 'Sancai (three color) pottery. Ming period (1368-1644). Candle holder - Turk with vase (180).' Condition: Expected old wear and firing flaws, small losses, few cracks, some glaze flaking, as well as minor old repairs and touchups. Please request a video of the present lot taken under strong blue light for more details. Weight: 2,923 g and 2,898 g Dimensions: Height 44.3 cm and 43.9 cm Throughout Chinese history, tributary states and tribes were required to periodically send their ambassadors to the Imperial court and pay tribute with valuable gifts. Drawings and paintings with short descriptions were used to record the tribute of these ambassadors and to document cultural aspects of these ethnic groups. Descriptions were written alongside these portrayals, which became later highly valued as historical sources regarding the international relations between China and the rest of the world. The Portraits of Periodical Offering of Liang was painted by the soon to be Emperor Yuan of Liang, Xiao Yi (ruled 552-555 AD) of the Liang dynasty while he was a governor of the Jingzhou province as a young man between 526-539 AD, a post he held again between 547-552 AD. During his time as governor, he had the opportunity to meet many foreigners. One of his paintings depicts a Persian ambassador and likely served as the inspiration for these two figures.Auction result comparison: Type: Closely related Auction: Galerie Zacke, Vienna, 15 October 2021, lot 194 Price: EUR 15,168 or approx. EUR 17,000 converted and adjusted for inflation at the time of writing Description: A rare sancai roof tile depicting a Persian ambassador, late Ming dynasty Expert remark: Compare the similar headdress and curly hair typical of depictions of Persians. Note the size (49 cm). 明末一對三彩波斯人俑中國, 十六至十七世紀。人俑造型精美，站在一個底座上，雙手拿著一個朝貢花瓶，穿著胡人外袍，用腰帶固定，上面刻有花卉和葉狀圖案，穿著高筒靴和高帽。臉上留著捲曲的鬍鬚和濃密的眉毛，嘴巴大張。 (2) 來源：義大利私人收。底座有標籤，可見義大利語“三彩，明代，蠟燭台"字樣。 品相：有磨損和燒製缺陷、小損失、少量裂紋、一些釉料剝落，輕微的舊修和補漆。請向我們索取在強藍光下拍攝的影片，以了解更多詳情。重量：分別爲2,923克與 2,898克 尺寸：分別高 44.3 厘米與43.9厘米 縱觀中國歷史，朝貢國和部落都被要求定期向朝廷派遣使者，並向朝廷進貢。帶有簡短描述的圖畫和繪畫被用來記錄這些使節的貢品，並記錄這些民族的文化。 這些描述後來成為有關中國與世界其他國家之間國際關係的歷史資料，受到高度重視。拍賣結果比較： 形制：非常相近 拍賣：Galerie Zacke，維也納，2021年10月15日，lot 194 價格：EUR 15,168（相當於今日EUR 17,000） 描述：明末罕見三彩波斯人俑 專家評論：比較相似的髮飾和標準的波斯人捲髮。請注意尺寸 (49 釐米)。
Lot 91
A WUCAI 'LADY WITH BOYS' VASE, MEIPING, 17TH CENTURYChina. The baluster body supported on a short foot and rising to a waisted neck with everted lipped rim, finely painted to the exterior in shades of iron-red, green, yellow, aubergine, and underglaze cobalt-blue to depict an elegantly robed lady holding up a flower in one hand surrounded by playful boys standing in dynamic poses, one holding up an elaborate headdress all within a fenced garden amid rockwork and grasses, the back with a tall palm tree partly obscured by a pierced lingbi stone, the background with tall mountains emerging from swirling clouds, all below leafy fruit sprays and rockwork to the neck and framed by line borders.Provenance: London trade. Condition: Superb condition with only minor old wear, expected manufacturing flaws, and a small chip to the foot.Weight: 694.9 g Dimensions: Height 18.2 cm Covered overall in a transparent glaze save for the unglazed base revealing the ivory-white ware with distinct spiral pottery lines.Auction result comparison: Type: Closely related Auction: Christie's London, 7 November 2012, lot 550 Price: GBP 3,750 or approx. EUR 6,700 converted and adjusted for inflation at the time of writing Description: A Chinese wucai vase, meiping, 17th century Expert remark: Compare the closely related form, albeit slightly more pronounced than on the present lot, and wucai decoration depicting a similar garden scene with mountain peaks emerging from swirling clouds in the background. Note the size (22.5 cm). 