Chinese,Song Dynasty, with rounded sides rising from a short straight foot to a rim bordered with a thin concave groove, unctuously enveloped overall save for the foot with a lustrous black glaze attractively suffused with an intricate pattern of iridescent purplish 'oil spots' of varying sizes, the glaze neatly stopping short of the lower body and foot, revealing the unglazed pale grey bod
D. 3 5/8" (9.2 cm)
Provenance:Collection of the Kano family, owner of the Hakutsuru Sake Brewing Co., Ltd Catalogue Note Many of the greatest teabowls of the yuteki ("oil spotting") tenmoku (or "Yohen Tenmoku") type that have been passed down in Japan are the products of kilns in Shanxi and other parts of North China, and this piece is a fine example. The Tenmoku of the North China kilns are distinct from those of the Jian kilns for their grayish white clay, which is low in iron content and has a white or yellow cast. It was fired using charcoal as fuel. This piece has a black glaze covering both inside and outside and is densely covered with large and small silver spots; the whole bowl displays a reddish-purple cast. The oil spotting of Jian tenmoku is formed from multiple crystals containing fine creases, but on the oil spotting pieces of North China, the dots are like snowflake crystals. It is a small but elegantly shaped piece and the lines of the foot are clean-cut and sturdy. Iron slip has been painted over the exposed portion of the foot, indicating awareness of the black footed Jian tenmoku. Bowls of this form and with this attractive oil spot glaze are discussed by Robert D. Mowry in the catalogue to the exhibition Hares Fur, Tortoiseshell, and Partridge Feathers. Chinese Brown-and Black-Glazed Ceramics, 400-1400, Harvard University Art Museums, Cambridge, 1996, pp. 149-150, where it is suggested that they were made at kilns in Northern China, in imitation of the popular Jian tea bowls made in Fujian province. The author further notes that the oil spot effect on these bowls was achieved by adding a layer of black slip under two layers of iron-rich dark brown glaze. A slightly smaller bowl from the Sir Percival David Collection, now in the British Museum, London, was included in the exhibition Imperial Taste. Chinese Ceramics from the Percival David Foundation, British Museum, London, 1989, cat. no. 9; two similar examples in the Harvard University Art Museums, Cambridge, were included in the exhibition Hares Fur, Tortoiseshell, and Partridge Feathers, op.cit., cat. nos 43a and b; another bowl was sold in our New York rooms, 15th September 2015, lot 8; and two further bowls were sold in these rooms, 5th April 2017, lot 1102 and 2nd April 2019, lot 3062, respectively. See also a similar example from the collection of Hirota Matsushige, founder of Kochukyo, and now in the Tokyo National Museum, published in the Illustrated Catalogues of Tokyo National Museum: Chinese Ceramics I, Tokyo, 1988, cat. no. 610. similar bowl was sold in Christie's Hongkong on Apr 3 2017 Lot 26 for HKD 475,000 Similar bowl was sold in Christie's New York on Mar 24 2022 "Important Chinese Ceramics and Works of Art " lot 1090 for $32,760
Condition: in fair condition restored from broken the half with overpaint
A PAIR OF CHINESE VASES AND COVERS of baluster form, decorated in green with peonies and other flowers with leafy scrolls and tendrils on a black ground, the lids surmounted by seated kylins in gilt, the bases unglazed, late 17th/early 18th century, 25.75" high, together with a pair of hardwood stands with inverted scroll feet (repaired) Provenance: Alfred Morrison at Fonthill, Wiltshire and thence by descent to the Rt. Hon. Lord Margadale of Islay. Probably sold Christie's London 1964 This rare design belongs to a known, but very small, group of green and black wares including dishes and vases. A dish with related decoration is illustrated by John Ayers in "The Baur Collection" vol IV, plate A568. Acquired on 18th May 1971 for £650 from Bennison, 91 Pimlico Road, London SW1 The invoice from Bennison indicates that the vases originally formed part of the Fonthill Heirlooms, probably those sold by the Rt. Hon Lord Murgadale of Islay at Christie's in 1964 One evening in 1860, Alfred Morrison of Fonthill, grandfather of Lord Margadale, was having dinner at the Traveller's Club, when he was approached by Lord Loch of Drylaw, who had recently returned from China after the sacking of Peking, where he had been Secretary to Lord Elgin, the Treaty Negotiator. Lord Loch told Morrison that he understood he was forming a collection of porcelain and that he had some for sale. About half of Lord Loch's collection had been bought back from China, and some of pieces had come from the Summer Palace in Peking. The deal was settled over a glass of port, Mr Morrison paying Lord Loch £400 for the collection without even seeing it.
A PAIR OF YONGZHENG ERA FAMILLE ROSE ARMORIAL PLATES Yongzheng era, circa 1725 With famille verte sprays enclosing a rouge-de-fer and gold well; with a central armorial beneath heavy mantling in famille rose enamels. This is one of the earliest examples of famille rose, made for the very wealthy London merchant Sir John Lambert, who, as a director of the South Sea Company, saw its failure and his own ruin in 1720-21 and who died in 1723 of a broken heart, 8 3/4 in. Diam. The service would have been ordered before the extent of his colossal failure became known and is one of only two known examples of armorial porcelain with famille rose enamels that can reasonably be dated to 1721-22 (the other, being the Visconti service (made for the Italian market). D. Howard, The Choice of the Private Trader (Zwemmer, London), pp.56-57, no. 30. See also D. Howard, Chinese Armorial Porcelain, vol. I, p.206; D. Howard and J. Ayers (Sotheby Parke-Bernet Publications, London), China for the West, vol. II, p.407, no. 406.
Books: Chinese Export porcelain various titles including:
Howard, David S. volumes including:
CHINA FOR THE WEST. London: Sotheby Parke Bernet, 1978. With DJs and slip case.
A TALE OF THREE CITIES. London: Sothebey's, 1997.
THE CHOICE OF THE PRIVATE TRADER. Zwemmer, London 1994.
Beurdeley, Michel. PORCELAIN OF THE EAST INDIA COMPANIES. Barrie and Rockliff, London 1962. With DJ and slip case.
and seven other titles by Howard, Mudge, Gordon, Sotheby's and Philadelphia Museum of Art.
(12pcs)
Books: ANTIQUES RELATED Camusso, Lorenzo. CERAMICS OF THE WORLD, FROM 4000 BC TO THE PRESENT. New York: Abrams, 1992.Davies, George R. COLLECTION OF OLD CHINESE PORCELAIN. London: George Jones, 1913.Garnier, Edouard. THE SOFT PORCELAIN OF SEVRES. London: Studio Edition, 1988.Godden, Geoffrey A. MINTON POTTERY & PORCELAIN OF THE FIRST PERIOD, 1793-1850. London: Herbert Jenkins, 1968.Hyde, J. A. Lloyd. CHINESE PAINTED ENAMELS, FROM PRIVATE AND MUSEUM COLLECTIONS. New York: China House Gallery, 1970.Hyde, J. A. Lloyd. ORIENTAL LOWESTOFT CHINESE EXPORT PORCELAIN, PORCELAINE DE LA CIE DES INDES. Bath, England: Harding & Curtis, 1964.Kowalsky, Arnold & Dorothy. ENCYCLOPEDIA OF MARKS: ON AMERICAN, ENGLISH, AND EUROPEAN EARTHENWARE, IRONESTONE, AND STONEWARE, 1780-1980. Atglen, PA: Schiffer, 1999.Mudge, Jean McClure. CHINESE EXPORT PORCELAIN FOR THE AMERICAN TRADE, 1785-1835. [Newark] University of Delaware Press, 1962.Roberts, Gaye Blake. MASON'S, THE FIRST TWO HUNDRED YEARS. London: Merrell Holberton, 1996. (Total 9pcs)
Thomson, John - India & China
China. London, 1815. Approx 53 by 70cm high, hand coloured, trimmed at left edge, torn at lower edge; Thomson, John British India. London, 1816. Two sheets, each approx 75 by 55cm wide, hand coloured, previous folds, short tears to edges; and another (4)
[CHINESE JADE]
A group of reference books and catalogues about Chinese jades, including several important early publications, with titles comprising:
LAUFER, Berthold. Archaic Chinese Jades Collected in China by A.W. Bahr. New York: Privately printed. Signed by A.W. Bahr.
[With]:
FORSYTH, Angus & Brian McELNEY, Jades from China. Throckmorton Fine Art: Liangzhu: Late Neolithic Jades.--Chinese Jades of Late Neolithic Through Han Periods Vol. 2.--Chinese Jades of the Late Neolithic Through Han Periods.--Hongshan.--Shang and Western Zhou Jades.--The Neolithic Age.--Qijia. PAYNE, Stephen. How to Purchase Jade on the Internet. WU, Henry. Ancient Chinese Jade: Explanatory Notes on Mr. T.C. Liu’s Unique Collection of Examples in Chinese Art. Ex. Collection of Richard C. Bull. With frontispiece portrait of Mr. Liu, profusely illustrated in black and white. Gilt lettered cloth (some splitting). NA Zhiliang. ?????? (The Jade Carving Arts in the Qing Dynasty). National Palace Museum. ??Chinese Art in Overseas Collections: Jade. Taipei, 1989.YANG Boda. ???????? Chinese Archaic Jades from the Kwan Collection. SCHEDEL, J.J. The Splendor of Jade. SALMONY, Alfred. Carved Jade of Ancient China. (1982 facsimile edition). ---. Chinese Jade through the Wei Dynasty. Ronald Press, 1965. Five Thousand Years of Chinese Art Series. ???Chinese Jade, Part 1. WARD, Fred. Fred Ward Gem Series: Jade? Revised Edition. Los Angeles County Museum of Natural History. Stones from Heaven: Ancient Chinese Jade. “The Bulletin of the Friends of Jade”, 5 vols (5). MARKEL, Stephen. The World of Jade. Compendium of Chinese Art. ??????. ?????. ?? (Vol. 9, Jade). LI Xiangyun. ??????? Xiangyun Xuan Antique Jade Collection and Research. ZHOU Puquan. ???? The World of Jade: Chinese Jade. FU Zhongmo. ???? The Art of Jade Carving in Ancient China, second edition. Minneapolis Institute of Arts. Chinese Jades: Archaic and Modern. HANSFORD, Howard S. Chinese Jade Carving. ---. Jade: Essence of Hills and Streams. CAPON, Edmund. Princes of Jade. ???? The Jades from Yinxu. NOTT, Stanley. Chinese Jade Throughout the Ages. London: B.T. Batsford, 1936. ---.Chinese Jade Throughout the Ages. Rutland & Tokyo, 1962. LOEHR, Max. Ancient Chinese Jades. Cambridge: Fogg Art Museum, Harvard University, 1975. LYTLE, Miriam Anderson. The Lizzadro Collection. Signed by the author. POPE-Hennessy, Una. Early Chinese Jades. London: Ernest Benn, 1923. National Palace Museum.??????? (Stories of Jade, no. 2). WHITLOCK, Herbert P. and ERHRMANN Martin L. The Story of Jade. Lam, Peter Y.K., ed. ?????? (Jades from the Tomb of the King of Nanyue). Zhejiang Archaeological Institute.?????? (Ancient Chinese Jades). Spink & Son. Chinese Jade: An Important Private Collection. YEE, Ip. ???? Chinese Jade Carving. XU, Qiang.???????? Hongshan Antiquated Jade. National Museum of China.??????????????? (Selections of Liangzhu Jades). ZHOU Nanquan, ed. ?????????? (Chinese Jade? Collecting and Connoisseurship).Bluett & Sons. Chinese Jades from the Mu-Fei Collection. BERNSTEIN, Sam. The Journal of Chinese Jade. JENYNS, Soame. Archaic Chinese Jades in the British Museum. SHEN Zhuilu. ???? (Chinese Jade Carving). WILLS. Jade of the East. Christie’s. Important Chinese Jades and Hardstone Carvings, 14 June 1977. Chinese Jades in the Collection of the Seattle Art Museum. Shanghai Museum. ??????? Ancient Chinese Jade Gallery. Various reference books in Chinese and English.
