Ming blue & white porcelains @ Bonhams. Fine Chinese Art, 13 May 2010
A rare blue and white double-gourd moonflask, bianping. Late Yongle. photo Bonhams
Modelled after a Middle Eastern prototype, each domed face well painted illustrating the characterstic 'heaping and piling' with an eight-pointed lappet starburst, one face with overlapping palmettes and radiating from a central petal medallion enclosing a yinyang motif, the other face interlaced with ruyi-shaped lappets encircling the medallion with inward-pointing petals, all encircled by a narrow foliate scroll band on one side and a classic scroll on the other, the upper bulb with a composite floral scroll of pinks and chrysanthemum blossoms, the applied ridged loop handles terminating with ruyi head terminals painted with a lotus spray.25.8cm (10⅛in) high. Estimate: £90,000 - 120,000, HK$1,100,000 - 1,400,000
Provenance: a Middle Eastern collection, by repute
Sotheby's London, 9 June 1992, lot 231
An English private collection
Notes: Moonflasks of this type are known in important museum collections: one of a similar size, attributed to the Xuande period is illustrated in the The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red, Hong Kong, 2000, pl.95; another similarly attributed from the Shanghai Museum is illustrated by Wang Qing-zheng, ed., Underglaze Blue & Red, Hong Kong, 1987, pl.52; see another illustrated by J.A.Pope, Chinese Porcelains from the Ardebil Shrine, London, 1981, pl.55, no.29.458, now in the Tehran Museum; and also from the Percival David Foundation, British Museum, London, illustrated by D.Lion-Goldschmidt, Ming Porcelain, London, 1978, pl.35.
A larger (32.5cm) moonflask attributed to the Yongle period, and with a less bulbous upper bulb, was sold at Christie's Hong Kong on 28 November 2006, lot 1512.
Whilst many similar moonflasks are often attributed to the Xuande period, following the marked examples, a late Yongle dating should not be ruled out as the Xuande moonflasks were a continuation of similar earlier flasks, compare a Yongle moonflask excavated at Dongmentou, Zhushan, illustrated in Chang Foundation, Imperial Hongwu and Yongle Porcelain Excavated at Jingdezhen, Taipei, 1996, pl.65. The critical determining feature appears to be the shape of the very shallow footrim. It seems to be well-established, following considerable study, that a Yongle foot profile is oval; a Xuande one is rectangular. In the case of this vase, the oval foot suggests a Yongle date, while the decoration suggests a Xuande date in comparison with other published examples. It is therefore reasonable to suggest that this vase spans the change in Emperor, in the mid 1420s.
These moonflasks were made primarily for export or as gifts to Near Eastern rulers. For the origin of its shape and decoration see J.Pope, 'An Early Ming Porcelain in Muslim Style', Aus der Welt der Islamischen Kunst, Festschrift fur Ernst Kuhnel, 1959; B.Gray, 'The Influence of Near Eastern Metalwork on Chinese Ceramics, Transactions of the Oriental Ceramic Society, London, 1940-41, vol.18, p.57 and pl.7F; and M.Medley, 'Islam and Chinese Porcelain in the 14th and Early 15th Centuries', Bulletin of the Oriental Ceramic Society of Hong Kong, no.6, 1982-84, fig.11.
A large blue and white double-gourd vase. Jiajing. photo Bonhams
Robustly potted, the lower section of the gourd of square form, rising to a bulbous upper section, painted around the sides with numerous 'Shou' medallions of differing sizes framed by cloud and flame scrolls, all above crashing waves at the foot and with a border of ruyi-heads at the neck. 61.4cm (23¾in) high. Estimate: £18,000 - 25,000, HK$210,000 - 300,000
Notes: The Jiajing Emperor was a devout Daoist and his preoccupation with the attainment of long life is visible in the works of art produced under his reign. The double-gourd is a popular symbol of longevity and is associated with the Daoist Immortal Li Tiegui, who is depicted holding a double gourd containing the elixir of immortality. The 'Shou' medallions, meaning 'longevity', further emphasise this symbolic quest for immortality.
Compare another Jiajing period double-gourd vase of similar form decorated with 'Shou' medallions and Shoulao, the god of immortality, sold at Christie's 21 September 2004, lot 243. Another with various stylised 'Shou' medallions is illustrated by J.A. Pope, Chinese Porcelains from the Ardebil Shrine, London, 1981, pl.86, fig.29.477.
A rare blue and white square 'dragon' dou-form vessel. Jiajing six-character mark and of the period. photo Bonhams
Each of the four sides painted with a lobed panel enclosing a single writhing dragon, framed in each of the four corners by peony, chrysanthemum and lotus sprays within double borders, the base with recessed glazed panel with six-character reign mark. 18.1cm (7in) wide. Estimate: £14,000 - 16,000, HK$170,000 - 190,000
Note: The present vessel most probably originally formed the lower section of a double-gourd vase. Compare a Jiajing mark and period vase, similarly painted around the square lower section with writhing dragons, sold at Sotheby's Hong Kong, Sunday 27 April 2004, lot 223.