十七世紀五彩嬰戲圖梅瓶梅瓶小口，短頸，豐肩，瘦底，圈足。外壁以礬紅、綠、黃、紫、青花等色彩繪園中婦人一隻手拿著一朵花，與孩童們戲耍的情景，其中一個舉著精緻的頭飾。周圍是假山花草，後面有一棵高大的芭蕉樹。 來源：倫敦古玩交易。 品相：狀況極佳，只有輕微磨損、足部的小缺口。 重量：694.9 克 尺寸：高 18.2 厘米 拍賣比較： 形制：非常相近 拍賣：倫敦佳士得，2012年11月7，lot 550 價格：GBP 3,750（相當今日EUR 6,700） 描述：十七世紀五彩梅瓶 專家註釋：比較非常相近的外形、五彩裝飾，以及相似的花園景致。請注意 尺寸 (22.5 厘米)。
Lot 148
A pair of 20th century Naples rectangular boxes and covers, moulded in low relief with frolicking figures, 16.5cm wide, a/f; a Royal Copenhagen vase, decorated with flowers, 27cm high; a pair of Italian pottery figures, as a Chinese man and companion; a Delft hexagonal caddy, with silver cover; a Vienna pedestal vase and cover; etc, qty
Lot 1262
A CHINESE POTTERY MODEL OF A HOUSEProbably Han dynasty Of rectangular form with pitched roof, one side with an open door with taotie mask knocker, flanked by two pierced windows, 21.5cm high by 30cm length; also a pottery model of a horse and rider, probably Tang dynasty, 33cm highHouse- repair to one corner of the roof. Cracks to one end and to the reverse of the building.Minor chipsHorse and rider- extensive damage and restoration
Lot 1233
THREE ITEMS OF CHINESE CERAMICSVarious dates Comprising; a tapered celadon glaze vase from the Vung Tau cargo, circa 1690, Christie's label to base, 20.5cm high; a cylindrical pottery wine cup and cover, probably Eastern Han dynasty, 12cm high; a white glazed porcelain jar with lug handles, Song/Yuan dynasty, 11.25cm high. Provenance: the celadon glazed vase with Robert McPherson, London, (4)Celadon vase- some adhered kiln grit to one side, approx. 2cm by 1cm. some chipping around the foot. Black painted inventory number to base.Overall crazing to the glaze.Wine cup and cover- the cup with a number of rim chips, the largest approx 2cm by 1cm. The cover with minor rim chips. Partial brown glaze to cup and cover.White ware jar - restoration to one of the lugs. some glaze cracks to sides. Restoration to base
Lot 1246
FOUR PIECES OF CHINESE POTTERYVarious dates Comprising a sancai glazed cup and water pot or cup, Tang dynasty, each approx. 5.5cm high; a small white ware spouted ewer, Song dynasty, 9.5cm high; and a part glazed pottery ear cup, possibly Han dynasty, 10.5cm wideSancai cup- handle lacking. Glued breaks and cracks. Shallow chip and some restoration to the rimSancai wine pot/cup- there is a large `scar' down one side where there may originally have been a handle. Extensive repaired breaks, some restoration and chipsSpouted ewer- Long crack to rim which runs around the neck. Handle with glued breaks. Two chips to tip of spoutEar cup- some chips to handles and around rim.
Lot 1247
A CHINESE POTTERY GREEN GLAZED FIGURAL CANDLE HOLDERProbably Eastern Han dynasty In the form of a seated woman holding a child, 26cm highSome glaze chips. Loss to the back of the head. Some iridescence to the glaze. Some cracks.Triangular repaired section around the base, approx. 3cm by 2cm.
Loading...-
15862 item(s)/page