Property from the Estate of Eliot A. Landau, Woodridge, Illinois
[THE REFERENCE LIBRARY OF C. T. LOO (1880-1957)] A group of works on Chinese art from the library of C. T. Loo, comprising:: [THE REFERENCE LIBRARY OF C. T. LOO (1880-1957)] A group of works on Chinese art from the library of C. T. Loo, comprising:. . HOBSON, R. L. Chinese Pottery and Porcelain I-II. London, 1915; The Wares of the Ming Dynasty. London, 1923. SIGNED COPY by the author. Gunnar Lamby ex libris. The Later Ceramic Wares of China. New York, 1925; Chinese Art. London, 1927. - WILLIAMS, Rose Sickler. Catalogue of Chinese, Corean, and Japanese Potteries. New York, 1914. - EUMORFOPOULOS, George, foreword. Ming and Ch'ing Porcelains. London: 1923. Provenance: Arthur Rothwell, with his penciled notes. -Burlington Fine Art's Club. Exhibition of Early Chinese Pottery and Porcelain. London, 1910. -Burlington Fine Art's Club. Illustrated Catalogue of Chinese Art. London, 1915. - HOUO, Paul Ming-Tse. Preuves des Antiquites de Chine. Beijng, 1930. -PALEOLOGUE, M. L'art Chinois. Paris, 1887. Provenance: Langdon Warner, Kyoto, 1907 (ink). - CHEN, J. D. The Three Patriarchs of the Southern School in Chinese Paintings. Hong Kong, 1955. -HERTHINGTON, A. L. The Early Ceramic Wares of China. London: 1922. - BUSHELL, S. W. Oriental Ceramic Art. Collection of W. T. Walters. New York, 1886. Text edition only. -Bronzes Antiques de La Chine Appartenant à C. T. Loo. Paris, 1924. -Briques et Objets Ceramiques des Han. Appartenant à C. T. Loo. Paris, 1936. -Archaic Chinese Jades. Exhibition Catalogue. The University Museum: Philadelphia, 1940. (2 copies). -An Exhibition of Chinese Archaic Jades . C. T. Loo. , Inc. West Palm Beach, 1950. -An Exhibition of Chinese Stone Sculptures. C. T. Loo. , Inc. New York, 1940. -SIREN, Osvald. Studein zur Chinesischen Plastik der Post-T'angzeit. Berlin, 1927; The Chinese on the Art of Painting. Peiping, 1936. Early Chinese Painting from the A. W. Bahr Collection. London, 1938. -The Oriental Ceramic Society. Exhibition of Chinese Jades. London, 1948. -LAUFER, Berthold. Jade. Chicago, 1912. Charles Bain Hoyt (1889-1949) ex libris; Ivory in China. Chicago, 1925. -HONEY, William Bowyer. The Ceramic Art of China. London: 1944. -GULLAND, W. G. Chinese Porcelain. London, 1929. 2 volumes, fifth edition. -GROTHE, Hugo (1869-1954). Orientalisches Archiv I-III. Leipzig, 1910-13. STRANGE, Edward F. Chinese Lacquer. New York, 1926. -Oriental Art. Ceramics, Fabrics, Carpets. London: 1928. -LETH, Andre. Chinese Art. Copenhagen, 1953. Illustrated Catalogue of the Beautiful Old Chinese Porcelains Comprising the Extraordinary Private Collection formed by Mr. S. S. Carvalho. New York: 1914. -MIZUNO, Seiichi. UnkoÌ„ sekibutsugun (Yungang Grottoes). Tokyo, 1944; Chinese Stone Sculpture. Tokyo, 1950. -MENTEN, J. F. H. Chinesische Grabfunde und Bronzen. Zurich, 1948. -ACKERMAN, Phyllis. Ritual Bronzes of Ancient China. London: 1945. -FENOLLOSA, Ernest F. Epochs of Chinese and Japanese Art I-II. London, 1921. Fourth edition. Anna May McNulty Carter ex libris. -MANNERHEIM, C. G. Till Häst Genom Asien. Helsingfors, 1946. -MEYER, Agnes E. Chinese Painting as Reflected in the Thought and Art of Li Lung-mien. New York, 1923. -KOYAMA, Fujio. Soji (Song Ceramics). Tokyo, 1943. -Les Laques du Coromandel. Paris, 1920. -WEN Yu. Selected Ancient Bronze Drums. Shanghai, 1957. -The Tokwaan-Kokyo-Zuroku or Ancienct Chinese Mirrors from the Collection of the Late Kenzo Tomioka. Kyoto, 1924. -HARADA, Yoshito. Lo-Lang€¦ Excavation of Wang Hsü's Tomb. Tokyo, 1930. -UMEHARA, Sueji. Tang Dynasty Mirrors. 2 volumes. Kyoto, 1945. Together 46 works in 52 volumes, all first edition unless otherwise noted. . A selection of important foundational works informing the study and collection of Chinese art in the early 20th century from the personal library of famed art dealer, collector, and connoisseur C. T. Loo: including early catalogues from the seminal exhibitions at Burlington House in London, and a number of works by R. L. Hobson, keeper of ceramics at the British museum, and many of Loo's personal copies from his own exhibitions. In addition to Loo, many of these works bear the names and notes from other contemporaries such as Langdon Warner, Charles Bain Hoyt, and Arthur Rothwell: figures foundational to shaping the field, and whose collections and tastes have now spread throughout the world's most renowned public and private collections. . Property from a Prominent Chicago Collection Condition . For condition inquiries please contact asian@hindmanauctions. com
Sale 386 Lot 540
* Three Reference Books Pertaining Chinese Pottery and Snuff Bottles comprising China Pottery, published by China Pottery Arts, Co. Taipei, Taiwam, Republic of China, paperback; Bob C. Stevens The Collector's Book of Snuff Bottles, published by John Weatherhill, Inc, New York, New York, hardcopy; Hugh M. Moss Snuff Bottles of China, published by Bibelot Publishers Limited, London. slip.
MARGARET MELLIS INK PAINTING WITH CIGARETTEMargaret Mellis (Scottish born in China, 1914-2009). Ink painting with collaged cigarette, n.d. Inscribed "El Cigarillo y el Arte, Despues de Ferryfrost / London Oct. MM MA" at lower right. A fascinating piece by Margaret Mellis featuring two long-lashed eyes delineated in indigo blue ink, the eye to the right presenting the word "ART" on the sclera, as well as an actual cigarette collaged to the left of the composition with lyrical passages of yellow and pink ink suggesting light radiating from the cigarette butt, swirling plumes of smoke, and a heart surrounding the "ART" eye. The inscription below reads, "El Cigarillo y el Arte, Despues de Ferryfrost" suggesting enjoying a cigarette after partaking in a "Ferryfrost" - perhaps Mellis' alternative word for sex. A whimsical artwork by Margaret Mellis mounted under glass in a custom frame. Size: 5.875" L x 7.875" W (14.9 cm x 20 cm)
About the artist: "Born in 1914, in China, Margaret Mellis and her family returned to Scotland soon after her birth. She studied at Edinburgh College of Art, where she was taught by SJ Peploe and WG Gillies, and learnt alongside Wilhelmina Barns-Graham and William Gear. In 1933, she went to Paris to study under Andre Lhote, followed by another visit in 1937. In between, in 1936, she met Adrian Stokes; the couple married in 1938. Together, they moved to St Ives, Cornwall, arguably heralding the next wave of artists to the area, with Ben Nicholson, Barbara Hepworth, Naum Gabo, Terry Frost, Patrick Heron, and Roger Hilton. Before this, she studied for a time at the Euston Road School, before fleeing to Cornwall following the outbreak of war. This move to St Ives coincided with Mellis exploring collage and relief. Created from found materials and paper, these collages were exhibited in New Movements in Art, at the London Museum in 1942. In 1946, following her divorce from Stokes, Mellis met the artist Francis Davison, with whom she moved to London, and then to Cap d' Antibes, in 1947. They married in 1948, and relocated to Walberswick, and later Syleham, Norfolk, in 1950, and then to Suffolk. For much of this time, though both continued to create artworks, neither was widely exhibited in London - they were geographically and, at times, conceptually, distant from life in the capital. This began to change, after Mellis embarked upon a series of large abstract paintings known as 'colour structures'. These were exhibited in London, with solo shows at Grabowski Gallery, in 1969, and then at Basil Jacobs Gallery, in 1972. From both shows, Mellis sold work to important public collections; the Government Art Collection bought a painting from the Basil Jacobs show, in 1972, while a painting had earlier been purchased by the Arts Council of Great Britain, in 1969.
In 1978, Mellis started creating driftwood reliefs, which she found while walking along the local coast at Southwold, and likened the creative process to Surrealist automatism. In the mid-'80s, Mellis was included in several high-profile exhibitions, including the important survey show of St Ives 1939-64, staged at the Tate Gallery, London, in 1985, and later Scottish Art since 1900, at the Scottish National Gallery of Modern Art, Edinburgh. In 1987, the Redfern Gallery staged a retrospective exhibition, from which the Tate and Arts Council bought recent driftwood reliefs. The exhibition was also attended by a young Damien Hirst; intrigued by the driftwood constructions in particular, Hirst wrote to the artist, and was invited to visit Mellis in Southwold, forming a lasting friendship. Mellis was part of the Tate St Ives' inaugural exhibition in 1993, and was the subject of a retrospective that opened at City Art Centre, Edinburgh, and toured the UK, in 1997. Recent exhibitions include Modern Scottish Women 1885-1965, at the Scottish National Gallery of Modern Art, and a joint-show with Damien Hirst at Pier Arts Centre, Orkney. In 2018, her work featured in an exhibition inspired by Virginia Woolf and her writings, at Tate St Ives." (Redfern Gallery website)
Provenance: private Santa Barbara, California, USA collection
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#179033
Condition:
Inscribed "El Cigarillo y el Arte, Despues de Ferryfrost / London Oct. MM MA" at lower right. Artwork is mounted under glass in a custom frame. It has not been examined outside the frame but appears to be in excellent condition. Gold tone metal frame has minor surface wear but is otherwise very nice. Glass is intact. Frame is fit with suspension wire.
Rare Pair of Early Arita Export Coffee Urns, Edo Period, Late 17th Century
Intended for the Dutch market, each gourd-shaped vase raised on three cabriole legs, the body with ‘C’ handle and scene of the House Gods in jovial celebration, all rising to bulbous neck with heavenly rabbits, the domed lid with knob and decorated with dragons
16.90" (height),
43.00 cm (height),
Provenance: Private Collection Toronto, purchased in London during the 1940’s
A similar example was sold in Christie's London Export Art of China and Japan, April 6th, 1998, lot 225. Another similar example of the same design but with an European metal spout can be found in JAPANESE ART: MASTERPIECES IN THE BRITISH MUSEUM. Smith, London: 1990, page 167. An example with Japanese male figure legs and moulded cranes and egrets on the body can be found in CHINESE EXPORT PORCELAIN FROM THE MOTTAHEDHE COLLECTION. Howard and Ayers. London: 1985, page 38.
CHINESE ART BOOKS Art Treasures of the Peking Museum, Francois Fourcade; The Seligman Collection of Oriental Art, S. Howard Hansford; New Discoveries in China, Danielle and Vadime Elisseeff; The Ceramics of China: The Yangshao Culture - The Song Dynasty, Y. Gen, Z. Xiqiu and S. Wengu; Understanding Far Eastern Art, Julia Hutt; The Splendors of Asia, Dorothy Hales Gary and Robert Payne; Kernels of Energy, Bones of Earth: The Rock in Chinese Art, China Institute in America; Chinese Art Treasures: Exhibition of Objects from The Chinese National Palace Museum, 1961-62; Collecting Oriental Antiques, Judith Moorhouse; Penjing: The Chinese Art of Miniature Gardens, Hu Yunhua; Chinese Ornament: The Lotus and The Dragon, Jessica Rawson; A & J Speelman: Oriental Art, London 1990; Chinese Treasures from the Avery Brundage Collection, RenÇ-Yvon Lefebvre d'Argence; The Communion of Scholars: Chinese Art at Yale, Mary Gardener Neill; Selections of Chinese Art from Private Collections, China House Gallery, 1986; The Art of China, Shirley Glubok.
Twenty-One Books on Asian Fine and Decorative Arts, including, W. Speiser, Art of China, R. Hobson, Wares of the Ming Dynasty, J. and A. Burling, Chinese Art, T. Bowie, ed., Art of Thailand, J. Spence, Emperor of China, P. Swann, Chinese Painting, a catalogue of the 1969 Kansas City exhibition Kung Hsien, J. Hartman, Chinese Jade of Five Centuries, H. Garner, Oriental Blue and White, W. Edmunds, Pointers and Clues to the Subjects of Chinese and Japanese Art, Rizzoli's Chinese Art series vols. I (Bronzes, Jade, etc.) and III (Textiles, Glass, etc.), A. Christie, Chinese Mythology, F. MacKenzie, Chinese Art, D. Macintosh, Chinese Blue and White Porcelain, J. Fonteyn and T. Wu, Unearthing China's Past, J. Auboyer, ed., The Oriental World, J. Barinka, Art of Ancient Korea, M. Bussagli, Painting of Central Asia, and two auction catalogues, Sotheby's London, December 16, 1980, The Edward T. Chow Collection, Part Two, and Sotheby Parke Bernet, Monaco, February 6 & 7, 1978, Meubles et Objets d'Art (French text). Provenance: The Library of Johan W. Adriaans, New Orleans, Louisiana.
RARE GILES-DECORATED CHINESE EXPORT TEAPOT & STAND, Qianlong Era, circa 1758-63
English decorated teapot and stand.
The tea pot decorated in overglaze red, gilt, and black enamels, with a landscape with European buildings in ruins, a figure on a horse proximate to a couple standing figures, with another solitary figure standing under a tree. There is a river in the middle distance and the buildings and ruins on the opposite side, all outlined in black and washed over in red enamel. The cover and stand are similarly decorated. The rims decorated with a scrolling gold border, and the finial on the tea pot is painted in gold. This teapot, cover, and stand, decorated with ruined buildings among trees and a river, are clear evidence for the fashion for Picturesque views in England during the mid-18th century. The composition bears similarities with woodcuts and drawings by Domenico Campagnola and other Venetian painters of the 16th century, which were being rediscovered by the English collectors and travelers of the “Grand Tour”, at the time.
This particular group of Chinese export porcelain, of which similar examples exist in the collection of the Victoria and Albert Museum in London, were painted in London, specifically attributed to the atélier (workshop) of the enameller James Giles (1718-1780). Giles was possibly the most famous ‘chinaman’ and ‘china painter’ of his time in London, and he was known for decorating both Chinese export and English manufactured porcelain, and for a thriving retail business. Between 1743 and 1777, his business attracted illustrious clients, such as Princess Amelia (1711-1786), daughter of King George II (1683-1760), and he was recognized by Josiah Wedgwood (1730-1795), as the enameller with the most efficient gilding techniques
teapot, 5 1/2 in. H., and stand, 5 in. W.
For further example, see Hanscombe, "The Early James Giles and His Contemporary London Decorators," p.126, fig.136.
KATRINA CHAYTOR (1962 - )
UNTITLED,
earthenware,
height 15.0" — 38.1cm
painted signature and dated ‘89 in black
Est. $500/800
Realised: $510Auction Date: 04/21/2015
Provenance: Purchased directly from the artist
Note: KATRINA CHAYTOR (1962 - )“My pottery embraces utility, a craft concept that engages an intimate connection to daily life. The concept of utility is one of accommodation and collaboration between maker and user. In my work, I explore the symbiotic relationship of form, containment and surface decoration. I make pots to serve, to heighten daily experience and through the action of use, mediate between art and life.” - Katrina Chaytor -Katrina Chaytor is an internationally renowned ceramic artists, best known for her hand-built functional ware. Her work is held in private and public collections in Canada, the US and China.Katrina Chaytor was born St. John’s, Newfoundland in 1962. She received her BFA from the Nova Scotia College of Art and Design in Halifax in 1983 and her MFA from New York State College of Ceramics at Alfred University, Alfred, New York, in 1986. Chaytor has participated in numerous exhibitions both nationally and internationally and, in 2007, was one of ten Canadian ceramic artists invited to participate in a month-long residency at the Fule International Ceramics Art Museums at FuPing, Shaanxi, China. Chaytor has been a permanent member of the Ceramics faculty at the Alberta College of Art and Design since 2001. She has lectured and taught workshops both nationally and internationally, and is the recipient of several awards and grants, including the Award of Honour from the Alberta Craft Council in 2010.Chaytor’s work is of slab construction, incorporating complex patterns onto her surfaces with plaster moulds and accentuating them with luminous glazes. She continues to research the role of ornament as a “mediator between art and life” in contemporary culture.Selected Corporate, Private and Public CollectionsAlberta Foundation For the Arts Art Gallery of Nova Scotia Calgary Allied Arts FoundationCanadian Ceramic Artists Charter Ceramics Collection, Fule International Ceramics Art Museums, FuPing, Shaanxi, ChinaClaridge CollectionComcheqEsplanade Art Gallery, Medicine Hat, AlbertaNew Brunswick MuseumRaphael Yu – major private collection Shanghai Arts and Crafts Museum, Shanghai, ChinaThe Canada Council Art Bank Visual Art Bank - Manitoba Arts Council Burlington Art Centre3M Canada Inc. Selected Solo/Duo Exhibitions2015 Come Home, Craft Council Gallery, St. John’s, NL Calgary Outside the Box, Toronto Design Offsite Festival, ON2008 The Decorative Device, with Rory MacDonald, Esplanade Art Gallery, Medicine Hat, AB2007 Solo show, Boulder Mountain Art Gallery, Ketchum, Sun Valley, ID2005 Domestic, with Greg Payce, Nickle Arts Museum, Calgary, AB2001 Days of Wine and Red Roses, Electrum Design Studio, Edmonton, AB2000 New Pots, Electrum Design Studio, Edmonton, AB1999 Katrina Chaytor - Recent Ceramics, Electrum Design Studio, Edmonton, AB 1999 K.Chaytor-Rozman - Clay, Generations Gallery, Stony Plain, AB1995 Solo Exhibition, Muttart Art Gallery, Calgary, AB 1994 Dryburgh - PAPER/ Chaytor-Rozman – CLAY, Main Access Gallery, Winnipeg, MB1991 Solo Exhibition, Galerie Franklin Silverstone, Montreal, QCSelected Group Exhibitions2015 15 on 35, Alberta Craft Council, Calgary, AB2014 May Cups, Willock and Sax Gallery, Banff, AB Continuum, Alberta Craft Council, Calgary, AB2012 Comfort and Joy 2012, Newfoundland and Labrador Craft Council, St. John’s, NL Feast of Pottery III, curated by Alexis Templeton, Quidi Vidi Plantation Village, St. John’s, NL2011 The Recipients Show-ACC 2011 Awards, Alberta Craft Council, Edmonton, AB Feast of Pottery II, curated by Alexis Templeton, Geo Centre, St. John’s, NL 1000 Miles Apart Faculty and Student exhibition, Gallery One One One, Winnipeg, MB A Matter of Clay III, Jonathon-Bancroft-Snell Galleries, London, ON The Makings, Willock and Sax Gallery, Banff, AB Comfort and Joy 2011, Newfoundland and Labrador Craft Council, St. John’s, NL 2010 Feast of Pottery, curated by Alexis Templeton, Geo Centre, St. John’s, NL Clay 2010, Alberta Craft Council, Edmonton, AB West Meets East, curated by Ann Roberts, Harbinger Gallery, Waterloo, ON The Art of Craft; Selected Works of Unity & Diversity, Cultural Olympiad, Museum of Vancouver, Vancouver, BC Comfort and Joy 2010, Newfoundland and Labrador Craft Council, St. John’s, NL2009 Teapots… No Drips Allowed, group exhibition, Jonathon Bancroft Snell Gallery, London, ON Masterpiece Contemporary 2009, Art Gallery of Calgary, Calgary, AB2008 International Biennial Exhibition of Contemporary Teapot Art, Invitational, Shanghai Arts and Crafts Museum, Shanghai, China Trio: 3, sponsored by Alberta Craft Council at Art Gallery of Calgary, Calgary, AB The Recipients exhibition, Alberta Craft Council Awards, ACC Gallery, Edmonton, AB2007 Affinity: Alberta Ceramics, Illingworth Kerr Gallery, Alberta College of Art and Design, Calgary, AB Brew Ha-Ha, Alberta Craft Council, Edmonton, AB2006 A Matter of Clay II; Repeats and the Occasional Pots, Jonathon-Bancroft-Snell Galleries, London, ON Contemporary Canadian Ceramics, Invitational Group exhibition, Esplanade Art Gallery, Medicine Hat, AB (catalogue)2005 Studio Ceramics in Canada, Invitational Exhibition of ACC members included in book publication Studio Ceramics in Canada, In the Margins; Canadian Women Working in Clay, curated by Alexandra McCurdy, Mary E. Black Gallery, Halifax, NS In the Margins; Canadian Women Working in Clay, Jonathon Bancroft-Snell Gallery, London, ON Guilty Pleasure, curated by Melanie Egan, Harbour Front Centre, Toronto, ON2004 Tea and Roses, curated by Evelyn Grant, Leighton Art Centre, Calgary, AB2003 Genius Loci, Invitational Exhibition, Canadian Clay and Glass Gallery, Waterloo, ON Mugs and Jugs; Vessels of Libation, Alberta Craft Council, Edmonton, AB2002 1000 Miles Apart, Allied Arts Centre, Red Deer, AB Virtuosity, Participant Exhibition, ‘Aesthetics of Skill’ Ceramics Conference, Red Deer College, Red Deer, AB2001 Tea Party III, Prime Gallery, Toronto, ON Ceramica del Norte, The Works Visual Arts Festival, Edmonton, AB2000 Mexico/ Canada International Ceramics Exchange Exhibition, Museo Poblano de Arte Virreinal, Puebla, Mexico Air - O – Dynamics, Group Exhibition, Medalta Residency Program, Medicine Hat Public Library, Medicine Hat, AB Renewal, Electrum Design Studio, Edmonton, AB1999 Legacies, Medalta International Artists in Residence Program’s AIR Show 99, Medicine Hat, AB Curio, Case Studies, York Quay Gallery, Harbour Front/York Quay Centre, Toronto, ON 1998 Faculty Exhibition, Faculty of Extensions- Fine Arts, University of Alberta, Edmonton, AB Keramos, The Works- A Visual Arts Celebration, Edmonton, AB SERIES ‘98, Old Courthouse Gallery, Red Deer, AB1997 Blast from the Past, Past Artists’ in Residence of Red Deer College, Red Deer, AB Another Group of Seven, Newzones Art Gallery, Calgary, AB Vessels in Celebration, Alberta Potters’ Association 25th Commemorative Exhibition, Medicine Hat Museum, Medicine Hat, AB 1996 Vessels in Celebration, The Canadian Clay and Glass Gallery, Waterloo, Ontario and Glenbow Museum, Calgary, AB Paperclay, Group Exhibition of works produced by participants of Greek/ Canadian Intercultural Ceramic Symposium – Phase I, Banff Centre on 8th Gallery, Calgary, AB Walter Ostrom – The Advocacy of Pottery, Art Gallery of Nova Scotia, Halifax, NS1995 Ground Connection, Joan MacNeil, Therese Chabot, Trudy Golley, Grace Nickel, Sally Barbier and Katrina Chaytor, Mentoring Artists’ for Women’s Art Inc., St. Norbert Arts and Cultural Centre, Winnipeg, MB North by Northwest; Clay in Canada, Alberta Selection, Nickle Arts Museum, Calgary and Alberta Crafts Council, Edmonton, AB Art at Terminal 3, Franklin Silverstone/ Canadian Airlines, Pearson International Airport, Toronto, ON1994 Faculty Exhibition, Illingworth Kerr Gallery, Alberta College of Art and Design, Calgary, AB Containment- The Space Within, Canadian Clay and Glass Gallery, Waterloo, ON1992 North; Hot Clay from Cold Climates, Group Exhibition of selected artists from Alaska/ U.S.A., Finland, Sweden, Norway, Latvia,
RARE CHINA TRADE VOLUME "THE CHATER COLLECTION, PICTURES RELATING TO CHINA, HONG KONG, MACAO, 1655-1860"RARE CHINA TRADE VOLUME "THE CHATER COLLECTION, PICTURES RELATING TO CHINA, HONG KONG, MACAO, 1655-1860", By James Orange. London: Thornton Butterworth Limited, 1924. Unnumbered copy of 750. Includes all three pull-out maps - China, Canton River and Town of Victoria.
WEI JINGMENG (1907-1982) CALLIGRAPHY IN RUNNING SCRIPT, 1974 handscroll, ink on paper, Li Bai's poem Jiang Jin Jiu (Wine Will Be Served), signed, with one seal of the artist, dated winter, jiayin year (1974), dedicated to Tseng En Po who travelled to Taipei during his 59th birthday and met the calligrapher, mounted 23.5cm high, 89cm wide Estimate £ 200-300 The Collection of Eddie Tseng En Po (1915- 1989) Tseng En Po led his life in the centre of enormous world events. As a top newsman he reported those events to the world with only a typewriter and basic telephone systems. His notebooks attest to those world changing times, before the days of the Internet. Born on 10 November 1915 in Canton, Tseng En Po studied journalism at Yenjing University in Peking. In 1941, whilst working for Central News Agency in Hong Kong, he escaped the Japanese invasion and walked to Chungking to join Chinese forces. From there he reported on the Sino-Japanese war and became associated with the future President of China Chang Kai Shek and Madame Chang. During the Pacific War, Mr Tseng witnessed the aftermath of the Hiroshima bombing on the first reconnaissance plane into the area, and was the first reporter to broadcast the Japanese surrender from the USS Missouri in Tokyo Bay. Mr Tseng was based in occupied Japan after the end of the Second Word War and covered the Korean War before moving first to Taiwan in 1951, and then to London in 1958 to become CNA Bureau Chief, Europe. In this post, he became associated with the European and American political elite and Taiwanese diplomatic corps. Mr Tseng and his wife Betty Fang Yin were genial hosts, entertaining their guests with great food cooked by Betty, who was much the 'hostess with the mostess'. It was during this time that Mr Tseng met and befriended a range of prominent Chinese artists, who presented him with many of the artworks offered in this sale. Mr Tseng moved to Hong Kong in 1965 to become Far East Bureau Chief of CNA, progressing to Editor of the Hong Kong Times during the Chinese Cultural revolution in China and Red Guard activity in Hong Kong and leading up to the Hong Kong handover to China. Twice President of the Hong Kong Foreign Correspondents Club, Mr Tseng undertook diplomatic roles on behalf of the Republic of China government in Taiwan in their relationship with the American and British governments. Tseng En Po died after a struggle with cancer in 1989. He was given a near state funeral in Hong Kong and a second one, with military honours, in Taiwan. . Sold for £225 (buyer's premium included)
RARE GILES-DECORATED CHINESE EXPORT TEAPOT & STAND Qianlong Era, circa 1758-63
English decorated teapot and stand.
The tea pot decorated in overglaze red, gilt, and black enamels, with a landscape with European buildings in ruins, a figure on a horse proximate to a couple standing figures, with another solitary figure standing under a tree. There is a river in the middle distance and the buildings and ruins on the opposite side, all outlined in black and washed over in red enamel. The cover and stand are similarly decorated. The rims decorated with a scrolling gold border, and the finial on the tea pot is painted in gold. This teapot, cover, and stand, decorated with ruined buildings among trees and a river, are clear evidence for the fashion for Picturesque views in England during the mid-18th century. The composition bears similarities with woodcuts and drawings by Domenico Campagnola and other Venetian painters of the 16th century, which were being rediscovered by the English collectors and travelers of the “Grand Tour”, at the time.
This particular group of Chinese export porcelain, of which similar examples exist in the collection of the Victoria and Albert Museum in London, were painted in London, specifically attributed to the atélier (workshop) of the enameller James Giles (1718-1780). Giles was possibly the most famous ‘chinaman’ and ‘china painter’ of his time in London, and he was known for decorating both Chinese export and English manufactured porcelain, and for a thriving retail business. Between 1743 and 1777, his business attracted illustrious clients, such as Princess Amelia (1711-1786), daughter of King George II (1683-1760), and he was recognized by Josiah Wedgwood (1730-1795), as the enameller with the most efficient gilding techniques
teapot, 5 1/2 in. H., and stand, 5 in. W.
For further example, see Hanscombe, "The Early James Giles and His Contemporary London Decorators," p.126, fig.136.
IAN MCKEEVER, (UNITED KINGDOM, B.1946), SENTINEL V, 2003, ACRYLIC AND OIL ON CANVAS, 88 1/2"H X 55 1/2"W.IanMcKeever(United Kingdom, b.1946)Sentinel V, 2003acrylic and oil on canvasSigned, titled and dated verso. Provenance: Property of the Estate of Craig W Johnson, purchased from the Alan Cristea Gallery, London. Biography from the artist's website: Ian McKeever, born 1946, Withernsea, Yorkshire commenced working as an artist in 1969 after studying English Literature. His first solo exhibition took place at the ICA, London in 1973. His early work as a painter grew out of a conceptual interest in landscape, painting and photography in which often a photographic element was juxtaposed with a drawing or overpainted. However, around 1988 the work became significantly more engaged with painting per se. These later works have an emphasis on an abstract language which is concerned primarily with the human body and architectural structures. At the same time the quality of light and its presence in the painting became increasingly important. Often the works are monumental in format. Since 2007 he has reengaged with the photographic element in his work. McKeever has received numerous awards including the prestigious DAAD scholarship in Berlin 1989/ 90 and was elected a Royal Academician in 2003. He has held several teaching positions including Guest Professor at the Städel Akademie der Kunst in Frankfurt, Senior Lecturer, Slade, University of London and Visiting Professor at the University of Brighton. He has also published many texts and essays primarily concerning the nature of painting. Amongst his many museums exhibitions McKeever participated in Dialogue, Moderna Museet, Stockholm, 1985, New Abstraction, Museo Nacional Centro de Arte, Reina Sofia, Madrid and Museo d'Art Contemporarie, Barcelona, 1996, Royal Academicians in China, National Gallery, Beijing, Shanghai Art Museum and Royal Academy of Arts, London, 2005, Tate Britain, 2011 and National Museum of Norway, 2012. McKeever has had numerous solo exhibitions, including Kunstverein Braunschweig, 1987, Whitechapel Art Gallery, London, 1990, Kunsthallen Brandts, Odense, 2001, Royal Academy of Arts, London, 2010, Sønderjylland Kunstmuseum, 2011, Josef Albers Museum, Bottrop, 2012 and Kunst-Station Sankt Peter, Cologne, 2014. McKeever's work is represented in leading international public Collections, including Tate, British Museum, Royal Academy of Arts, London; Museum Moderner Kunst, Vienna; Museum of Fine Art, Budapest; Louisiana Museum of Modern Art, Humlebæk; Glyptotek, Copenhagen; Museum of Contemporay Art, Helsinki; Brooklyn Museum of Art, New York; Metropolitan Museum of Art, New York; Boston Museum of Fine Art and Yale Center for British Art, Connecticut.88 1/2"H x 55 1/2"W.
An Atlas China bowl with sepia printed decoration after Bruce Bairnsfather showing Tommies in a trench "Well if you knows of a better 'ole" together with an Alexandra china model of a tank with the City of London crest, a Swan Tyler model of an ambulance with the City of Bristol crest and an Arcadian china bust length model of a Tommy with printed decoration showing Lydney Parish Church, etc
A Rare Pair of Monumental Regency Gilt and Patinated Bronze Torchères, early 19th c., probably William Bullock, London, amphora fonts with satyr masks, scrolled foliate arms, fluted columnar standards, tripartite feet festooned with acanthi and masks on molded bases, etched and frosted shades, height 67 1/2 in., width 25 1/2 in. $12000/18000
Provenance: "The Service Collection", Estate of Grant A. Oakes, Warren, OH.
Note: The centered Bacchanalian masks on tripartite base and elaborate designs of rosettes and scrolled anthemion fans in the candelabra arms are characteristic of Bullock's Egyptian-style. As early as 1805, Bullock published similar lamp and urn base designs for the opening of his "Egyptian Hall showrooms" where he traded as a "Jeweller, Silversmith and China Man." This base is also found on a black basalt urn in the British Museum Collection (acc. 1992.041.1) that Bullock designed for Egyptian Hall, a museum completed in 1812 to house Bullock's Collection of Natural Curiosities. It was the first building in England to incorporate architectural elements of the Egyptian/Empire-style. Thomas Hope's Egyptian Room in his home on Duchess Street, which was opened to the public and had been well illustrated in Hope's Household Furniture and Interior Decoration (London, 1807). The torchères' arms to drawings Hope published as plate. 41.
References: Clifford, T. "William Bullock- A Fine Fellow", Christie's International Magazine (July 1991): 14-15; "William Bullock." The British Museum. date accessed Jan. 5, 2015; The Ellerslie House Collection, exhibition catalogue, Christie's London, May 24, 2001, lot 627; Macdonell, Alice. "Bullock, William (fl.1827)" in Leslie Stephen, ed. Dictionary of National Biography, vol 7. London: Smith, Elder & Co., 1886.
HIGHLY IMPORTANT CHINA TRADE PAINTING OF THE AMERICAN SHIP "JOSHUA BATES" OFF WHAMPOA ANCHORAGE BY SUNQUA (ACT. 1830-1870).
Only a handful of these large and impressive ship portraits by Sunqua are known. Remarkable for their quality, use of light and skillful rendering of vessels, they are among the finest works of the China trade port painters of the mid-nineteenth century. Oil on canvas, 29 x 39 ¾ inches. Signed "Sunqua" l.r. The 620-ton "Joshua Bates" was built at Newburyport by William Pickett for Enoch Train's new White Diamond Line; her master shipwright was Donald McKay. When the "Bates" was launched in 1844 and floated down the Merrimack, McKay's career was also launched. Enoch Train was so pleased with the new ship, that he provided McKay with the resources to open his own shipyard in East Boston. The "Bates" was employed in the China Trade, sailing to Canton and Shanghai by both the Pacific and Atlantic routes, and calling occasionally at Smyrna in the lucrative opium trade. Joshua Bates (1788-1864) a shrewd Bostonian, joined Barings Bros. Bank in 1828. From 1828-1864, together with Thomas Baring, they formed the greatest partnership in the firm's history. In the 1830's and 1840's Bates was particularly responsible for expanding business in the U.S., India and China and under him, the firm acquired and managed a fleet of seven cargo ships. Related by marriage to the "Boston Concern," the loose grouping of the four Boston families (Perkins, Forbes, Russell and Sturgis) that controlled American trade in opium, the firm became the "Concern's" principal bankers. Bates came to be an extremely wealthy man; in later life he endowed Bates College in Maine and was also a major benefactor of the Boston Public Library. Provenance: Martyn Gregory, London. Literature: For a discussion of Sunqua's work, see Crossman, pp. 124-133. A similar painting of the "Samuel Russell" also at Whampoa Anchorage, was sold by Northeast Auctions, August 17, 2003, lot 751.
CHINESE ART HISTORY INTEREST BOOKS, 11 Group of books of Chinese art history and decorative arts, 11, and comprising: Hugo Munsterberg, The Arts of China, Charles Tuttle, Tokyo, 1981 (second ed,) ; Cary Y. Liu, Recarving China's Past: Art, Archeology, and Architecture of the 'Wu Family Shrined', Yale University Press, New Haven, 2005; Author Unknown, The Beauty of Chinese Jade, Title pages cut; Nicole Vandier-Nicolas, Chinese Painting: An Expression of a Civilization, Rizzoli, New York, 1983; Susan L. Caroselli (ed.), The Quest for Eternity: Chinese Ceramic Sculptures from th People's Republic of China, LACMA, Los Angeles, Chronicle Books, New York 1987; James C.Y. Wyatt, China: Dawn of a Golden Age 200-750AD, The Metropolitan Museum of Art, Yale University Press, New Haven 2005; Hai-Wai Yi-Chen, Chinese Art in Overseas Collections: Buddhist Sculpture, National Palace Museum, Taipei, Taiwan, ROC, 1986; Author Unknown, Illustrated Catalogue of Chinese Government Exhibits for the International Exhibition of Chinese Art in London, Vol. I, Bronze, 1935; together with three Chinese-language works, one on Tang Ceramics, one on Chinese furniture, the last a selection of masterworks in the collection of the National Palace Museum. Dimensions: 13: H x 11.25" W (the largest)
JEAN-BAPTISTE-LOUIS GROS (FRENCH 1793-1870) A PAINTING,...JEAN-BAPTISTE-LOUIS GROS (French 1793-1870) A PAINTING, "South American Aqueduct and Mountains in Landscape," oil on cardboard, signed L/R, "Gros." 8 3/4" x 14" Note: Jean-Baptiste-Louis Gros, Former Senator of the Second Empire, Election and Service: September 20, 1858-August 17, 1870. Born in Ivry-sur-Seine on February 8, 1793, died in Paris on August 17, 1870, began a career in diplomacy in 1823, received the title of baron in 1829, and, having joined the government in July, was sent to Mexico as the first secretary of the legation, then appointed charge d'affaires in Bogota (1834). In the years preceding the February 1848 revolution, Baron Gros received several important missions in South America, notably in Plata. In 1849 he passed to England for negotiations relating to the expedition of the French government to Rome; in 1850 he went to Athens as Minister Plenipotentiary, with the mission of bringing an end to the dispute which then existed between Greece and England; then he became (1854) one of the plenipotentiaries designated to proceed with the final fixing of the borders between France and Spain: the difficulties to which this question had given rise for centuries were ended by the convention of Bayonne (1856). M. Gros, who, under these various circumstances, had drawn himself to the attention of the government, was sent to China (1857) as an extraordinary ambassador to obtain, in concert with Lord Elgin, the opening of new Chinese ports to European commerce and effective protection for missionaries. He was appointed senator on September 20, 1858. The violation of the Tien-Tsin treaty gave rise (1860) to a Franco-English expedition to China. M. Gros accompanied General Cousin-Montauban there, and, when new peace negotiations were started, he took part in the Peking treaty, which ended the campaign. On June 25, 1868, Mr. Gros put his signature at the bottom of the Tien-Tsin peace treaty, then went to the capital of Japan, to Yeddo, where he concluded a trade treaty, on September 9 of the same year. During M. de Flahaut's retirement, Baron Gros was called to the London embassy (November 14, 1862). During M. de Flahaut's retirement, Baron Gros was called to the London embassy (November 14, 1862); he retired on February 17, 1865 and was awarded the Grand Cross of the Legion of Honor (March 7, 1861)." Courtesy: An excerpt from the “Dictionary of French Parliamentarians,” (Robert and Cougny, 1889). Provenance: Property of a South Texas Collector.
Condition:
Some expected surface wear, mild darkening, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
CENTRAL ASIA (18 Works in 18 Volumes): CENTRAL ASIA (18 Works in 18 Volumes) A group of works about Central Asia, comprising: PRICE, Julius. From the Artic Ocean to the Yellow Sea: the narrative of a journey in 1890 and 1891, across Siberia, Mongolia, the Gobi Desert, and North China. London: Sampson Low, Marston & Company, 1892. BONVALOT, Gabriel. Across Thibet (Volumes I and II). TRANSLATED. London: Cassell & Company, Limited, 1891. TYNDALE BISCOE, C. E. Kashmir in Sunlight & Shade: a description of the beauties of the country, the life, habits and humour of its inhabitants, and an account of the gradual but steady rebuilding of a once down-trodden people. London: Seeley, Service & Co. Limited, 1922. YOUNGHUSBAND, Captain, G. J. The Relief of Chitral. London: Macmillan and Co, 1895. PENNELL, T. L. Among the Wild Tribes of the Afghan Frontier: a record of sixteen years close intercourse with the natives and Indian marches. London: Seeley, Service & Co. Limited, 1912. And 13 others. Condition For condition inquiries please contact Jon King at jonking@hindmanauctions. com
Fortune, R.
Yedo and Peking. London: J. Murray, 1863. 8vo, 8 plates and map, later cloth, folding map torn, several leaves frayed; Idem Three years' wandering in the northern provinces of China. London: J. Murray, 1847. 8vo, additional title and 2 plates, original cloth, spotted and discoloured, rebacked, faded; Idem A journey to the tea countries of China. London: J. Murray, 1852. 8vo, additional title, map and 2 plates, original cloth, textblock broken, contents loose, spotted, binding worn (3)
Provenance: From the library of the botanical artist Elizabeth Cameron, nee Vaughan-Lee.
14 vols. (wrappers) (China Trade.) Foreign Office Annual Series, Diplomatic and Consular. Reports on Trade and Finance, China. London, 1892-1897: Wenchow (1891); Amoy (1891); Kiungchow (1891); Kiukiang, (1891); Pakhoi (1891); Wenchow (1891); Swatow (1892); Newchwang (1895); Wuhu (1895); Kiukiang (1895); Foreign Trade of China (1895); Chinkiang (1895); Amoy (1896); Ningpo (1896); Canton (1896). All 8vo, orig. sewn self-wrappers; scattered wear, a few wrappers detached. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman''s Conditions of Sale.
Rare Imperial Chinese gilt-bronze knife in carved white jadeite scabbard Qing dynasty, 18th century, lotus scroll-carved jade scabbard, mounted near opening in high relief with gilt-bronze ring; gilt-bronze hilt with conforming design, topped with leiwen-carved russet jade pommel, cast-steel blade with fuller down middle on each side; overall L13 1/2" Provenance: Millicent Rogers Arturo Peralta Romas II Other Notes: It is very rare to find a pure white jadeite scabbard so intricately crafted with a matching gilt-bronze handle, representing such a fine example of the high standards of artistic production achieved in the 18th century. Compare a knife of this type with a jade handle and an intricately carved wood scabbard depicting a flowering lotus scroll, from the collection of Dr. Ip Yee, included in the exhibition Bamboo and Wood Carvings of China and the East, Spink and Son Ltd., London, 1979, cat. no. 277 and sold at Sotheby's Hong Kong, 19 November 1984; another with jade handle and diaper-carved bamboo scabbard, sold at Christie's New York, 21st September 2004, Lot 76; and pair of slightly smaller knives with carved jade handles and scabbards, sold in our London rooms, 7th June 1994, Lot 138. A similar gold knife with white jade handle and inlaid gold sheath was included in the exhibition Splendours of China's Forbidden City, The Field Museum, Chicago, 2004, cat. no. 248, and is pictured in situ, cat. no. 250. The use of personal knives at meals was a mark of Manchu identity. Manchu men were supposed to cut their meat themselves so as to not fall into the decadent Han Chinese habit of eating their meat pre-cut. When eating sacrificial pork, women were also expected to cut up their own meat. Knives and other eating utensils formed part of the dowries of princesses and even maidservants (see the exhibition catalogue ibid., pp. 197-201). Condition statement: scabbard end cap missing and small chip to edge. Otherwise appears to be in all original condition.
Grp: 54 Maps of the World 18th and 19th c. : Group of 54 maps of various regions of the world, dating from the 18th and 19th century. Foldable Map of Navarre on paper attached to linen, Tomás López de Vargas Machuca (1730-1802) "Map of the Reyno de Navarra. Understand the Merindades of Pamplona, ??Estella, Tudela, Sangüesa, Olite, Cities, Villas, Valleys and Cendeas, etc. Dedicated to the Illustrious Lord Don Miguel de Muzquiz, " Madrid, 1772; Samuel Augustus Mitchell (1792-1868) Hand Colored "Map of Asia Showing its Gt. Political Divisions, and, also, the Various Routes of Travel between London & India, China & Japan &c. , " Library of Congress, 1860; J. H. Colton & Co. Hand Colored "Map of Boston and Adjacent Cities" J. H. Colton & Co. , New York, 1855; Smyth, Thakeray, Arnold &c. "Syracuse with the Remaining Vestiges of its Five Cities, " Charles Knight & Co. , London, ca. 1846; J. H. Colton & Co. Hand Colored "Colton's Map of Boston and Adjacent Cities" Johnson & Browning, New York, 1855; J. H. Colton & Co. Hand Colored Map of "Africa North Eastern Sheet" Johnson & Browning, New York, 1855; Three J. H. Colton & Co. Hand Colored Map of "Northern America, British, Russian & Danish Possessions in North America" J. H. Colton & Co. , New York, 1855; Hand Colored Map of "North America, " Published by Act of Congress; Adolf Stieler Hand Colored Map of the Mediterranean Sea and North Africa "Das Mittellandische Meer und Nord-Afrika im Maassstabe von 1:7, 500, 000, " from "Stieler's Hand-Atlas" Gotha: Justus Perthes, 1871; Map of the Gulf of Cadiz from "Stieler's Hand Atlas"; Map of Mozambique "Plan of the Fort Mozambik from de Faria"; James Basire (1730-1802) Map of Sierra Leone; Hand Colored Map of "Mauritania Numidia, et Africa Propria" Carey & Lea, Philadelphia; T. Jefferys (ca. 1719-1771) Map of Africa, "Africa Drawn from the Best Maps by T. Jefferys, Geographer to his Royal Highness the Prince of Wales"; Kneass Young & Co. , "Geographical and Historical Map of France" M. Carey & Son, Philadelphia, 1820; Three Hand Colored Maps of "Australia" J. H. Colton & Co. , New York, 1855; "Japan Nippon, Kiusiu, Sikok, Yesso, and the Japanese Kuriles, " J. H. Colton & Co. , New York, 1855; Smyth, Thakeray, Arnold, &c. , "Syracuse with the Remaining Vestiges of its Five Cities, " Society for the Diffusion of Useful Knowledge, 1839; J. & C. Walker "Plan of Syracuse and the Adjacent Country Shewing the Site of the Ancient Walls &c. " 1808; Thomas Kitchin (1719-1784) "Africa Drawn from the latest and best Authorities by Thomas Kitchin"; "Frankreich von 1610-1790, " Gotha: Justus Perthes, 1873; "Frankreich von 1461-1610, " Gotha: Justus Perthes, 1874; Johnson and Ward "Johnson's Europe"; Map of Africa from Harper's Weekly, 1878 "Fac-Simile of a Map of Africa Printed in 1626"; Hand Colored Map of "Europe" with text about Europe, Great Britain, and Ireland attached; A Hand Colored World Map titled "Johnson's World on Mercators Projection" A. J. Johnson, New York, 1865; "Johnson's France Spain and Portugal" A. J. Johnson, New York, 1865; Hand Colored Map of "Johnson's Virginia, Delaware, Maryland & West Virginia" A. J. Johnson, New York, 1864; Hand Colored Map of "Springfield"; Hand Colored Borders on a Map of the Straits of Gibraltar "Die Meerenge von Gibraltar, " Gotha: Justus Perthes, 1871; "Map of the Pacific Coast Showing the Gold Countries" from Harper's Weekly, 1858; "The Principal Transportation Lines East of the Mississippi River, 1886" from The Daily Graphic, New York, 1887; Hand Colored Map of "Colton's New Jersey, " Johnson & Browning, New York, 1859; Hand Colored "Plan of Boston, " ca. 1880; "Maps of Africa, Upper Guinea, and the Gold Coast, Showing the Site of the Ashantee War, " from The Illustrated London News, London, 1873; G. Long Hand Colored Accented Map of "Egypt, " Baldwin & Cradock, London, 1831; Thomas Kitchin Map of Madagascar "A Chart of all the Known Islands off the Coast of Zenjibar & Madagascar lying in the way to India"; Map of the English Channel; Hand Colored Map of France; Hand Colored Map of "Marseille, " B. R. Davies, 1840; Map of "France Pittoresque"; Map of France "La France"; A Hand Colored Map of "Johnson's France, Spain, and Portugal" A. J. Johnson & Co. , New York, 1865; A Hand Colored Map of "Florence, " Baldwin & Cradock, London, 1835; A Map of "Venice, " Charles Knight, London; Map of Carthage & Syracus "Environs de Carthage. Syracuse. "; A Map of "Pompeii, " Baldwin & Cradock, 1832; A Hand Colored Map of "Northern Italy Kingdom of Naples, Sardinia & Malta, " J. H. Colton & Co. , New York, 1855; A Map of "Italy"; A Map of "Florence, " London, Charles Knight & Co. SKU: 03587 Follow us on Instagram: @revereauctions Condition Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions. com with any condition questions.
HENRY BONE, R.A. (BRITISH, 1755-1834) ELIZABETH CAREY, DAUGHTER OF LORD HUNSDON, AFTERWARDS LADY BERKELEY enamel on copper, three quarter length portrait, in a black velvet dress with lace ruff collar and double strand pearl choker, and wearing a long triple strand gold chain, garnet and seed pearl necklace, in a gilt gesso frame, inscribed on the slip 'ENAMEL H BONE, R.A.', paper exhibition label to the reverse 18cm x 13.75cm Estimate £ 4,000-6,000 Note: Elizabeth Carey (1576-1635) was the only child of George Carey, 2nd Baron Hunsdon and Elizabeth Spencer. She was a courtier and patroness of the Arts, and the dedicatee of works by Thomas Nashe. She married Sir Thomas Berkeley in 1596, aged 19, and after his death in 1611 remarried Sir Thomas Chamberland in 1622. Bone's portrait is after the original at Berkeley Castle. Provenance: The Collection of Lady Lanesborough, previously at Swithland Hall, Leicestershire. Henry Bone (1755-1834) The son of a cabinet maker and carver, Henry Bone (1755- 1834) was born in Cornwall in 1755. Appointed Enamel Painter to George III, the Prince of Wales (later George IV), and William IV, and a Royal Academy Member, he became famous for the skill and scale of his works, his copies after oil paintings gaining him the reputation as the 'Prince of Enamellers'. Starting as an apprentice at the Plymouth Porcelain Works, he moved on to the Bristol China Works in 1772. Over the following six years Bone developed his talent, dedicating himself to china decoration and artistic studies. Upon the closure of the Bristol China Works in 1779, he moved to London and found employment decorating fans and watches before his first Royal Academy Exhibition in 1781. Following the exposure he gained from these exhibitions he decided to focus solely on enamel painting, a regular feature at the Royal Academy. He exhibited A Muse and Cupid in 1789, at the time the largest enamel painting ever executed. He later went on to surpass himself in 1811 with his most famous piece, a work after Titian's Bacchus and Ariadne. Previous work in enamel had only been a few inches across, featuring in miniatures and jewellery. At the time the process involved bonding the enamel paint onto a metal sheet, usually copper, through a firing process. The firing would often last for several hours but as the colours would fuse at different temperatures, there was a risk that certain paints may crack and buckle while others were still setting. To reduce the risk of deformation artists would only enamel onto small pieces. Bone experimented with the firing process as well as with his enamel paint formulas and developed enamel paints that would fuse reliably within a narrow heat range and true to colour, enabling him to produce such large, high quality works. Henry Bone's stature had grown so much that he received 4,000 visitors while exhibiting Bacchus and Adrianne at his house in Berners Street, eventually selling it for the large sum on 2200 guineas. It is now in the collection of the Cleveland Museum of Art, who purchased it at auction in 2013 for £313,875. His next great projects included a series of eightyfive historical portraits of figures from the time of Elizabeth I, a series of Civil War cavaliers, and also a series of portraits of members of the Russell family. While the Elizabethan portraits were not a financial success for Bone they are considered among his greatest works. The portraits in our sale are prime examples of Bone's prowess, skill and attention to detail. The portrait of Elizabeth Carey, later Lady Berkeley, is a cool study of Elizabethan composure, wealth and status. Bone's original pencil grid sketch for this portrait in the collection of the National Portrait Gallery illustrates his meticulous precision. Suffering from failing eyesight and poor health, Bone offered to sell his collection of enamels to the nation but it was declined. After his death in 1834, it was dispersed and sold at auction by Christie's in 1836. It is believed these four came into the collection of the 5th Earl of Lanesborough, who was furnishing Swithland Hall at this time. It is a rarity to have four of Henry Bone's remarkable portraits available at one time and from one source. . Sold for £9,375 (buyer's premium included)
PURCHAS, SAMUEL. Purchas His Pilgrimes. 4 volumes * Purchas His Pilgrimage. Together, 5 volumes, extra-illustrated with engraved portrait of dedicatee in each volume. Folio, 340x210 mm, late 18th-/early 19th-century russia, handsomely rebacked with gilt-tooled morocco in the 19th-century, cover corners worn; moderate foxing, mostly marginal. London, 1625; 1626
Purchas His Pilgrimes. London: William Stansby for Henrie Fetherstone, 1625. Volume 1: Double-page map of the Mughal Empire; 13 maps in text. [36], 186, [10], 468, 479-642, 645-748, [24] pages, including engraved additional title ("Hakluytus Posthumus") in second state dated 1625, and blank R4; lacks initial blank. First state of G3r (with planispheric rather than double-hemispheric world map), 2T6 (with incorrect pagination), and 4M4v (with headline "Hollanders lying devices, to disgrace the English" etc.) * Volume 2: 7 text illustrations; 24 maps in text. [4], 749-857, 860-1270, 1269-1860, [40] pages. Restoration in blank corner of 5D4, 6P5, 6Y5 (with slight text loss), and 2e3, clean tear in 7S3, colophon leaf mounted * Volume 3: Double-page maps of Greenland and China (the latter slightly trimmed in margins and rehinged); 19 maps in text; for the map of North America see below. [26] (of [28]), 668, 699-1006, 1009-1140, [68] pages; lacks initial blank. Small rust hole in blank lower margin of S6-T2 and through sidenote on 2P1, restoration in blank corner of 3B1, 3E6, and 4G2 * Volume 4: Double-page maps of Virginia in Verner''s state 10 (trimmed near plate mark on left and into border on right, remargined at bottom) and New England/Canada; 2 maps in text. [6] (of [8]), 1141-1234, 1237-1973 , [41] pages; lacks initial blank. Restoration in blank corner of 5I1, dampstain in blank corner of several leaves in middle of volume.
Purchas His Pilgrimage. London: William Stansby for Henrie Fetherstone, 1626. Double-page maps of China and North America (the latter supposed to be bound in Volume 3 of Purchas His Pilgrimes). [38] (of [40]), 242, 241-636, 635-1047, [36] pages, with dedication to King Charles; lacks initial blank. Minor restoration in blank outer margin of ¶4, 2A5 supplied from a shorter copy, rust hole in 4X2.
first edition of the main work, "one of the fullest and most important collections of voyages and travels in the english language" (Church), with part of the third and all of the fourth volume devoted to the New World. "The Pilgrimes (as it is usually known) was the culmination of almost twenty years'' collecting oral and written accounts . . . It was based in part on Hakluyt''s remaining manuscripts, which Purchas had acquired about 1620 . . . The result was a four-volume folio that took more than three years to print; at the time of its publication it was the largest book ever seen through the English press" (ODNB). Included as a supplement is the fourth and best edition of the 1613 Purchas His Pilgrimage, the first comprehensive study of the diversity of world religions, of which pages 791-967 concern the Americas. Alden 625/173, 626/101; Books on Ice 1.2 ("in several instances our major source of information about early English Arctic travelers"); Church 401A; 1403; Dibdin, The Library Companion, page 381 (discussing this set); Shirley 259, 311; STC 20509, 20508.5.
fine set (surpassed only by Thomas Grenville''s, according to Dibdin) with the following provenance: Colonel Thomas Stanley, lot 1006 in his sale at Evans, 8 May 1813, to Protheroe for £50 8s.; the classical scholar Henry Drury, with his signed collation note dated 1820, lot 3669 in his sale at Evans, 17 March 1827, to Howell & Stuart; Lancelot and Henry Holland, lot 1384 in their sale at Sotheby & Wilkinson, 27 July 1860, to Boone for Henry Hucks Gibbs, 1st Baron Aldenham, with the latter''s signature dated St. Dunstan''s 1860 and his armorial bookplates, lot 305 in the Aldenham Library sale at Sotheby & Co., 24 March 1937, to Hadley; and Dr. Joseph M. Weidberg, lot 206 in his sale at Parke-Bernet, 26 October 1965, to the current owner.
[CHINESE JADE]
A group of reference books and catalogues about Chinese jades, including several important early publications, with titles comprising:
LAUFER, Berthold. Archaic Chinese Jades Collected in China by A.W. Bahr. New York: Privately printed. Signed by A.W. Bahr.
[With]:
FORSYTH, Angus & Brian McELNEY, Jades from China. Throckmorton Fine Art: Liangzhu: Late Neolithic Jades.--Chinese Jades of Late Neolithic Through Han Periods Vol. 2.--Chinese Jades of the Late Neolithic Through Han Periods.--Hongshan.--Shang and Western Zhou Jades.--The Neolithic Age.--Qijia. PAYNE, Stephen. How to Purchase Jade on the Internet. WU, Henry. Ancient Chinese Jade: Explanatory Notes on Mr. T.C. Liu’s Unique Collection of Examples in Chinese Art. Ex. Collection of Richard C. Bull. With frontispiece portrait of Mr. Liu, profusely illustrated in black and white. Gilt lettered cloth (some splitting). NA Zhiliang. ?????? (The Jade Carving Arts in the Qing Dynasty). National Palace Museum. ??Chinese Art in Overseas Collections: Jade. Taipei, 1989.YANG Boda. ???????? Chinese Archaic Jades from the Kwan Collection. SCHEDEL, J.J. The Splendor of Jade. SALMONY, Alfred. Carved Jade of Ancient China. (1982 facsimile edition). ---. Chinese Jade through the Wei Dynasty. Ronald Press, 1965. Five Thousand Years of Chinese Art Series. ???Chinese Jade, Part 1. WARD, Fred. Fred Ward Gem Series: Jade? Revised Edition. Los Angeles County Museum of Natural History. Stones from Heaven: Ancient Chinese Jade. “The Bulletin of the Friends of Jade”, 5 vols (5). MARKEL, Stephen. The World of Jade. Compendium of Chinese Art. ??????. ?????. ?? (Vol. 9, Jade). LI Xiangyun. ??????? Xiangyun Xuan Antique Jade Collection and Research. ZHOU Puquan. ???? The World of Jade: Chinese Jade. FU Zhongmo. ???? The Art of Jade Carving in Ancient China, second edition. Minneapolis Institute of Arts. Chinese Jades: Archaic and Modern. HANSFORD, Howard S. Chinese Jade Carving. ---. Jade: Essence of Hills and Streams. CAPON, Edmund. Princes of Jade. ???? The Jades from Yinxu. NOTT, Stanley. Chinese Jade Throughout the Ages. London: B.T. Batsford, 1936. ---.Chinese Jade Throughout the Ages. Rutland & Tokyo, 1962. LOEHR, Max. Ancient Chinese Jades. Cambridge: Fogg Art Museum, Harvard University, 1975. LYTLE, Miriam Anderson. The Lizzadro Collection. Signed by the author. POPE-Hennessy, Una. Early Chinese Jades. London: Ernest Benn, 1923. National Palace Museum.??????? (Stories of Jade, no. 2). WHITLOCK, Herbert P. and ERHRMANN Martin L. The Story of Jade. Lam, Peter Y.K., ed. ?????? (Jades from the Tomb of the King of Nanyue). Zhejiang Archaeological Institute.?????? (Ancient Chinese Jades). Spink & Son. Chinese Jade: An Important Private Collection. YEE, Ip. ???? Chinese Jade Carving. XU, Qiang.???????? Hongshan Antiquated Jade. National Museum of China.??????????????? (Selections of Liangzhu Jades). ZHOU Nanquan, ed. ?????????? (Chinese Jade? Collecting and Connoisseurship).Bluett & Sons. Chinese Jades from the Mu-Fei Collection. BERNSTEIN, Sam. The Journal of Chinese Jade. JENYNS, Soame. Archaic Chinese Jades in the British Museum. SHEN Zhuilu. ???? (Chinese Jade Carving). WILLS. Jade of the East. Christie’s. Important Chinese Jades and Hardstone Carvings, 14 June 1977. Chinese Jades in the Collection of the Seattle Art Museum. Shanghai Museum. ??????? Ancient Chinese Jade Gallery. Various reference books in Chinese and English.
Property from the Estate of Eliot A. Landau, Woodridge, Illinois
A GROUP OF SILVER TABLEWARE ARTICLES 3 PIECES A GROUP OF SILVER TABLEWARE ARTICLES, 3 PIECES, H TO 5 1/2":A group of three silver tableware articles, comprising: one English silver gravy boat, c. 1870, London, with gadrooned edge, engraved body, and raised above a gadroon and shell decorated foot, with silvermarks to rim but foot appears to be weighted; one English sterling silver creamer, probably William Eley or William Edwards, 1821, London, having a scroll and foliate repousse design, a monogrammed cartouche to center, and stamped marks by rim; and one American coin silver creamer, Joel Shoemaker, with monogram to center, raised on ball feet, and having mark to underside of handle.
Sterling silver creamer: 4.60 troy ounces
[CHINA] A Group of works about China. Together, 4 works in 5 volumes. [CHINA]
A group of works about China, comprising: CRAWFURD, John. Journal of an Embassy from the Governor-General of India to the Courts of Siam and Cochin China. London: Henry Colburn and Richard Bentley, 1830. 2 volumes. Contemporary half calf. - CULBERTSON, M.S. Darkness in the Flowery Land. New York: Charles Scribner, 1857. Later brown cloth. - MOREAU, M.L.E. de Saint-Mery. An Authentic Account of the Embassy of the Dutch East-India Company... in the years 1794 and 1795... London: R. Phillips, 1798. Contemporary calf (lacking atlas volume). - WADDELL, L. Austine. Lhasa and its Mysteries. New York: E.P. Dutton, 1906. Publisher's tan cloth. - Together, 4 works in 5 volumes, 8vo and 12mo, condition generally fine. Provenance for the Lot: Wisconsin Consistory Library (bookplate).
Ruins of Desert Cathay : Personal Narrative of Explorations in Central Asia and Westernmost China by M. Aurel Stein London: Macmillan and Co. Limited 1912. 2 volumes. First edition. Scarce. 8vo. Numerous illustrations color plates panoramas and maps from original surveys. Color frontispiece in vol one portrait of Stein in vol two. Stein's second work the first being "Sand-buried Ruins of Khotan" this is from his second expedition crossing the Hindu Kush into Turkestand and into China from the West the first to document the spread of Graeco-Buddist culture from India. It was on this expedition that he explored the western end of the Great Wall of China and discovered the Cave of the Thousand Buddhas. For this work Stein was awarded the Founder's Gold Medal by the Royal Geographic Society.
CHRISTIAN CARL TRONIER (DENMARK, EARLY 19TH CENTURY), "DET DANSKE ASIATISKE COMPAGNIETS SKIB NORGE. VED UDSEGLING TIL CHINA. 1804." (THE DANISH ASIATIC COMPANY SHIP NORGE. BY SAILING FOR CHINA. 1804."., WATERCOLOR AND GOCHRISTIAN CARL TRONIER, Denmark, Early 19th Century, "Det Danske Asiatiske Compagniets Skib Norge. Ved Udsegling Til China. 1804." (The Danish Asiatic Company Ship Norge. By Sailing for China. 1804.". Signed lower right "C:C: Tronier.". Dimensions: Watercolor and gouache on paper, 18.25" x 27.5" sight. Framed 21" x 30.5". Provenance: Martyn Gregory, London.Robert Sawyer, London, 1989.The Kelton Collection of Marine Art & Artifacts.
TEN+ 19TH CENTURY ROLLED NAVIGATIONAL CHARTS. Lot consists of: A group of rolled charts that were found in the preceding chart box and probably used on board the Brig Teneriffe. 1) 80” x 45” rolled chart of “A general chart of the Indian and part of the Pacific Oceans”. China, Australia, New Zealand, etc by J. S. Hobbs, London 1850 with additions 1870 by Charles Wilson. 2) 50” x 41”. “Indian Ocean London 1874 Published by James Imray & Son 89 & 102 Minories”. 3) 52” x 40-1/2” of “Bay of Bengal London Published by James Imray & Son 89 Minories Tower Hill 1873”. 4) 85” x 38-1/2” of “Chart of the Gulf of Mexico, West Indies and Spanish Maine E & G. W. Blunt 179 Water Street New York, 1845”. End tears. 5) 51” x 41” of “Rice Ports of India London Published by James Imray & Son 89 Minories Hill 1873”. 6) 75” x 41” “The Coasts of France, Spain and Portugal Included between the British Isles and the Mediterranean London, Publish by James Imray & Son 89 & 102 Minories 1868”. 7) 80” x 41” of “Cuba and the Windward Passages E. & G. W. Blunt, New York 1861”. Having an inset plan of Havana. 8) 61” x 45-1/2” of “Chart of the North Atlantic Ocean from the most recent British, French and United States surveys. Sheet I and II, U.S. Navy, 1871”. Shows much use and has three insets Nantucket Shoals, Azores and Virgin Rocks. 9) 48” x 32-1/2” of “Coast of the United States Sheet No. 2 Cape Lookout to Cape Canaveral from the U.S. Coast Surveys E & G.W. Blunt, New York 1860 Additions to 1861”. 10) 32-1/2” 48-1/2” of “Coast of the United States Sheet No I From Point Judith to Cape Lookout From the U.S. Coast Surveys E & G.W. Blunt, New York 1854 Additions to 1861”. 4” x 1” hole and shows much use. 11) 26” x 39” of “Rio De La Plata Published by Charles Wilson 1869”. With other inset maps. 12) 20” x 27” of “Survey of the Cape of Good Hope by Vidal 1822”. CONDITION: As noted above. Generally condition is good. There are some small tears and discoloration. All black and white. All but two have blue backing and bound edge and have outside labels. 9-29436-1(300-500)
EXHIBITED MARGARET MELLIS PASTEL - "BIG BURDOCK LEAF"Margaret Mellis (Scottish born in China, 1914-2009). "Big Burdock Leaf" pastel on envelope, n.d. Initialed "M.M." twice at lower left and once at lower right. Exhibition label on verso. A wonderful pastel composition on a deconstructed paper envelope by Margaret Mellis mounted behind glass in a custom frame. The composition is true to its title, depicting a bouquet of colorful flowers displayed in a glass vase before a massive Burdock leaf. All is delineated in Mellis' signature expressive style, and a label on the verso indicates that this piece was exhibited at Gainsborough's House Sudbury Suffolk, August 22 to October 18, 1992. In addition to Mellis' undeniable artistry, unique style and format, the theme of this piece is particularly symbolic as Burdock is associated with abundance and has been used in rituals to bring about vitality, prosperity, and virility. Size (artwork): 12" L x 15.5" W (30.5 cm x 39.4 cm) Size (frame): 19.2" L x 22.25" W (48.8 cm x 56.5 cm)
About the artist: "Born in 1914, in China, Margaret Mellis and her family returned to Scotland soon after her birth. She studied at Edinburgh College of Art, where she was taught by SJ Peploe and WG Gillies, and learnt alongside Wilhelmina Barns-Graham and William Gear. In 1933, she went to Paris to study under Andre Lhote, followed by another visit in 1937. In between, in 1936, she met Adrian Stokes; the couple married in 1938. Together, they moved to St Ives, Cornwall, arguably heralding the next wave of artists to the area, with Ben Nicholson, Barbara Hepworth, Naum Gabo, Terry Frost, Patrick Heron, and Roger Hilton. Before this, she studied for a time at the Euston Road School, before fleeing to Cornwall following the outbreak of war. This move to St Ives coincided with Mellis exploring collage and relief. Created from found materials and paper, these collages were exhibited in New Movements in Art, at the London Museum in 1942. In 1946, following her divorce from Stokes, Mellis met the artist Francis Davison, with whom she moved to London, and then to Cap d' Antibes, in 1947. They married in 1948, and relocated to Walberswick, and later Syleham, Norfolk, in 1950, and then to Suffolk. For much of this time, though both continued to create artworks, neither was widely exhibited in London - they were geographically and, at times, conceptually, distant from life in the capital. This began to change, after Mellis embarked upon a series of large abstract paintings known as 'colour structures'. These were exhibited in London, with solo shows at Grabowski Gallery, in 1969, and then at Basil Jacobs Gallery, in 1972. From both shows, Mellis sold work to important public collections; the Government Art Collection bought a painting from the Basil Jacobs show, in 1972, while a painting had earlier been purchased by the Arts Council of Great Britain, in 1969.
In 1978, Mellis started creating driftwood reliefs, which she found while walking along the local coast at Southwold, and likened the creative process to Surrealist automatism. In the mid-'80s, Mellis was included in several high-profile exhibitions, including the important survey show of St Ives 1939-64, staged at the Tate Gallery, London, in 1985, and later Scottish Art since 1900, at the Scottish National Gallery of Modern Art, Edinburgh. In 1987, the Redfern Gallery staged a retrospective exhibition, from which the Tate and Arts Council bought recent driftwood reliefs. The exhibition was also attended by a young Damien Hirst; intrigued by the driftwood constructions in particular, Hirst wrote to the artist, and was invited to visit Mellis in Southwold, forming a lasting friendship. Mellis was part of the Tate St Ives' inaugural exhibition in 1993, and was the subject of a retrospective that opened at City Art Centre, Edinburgh, and toured the UK, in 1997. Recent exhibitions include Modern Scottish Women 1885-1965, at the Scottish National Gallery of Modern Art, and a joint-show with Damien Hirst at Pier Arts Centre, Orkney. In 2018, her work featured in an exhibition inspired by Virginia Woolf and her writings, at Tate St Ives." (Redfern Gallery website)
Provenance: private Santa Barbara, California, USA collection
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#179037
Condition:
Initialed "MM" twice at lower left and once at lower right. Exhibition label for Gainsborough's House Sudbury Suffolk, August 22 to October 18, 1992 on verso. Artwork is mounted under glass in a custom frame. It has not been examined outside the frame but appears to be in excellent condition. Gold tone metal frame has minor surface wear but is otherwise very nice. Frame is fit with suspension wire.
Howard & Ayres export China books: David Howard and John Ayers, China for the West , Sotheby Parke Bernet, London and New York, 1878, first edition, two volumes, volume one inscribed "Charles B. Perry, with very sincere best wishes from the author, David, London, Sept. 1984", profusely illustrated, blue cloth with gilt medallion and titles, dust jackets, gray slipcase, 13 x 9-1/2 in. Excellent condition; slipcase with minor scuffs, discoloration. The Estate of the Late Charles B. Perry, Jr., Atlanta, Georgia
Y LOUIS XV STYLE ROSEWOOD, TULIPWOOD AND FLORAL MARQUETRY BUREAU PLAT, IN THE MANNER OF EDWARD HOLMES BALDOCK
19TH CENTURY applied with gilt bronze mounts, the shaped top with moulded edge and scalloped cartouche corner mounts, the burr walnut centre panel within a marquetry border of scrolling strapwork, acanthus scrolls and floral garlands, above a central single frieze drawer, the sides with similar marquetry and the ends with male masks, on cabriole legs headed by acanthus scroll and harebell cast full mounts trailing to scroll sabots158cm long, 78cm high, 87cm deepProvenance: The Ashley Hall Collection: By order of The Trustees of the J. Porter Trust & The Executors of the late Leonard RawcliffeNote: Edward Holmes Baldock (1777-1845) is listed in London Trade Directories of the period in various capacities. He first appears listed at 7 Hanway Street, London in 1805 described as a '...dealer in china and glass' and by 1821 as '...an antique furniture and ornamental furniture dealer'. By 1826 the various facets of the business included '...buying and selling, exchanging and valuing china, cabinets, screens, bronzes etc'. He is known to have repaired, re-modelled and adapted furniture, often 18th century pieces, but he also designed furniture both in the 18th century style and in more contemporary styles. The fashion for this type of inlay was popularised by the Tottenham Court Road inlayer and buhl manufacturer Robert Blake in the 1820s. By the 1840s the firm were trading as Blake, Geo. & Brothers, inlayers, etc' in Tottenam Court Road and Mount Street, Mayfair and were renamed George Blake & Co. sometime in the late 1840', and it is now generally assumed that pieces previously attributed to Baldock were in fact produced by the Blake family but sold under Baldock's name.Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
250Pcs Hong Kong Harbor ANTIQUE LITHOGRAPHS FROM THOMAS ALLOM'S "CHINA ILLUSTRATED" Opium Temple Honan Canton Bridge Of Nanking Details: This lot consists of the antique lithographs from Thomas Allom's "China Illustrated" shown in the corresponding images.These antique lithographs depict scenery, architecture, and daily life in China, including temples, games, opium smoking, and interactions with Western visitors. The original volumes of "China Illustrated" were key texts in presenting a visual sense of Imperial China to the West.Thomas Allom (13 March 1804 – 21 October 1872) was an English architect, artist, and topographical illustrator. He was a founding member of what became the Royal Institute of British Architects. He designed many buildings in London, including the Church of St Peter's and parts of the elegant Ladbroke Estate in Notting Hill. He also worked with Sir Charles Barry on numerous projects, most notably the Houses of Parliament, and is also known for his numerous topographical works, such as Constantinople and the Scenery of the Seven Churches of Asia Minor, published in 1838, and China Illustrated, published in 1845. [Courtesy Wikipedia.]To inspect and acquire more detailed information about this lot, please attend our live preview before the auction.Condition / Notes: These items are in pleasing condition with some age/wear indicators such as light edge wear and page discoloration.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $19.50
Du HALDE, P. General History of China.... London, 1741. 4 volumes. DU HALDE, Jean Baptiste (1674-1743)
The General History of China. Containing a Geographical, Historical, Chronological, Political and Physical Description of the Empire of China, Chinese-Tartary, Corea and Thibet. London: for J. Watts, 1741.
4 volumes, 8vo (193 x 120 mm). Titles printed in red and black, 4 engraved frontispieces, 4 engraved folding maps, 15 engraved plates (11 folding), 2pp. of printed music. (One map with tear crossing image, one folding plate torn across fold, some pale spotting or offsetting.) Contemporary sprinkled calf gilt, brown morocco lettering-pieces gilt (some wear to joints, a few small old tape repairs, discreet library label on spine.) Third edition, including accounts of Jesuit travellers in China edited by Du Halde, and with Bering's report of his 1728 voyage through the present-day Bering Straits accompanied by "A Map of the Country which Captn. Beerings past through in his Journey from Tobolsk to Kamtschatka" in volume IV. When published for the first edition of Du Halde's encycolopedic survey of China in 1735, it was the first printed map of part of present Alaska.
TWO DECORATED STAFFORDSHIRE PLATTERS. 1) Black transfer “Park Scenery London China”. Scene shows cows and farmer around water with building ruins beyond. Bird and flower border. SIZE: 15” x 12-1/4”. CONDITION: Some stains and discolored crazing. One small chip and minor roughness to edge. 2) Blue and white transfer “Montes Pyrenenses”. Scene shows sailboat with building next to lake with falls and flower border. SIZE: 12-1/2” x 15”. CONDITION: Extensive wear to inside rim. No cracks or chips but worn. 9-97162 (200-400)
[CHINESE JADE] A group of reference books and catalogues about Chinese jades, including several important early publications, with titles comprising:
LAUFER, Berthold. Archaic Chinese Jades Collected in China by A.W. Bahr. New York: Privately printed. Signed by A.W. Bahr.
[With]:
FORSYTH, Angus & Brian McELNEY, Jades from China. Throckmorton Fine Art: Liangzhu: Late Neolithic Jades.--Chinese Jades of Late Neolithic Through Han Periods Vol. 2.--Chinese Jades of the Late Neolithic Through Han Periods.--Hongshan.--Shang and Western Zhou Jades.--The Neolithic Age.--Qijia. PAYNE, Stephen. How to Purchase Jade on the Internet. WU, Henry. Ancient Chinese Jade: Explanatory Notes on Mr. T.C. Liu’s Unique Collection of Examples in Chinese Art. Ex. Collection of Richard C. Bull. With frontispiece portrait of Mr. Liu, profusely illustrated in black and white. Gilt lettered cloth (some splitting). NA Zhiliang. ?????? (The Jade Carving Arts in the Qing Dynasty). National Palace Museum. ??Chinese Art in Overseas Collections: Jade. Taipei, 1989.YANG Boda. ???????? Chinese Archaic Jades from the Kwan Collection. SCHEDEL, J.J. The Splendor of Jade. SALMONY, Alfred. Carved Jade of Ancient China. (1982 facsimile edition). ---. Chinese Jade through the Wei Dynasty. Ronald Press, 1965. Five Thousand Years of Chinese Art Series. ???Chinese Jade, Part 1. WARD, Fred. Fred Ward Gem Series: Jade? Revised Edition. Los Angeles County Museum of Natural History. Stones from Heaven: Ancient Chinese Jade. “The Bulletin of the Friends of Jade”, 5 vols (5). MARKEL, Stephen. The World of Jade. Compendium of Chinese Art. ??????. ?????. ?? (Vol. 9, Jade). LI Xiangyun. ??????? Xiangyun Xuan Antique Jade Collection and Research. ZHOU Puquan. ???? The World of Jade: Chinese Jade. FU Zhongmo. ???? The Art of Jade Carving in Ancient China, second edition. Minneapolis Institute of Arts. Chinese Jades: Archaic and Modern. HANSFORD, Howard S. Chinese Jade Carving. ---. Jade: Essence of Hills and Streams. CAPON, Edmund. Princes of Jade. ???? The Jades from Yinxu. NOTT, Stanley. Chinese Jade Throughout the Ages. London: B.T. Batsford, 1936. ---.Chinese Jade Throughout the Ages. Rutland & Tokyo, 1962. LOEHR, Max. Ancient Chinese Jades. Cambridge: Fogg Art Museum, Harvard University, 1975. LYTLE, Miriam Anderson. The Lizzadro Collection. Signed by the author. POPE-Hennessy, Una. Early Chinese Jades. London: Ernest Benn, 1923. National Palace Museum.??????? (Stories of Jade, no. 2). WHITLOCK, Herbert P. and ERHRMANN Martin L. The Story of Jade. Lam, Peter Y.K., ed. ?????? (Jades from the Tomb of the King of Nanyue). Zhejiang Archaeological Institute.?????? (Ancient Chinese Jades). Spink & Son. Chinese Jade: An Important Private Collection. YEE, Ip. ???? Chinese Jade Carving. XU, Qiang.???????? Hongshan Antiquated Jade. National Museum of China.??????????????? (Selections of Liangzhu Jades). ZHOU Nanquan, ed. ?????????? (Chinese Jade? Collecting and Connoisseurship).Bluett & Sons. Chinese Jades from the Mu-Fei Collection. BERNSTEIN, Sam. The Journal of Chinese Jade. JENYNS, Soame. Archaic Chinese Jades in the British Museum. SHEN Zhuilu. ???? (Chinese Jade Carving). WILLS. Jade of the East. Christie’s. Important Chinese Jades and Hardstone Carvings, 14 June 1977. Chinese Jades in the Collection of the Seattle Art Museum. Shanghai Museum. ??????? Ancient Chinese Jade Gallery. Various reference books in Chinese and English.
Property from the Estate of Eliot A. Landau, Woodridge, Illinois
HENRY BONE, R.A. (BRITISH, 1755-1834) AFTER HANS HOLBEIN SIR THOMAS SMYTHE enamel on copper, three quarter length portrait, the subject in black robes and cap and a fur stole, his right hand resting on a globe, in a gilt and gesso frame, signed on the slip 'ENAMEL H. BONE', paper exhibition label to the reverse 17.5cm x 13cm Estimate £ 3,000-5,000 Note: Sir Thomas Smythe (c. 1558-1625) was an English merchant and politician. He was the first governor of the East India Trading Company and was elected a member of Parliament in 1614 and 1622. Bone's portrait of Smythe is after a painting once at Hill Hall, Essex. Provenance: The Collection of Lady Lanesborough, previously at Swithland Hall, Leicestershire. Henry Bone (1755-1834) The son of a cabinet maker and carver, Henry Bone (1755- 1834) was born in Cornwall in 1755. Appointed Enamel Painter to George III, the Prince of Wales (later George IV), and William IV, and a Royal Academy Member, he became famous for the skill and scale of his works, his copies after oil paintings gaining him the reputation as the 'Prince of Enamellers'. Starting as an apprentice at the Plymouth Porcelain Works, he moved on to the Bristol China Works in 1772. Over the following six years Bone developed his talent, dedicating himself to china decoration and artistic studies. Upon the closure of the Bristol China Works in 1779, he moved to London and found employment decorating fans and watches before his first Royal Academy Exhibition in 1781. Following the exposure he gained from these exhibitions he decided to focus solely on enamel painting, a regular feature at the Royal Academy. He exhibited A Muse and Cupid in 1789, at the time the largest enamel painting ever executed. He later went on to surpass himself in 1811 with his most famous piece, a work after Titian's Bacchus and Ariadne. Previous work in enamel had only been a few inches across, featuring in miniatures and jewellery. At the time the process involved bonding the enamel paint onto a metal sheet, usually copper, through a firing process. The firing would often last for several hours but as the colours would fuse at different temperatures, there was a risk that certain paints may crack and buckle while others were still setting. To reduce the risk of deformation artists would only enamel onto small pieces. Bone experimented with the firing process as well as with his enamel paint formulas and developed enamel paints that would fuse reliably within a narrow heat range and true to colour, enabling him to produce such large, high quality works. Henry Bone's stature had grown so much that he received 4,000 visitors while exhibiting Bacchus and Adrianne at his house in Berners Street, eventually selling it for the large sum on 2200 guineas. It is now in the collection of the Cleveland Museum of Art, who purchased it at auction in 2013 for £313,875. His next great projects included a series of eightyfive historical portraits of figures from the time of Elizabeth I, a series of Civil War cavaliers, and also a series of portraits of members of the Russell family. While the Elizabethan portraits were not a financial success for Bone they are considered among his greatest works. Indeed, the portraits in our sale are prime examples of Bone's prowess, skill and attention to detail. Suffering from failing eyesight and poor health, Bone offered to sell his collection of enamels to the nation but it was declined. After his death in 1834, it was dispersed and sold at auction by Christie's in 1836. It is believed these four came into the collection of the 5th Earl of Lanesborough, who was furnishing Swithland Hall at this time. It is a rarity to have four of Henry Bone's remarkable portraits available at one time and from one source. . Sold for £4,250 (buyer's premium included)
A FINE CHINESE "DING WARE" BOWL, the interior carved as a flowerhead with overlapping petals with delicate veining covered in an even cream glaze pooling slightly around the footrim, the undulating rim now with a gold metal mount, Song, 3.75" dia. See illustrationProvenance: An old Japanese collection.Private Collection, London.Exhibited: The Museum of Osaka, "Sung and Yuan Fine Art" - 15th October - 12th November 1978, no. 1-112 (illustrated).This exquisite bowl was produced at the Ding Kilns in Hebei Province, Northern China, whose white porcelain is considered one of the "Five Great Wares" of the Song Dynasty (AD960 - AD1279). Ding wares were sent to the Imperial Court as tribute as early as AD980. The exquisite incised decoration on the present example is characteristic of the early period.Literature: J. Harrison-Hall: "Ding and Other White Wares of Northern China" in "Pottery in the making: world-8", published by the British Museum Press, London 1997, pages 182-187.
THE SHAPE OF TIME: LIGHT CALLI Title: The Shape of Time: Light Calli-photography by Qiu ZhijieAuthor: Qiu Zhijie - Qiu Zhijie (born 1969) is a contemporary Chinese artist who works primarily in video and photography. Overall, Qiu's work suggests the struggle between the forces of destiny and self-assertion. Other common themes are social fragmentation and transience.Qiu was born in 1969 in Fujian province. In 1992, he graduated from the printmaking department at Zhejiang Academy of Fine Arts, Hangzhou. He now lives and works in Beijing.The artist's break-through exhibition was in 1992 with China's New Art, Post-1989 at the Hanart Gallery and Hong Kong Arts Centre. By 1999, his work began receiving overseas interest with his inclusion in Revolutionary Capitals: Beijing-London at the Institute of Contemporary Arts, London. In 2007 he had his first solo exhibition in the United States at the New York gallery Chambers Fine Art.In 2005, his work was exhibited in the Victoria and Albert Museum's Between Past And Future: New Photography And Video From China, including Tattoo 1, which explores Qiu's assertion that in our media-saturated age, "signs and codes have overpowered actual human beings, and our bodies have become merely their vehicles." The character bu — meaning "no" — is written across the artist's body and on the wall behind him, creating the illusion that it floats free of the body. [Information courtesy Wikipedia.]Publisher: Chambers Fine ArtCity: ChinaYear: 2006Binding Style: HardcoverPagination: 176 pagesWidth: 11.5" Height: 11.5"Book Details: Condition / Notes: This decorative art volume in excellent condition is bound in gray cloth. The binding is firm. The text block is adorned with gray patterned endpapers. The interior is clean and bright with unblemished full-color images. The text is bilingual. The well-preserved dust jacket is illustrated in full color by one of the artist's photographs.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $7.50
CHINESE ARMORIAL "PELGROM" BLUE AND WHITE PORCELAIN CHARGER, Kangxi period, circa 1710. Painted at the center with a pheasant perched on rockwork, the cavetto and everted border with four lotus amongst foliage alternating with three floral cartouches interrupted at the top with the coat of arm of Pelgrom below a figure of a Chinese man within a crest.
The arms are those of Jacob Pelgrom, a Director of the Dutch East India Company who went to Batavia as a merchant in 1688, from where he went to Bengal in 1696; he was appointed Director-General of Bengal in 1701. He returned to Batavia to be head of the tax department in 1707 where he died in 1713.
A dish of the same size as the present lot is illustrated by C.J.A. Jörg and J. van Campen, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam, London, 1997, p.301, no. 352. Another dish, larger, is in the Metropolitan Museum of Art, New York, illustrated by C. Le Corbeiller, China Trade Porcelain: Patterns of Exchange, New York, 1974, p.25, no.8. A yet larger dish from this service was in the Mottahedeh Collection, illustrated by Howard and Ayers, China for the West, London, 1978, vol. I, p.82, no.39 and smaller dish in the Hodroff Collection is illustrated by D. Howard, The Choice of the Private Trader, London, 1994, p. 45, no.12.
- 14 in. diam.
PROVENANCE: Private collection, Virginia. Acquired at Sotheby's, January 30, 1985.
1 1/2 in. glaze hairline, minute glaze chips restored
CHINESE BLACK GLAZE OIL SPOT TEA BOWL,SONG DYNASTY Chinese,Song Dynasty, with rounded sides rising from a short straight foot to a rim bordered with a thin concave groove, unctuously enveloped overall save for the foot with a lustrous black glaze attractively suffused with an intricate pattern of iridescent purplish 'oil spots' of varying sizes, the glaze neatly stopping short of the lower body and foot, revealing the unglazed pale grey bod
D. 3 5/8" (9.2 cm)
Provenance:Collection of the Kano family, owner of the Hakutsuru Sake Brewing Co., Ltd Catalogue Note Many of the greatest teabowls of the yuteki ("oil spotting") tenmoku (or "Yohen Tenmoku") type that have been passed down in Japan are the products of kilns in Shanxi and other parts of North China, and this piece is a fine example. The Tenmoku of the North China kilns are distinct from those of the Jian kilns for their grayish white clay, which is low in iron content and has a white or yellow cast. It was fired using charcoal as fuel. This piece has a black glaze covering both inside and outside and is densely covered with large and small silver spots; the whole bowl displays a reddish-purple cast. The oil spotting of Jian tenmoku is formed from multiple crystals containing fine creases, but on the oil spotting pieces of North China, the dots are like snowflake crystals. It is a small but elegantly shaped piece and the lines of the foot are clean-cut and sturdy. Iron slip has been painted over the exposed portion of the foot, indicating awareness of the black footed Jian tenmoku. Bowls of this form and with this attractive oil spot glaze are discussed by Robert D. Mowry in the catalogue to the exhibition Hares Fur, Tortoiseshell, and Partridge Feathers. Chinese Brown-and Black-Glazed Ceramics, 400-1400, Harvard University Art Museums, Cambridge, 1996, pp. 149-150, where it is suggested that they were made at kilns in Northern China, in imitation of the popular Jian tea bowls made in Fujian province. The author further notes that the oil spot effect on these bowls was achieved by adding a layer of black slip under two layers of iron-rich dark brown glaze. A slightly smaller bowl from the Sir Percival David Collection, now in the British Museum, London, was included in the exhibition Imperial Taste. Chinese Ceramics from the Percival David Foundation, British Museum, London, 1989, cat. no. 9; two similar examples in the Harvard University Art Museums, Cambridge, were included in the exhibition Hares Fur, Tortoiseshell, and Partridge Feathers, op.cit., cat. nos 43a and b; another bowl was sold in our New York rooms, 15th September 2015, lot 8; and two further bowls were sold in these rooms, 5th April 2017, lot 1102 and 2nd April 2019, lot 3062, respectively. See also a similar example from the collection of Hirota Matsushige, founder of Kochukyo, and now in the Tokyo National Museum, published in the Illustrated Catalogues of Tokyo National Museum: Chinese Ceramics I, Tokyo, 1988, cat. no. 610. similar bowl was sold in Christie's Hongkong on Apr 3 2017 Lot 26 for HKD 475,000 Similar bowl was sold in Christie's New York on Mar 24 2022 "Important Chinese Ceramics and Works of Art " lot 1090 for $32,760
Condition: in fair condition restored from broken the half with overpaint
JEAN-BAPTISTE-LOUIS GROS (French 1793-1870) A PAINTING, "South American Aqueduct and Mountains in Landscape, ": JEAN-BAPTISTE-LOUIS GROS (French 1793-1870) A PAINTING, "South American Aqueduct and Mountains in Landscape, " oil on cardboard, signed L/R, "Gros. " 8 3/4" x 14" Note: Jean-Baptiste-Louis Gros, Former Senator of the Second Empire, Election and Service: September 20, 1858-August 17, 1870. Born in Ivry-sur-Seine on February 8, 1793, died in Paris on August 17, 1870, began a career in diplomacy in 1823, received the title of baron in 1829, and, having joined the government in July, was sent to Mexico as the first secretary of the legation, then appointed charge d'affaires in Bogota (1834). In the years preceding the February 1848 revolution, Baron Gros received several important missions in South America, notably in Plata. In 1849 he passed to England for negotiations relating to the expedition of the French government to Rome; in 1850 he went to Athens as Minister Plenipotentiary, with the mission of bringing an end to the dispute which then existed between Greece and England; then he became (1854) one of the plenipotentiaries designated to proceed with the final fixing of the borders between France and Spain: the difficulties to which this question had given rise for centuries were ended by the convention of Bayonne (1856). M. Gros, who, under these various circumstances, had drawn himself to the attention of the government, was sent to China (1857) as an extraordinary ambassador to obtain, in concert with Lord Elgin, the opening of new Chinese ports to European commerce and effective protection for missionaries. He was appointed senator on September 20, 1858. The violation of the Tien-Tsin treaty gave rise (1860) to a Franco-English expedition to China. M. Gros accompanied General Cousin-Montauban there, and, when new peace negotiations were started, he took part in the Peking treaty, which ended the campaign. On June 25, 1868, Mr. Gros put his signature at the bottom of the Tien-Tsin peace treaty, then went to the capital of Japan, to Yeddo, where he concluded a trade treaty, on September 9 of the same year. During M. de Flahaut's retirement, Baron Gros was called to the London embassy (November 14, 1862). During M. de Flahaut's retirement, Baron Gros was called to the London embassy (November 14, 1862); he retired on February 17, 1865 and was awarded the Grand Cross of the Legion of Honor (March 7, 1861). " Courtesy: An excerpt from the “Dictionary of French Parliamentarians, ” (Robert and Cougny, 1889). Provenance: Property of a South Texas Collector. Condition Some expected surface wear, mild darkening, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS. " NO REFUNDS will be issued based on condition.