A rare blue and white 'Magic Fountain' bottle vase, Jiajing. photo Bonhams
The pear-shaped body painted on either side with an elaborate, tiered fountain issuing six long streams of water from dragon and phoenix-head terminals, supported by a large circular basin raised on four pillars with a qilin at its base, the neck applied with a white-metal mount. 41.3cm (15¾in) high (2). Estimate: £10,000 - 15,000, HK$120,000 - 180,000
Notes: The dating of this lot is consistent with the result of a thermoluminescence test, Oxford Authentication Ltd, no P102u12.
This unique design is more commonly associated with ewers, and the existence of one in the Lee Kong Chian Art Museum, National University of Singapore with a Jiajing reign mark allows the group to be dated confidently to between 1522 and 1566. Another unmarked example can be found in the British Museum, London, illustrated by J.Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p.221, no.9:10. See also another example with Ottoman silver mounts, sold at Sotheby's London, 15 November 2000, lot 229.
Only one 'Magic Fountain' vase, in the Percival David Collection, now housed in the British Museum, appears to be in a published collection: see R.Scott and R.Kerr, Ceramic Evolution in the Middle Ming Period. Hongzhi to Wanli (1488-1620), London, 1994, Catalogue no.48. Another example was sold at Sotheby's London, 17 November 1999, lot 907.
The unusual motif of a beast (usually a qilin) as on the present example, elephant or horse, reclining before a large, ornate fountain has puzzled academics for decades. In 1952 the late Sir Percival David argued a link between these fountains and a large silver fountain designed by Guillaume Bouchier for Mangu Khan at Karakorum in 1254, see Bulletin of the Museum of Far Eastern Antiquities, no.24, Stockholm, pp.1-8. The presence of a similar ewer in a Dutch still life painting by Wilhelm Kalf (1613-1693) illustrates that such ewers had made their way over to Europe by the 17th century, and has led some academics to suggest that the design may have been a commission by the Jesuits in China.
A blue and white lobed pear-shaped wall vase. Wanli. photo Bonhams
Painted on the body with two scholars engaged in conversation beneath a gnarled pine tree with a riverscape in the background, the splayed foot and flared neck painted with shaped panels enclosing blossoming blooms, on a diaper ground with ruyi heads at the foot and against a ground of scrolling lotus trellises at the neck, the reverse with Chenghua six-character mark. 32cm (12½in) high. Estimate: £6,000 - 10,000, HK$71,000 - 120,000
Provenance: S. Marchant & Son, London, 1980
An English private collection
Exhibited and Illustrated: S.Marchant & Son, Exhibition of Chinese Blue and White - Wan Li to K'ang hsi, London, 1980, Catalogue no.6.
Exhibited: A Research Display of 16th Century Chinese Ceramics from the Oriental Ceramic Society and the British Museum, The British Museum, London, 17 October - 30 November 1994, Exhibition no.87.
Compare a Wanli mark and period wucai wall vase in the Baur Collection, illustrated by J. Ayers, Chinese Ceramics in the Baur Collection, Vol.I, Geneva, 1999, fig.101, where it is noted that the provincial gazeteer, Jiangxi sheng Dazhi, records that 400 blue and white wall vases were produced for the court in 1592, see ibid, p.162.
A blue and white square 'dragon' baluster jar. Jiajing six-character mark and of the period. photo Bonhams
Each of the four sides painted with pairs of writhing five-clawed dragons ascending and descending amidst flame and cloud scrolls, above a band of petal lappets above the foot, and below a band of ruyi heads at the shoulder, the six-character mark within a double square on the base, the base and neck applied with European gilt-bronze European mounts. The porcelain 14.8cm (5¾in) high. Estimate: £3,000 - 5,000, HK$35,000 - 59,000
Provenance: a French private collection.
A blue and white 'phoenix' saucer-dish. Jiajing six-character mark and of the period. photo Bonhams
The shallow curving sides rising from the unglazed foot ring, the interior painted in rich vibrant tones of underglaze blue with a central medallion enclosing a pair of phoenix amidst scrolling lotus, the exterior sides painted with a similar pair of phoenix in mutual pursuit. 19.5cm (7¾in) diam. Estimate: £3,000 - 5,000, HK$35,000 - 59,000
A blue and white bowl. Wanli six-character mark and of the period. photo Bonhams
Painted around the steep sides with alternating plantain trees and bamboo, the interior centred with a medallion enclosing pomegranates issuing from leafy stems and encircled by blossoming chrysanthemums, peony and poppies, all below a lingzhi scroll at the rim. 23.9cm (9½in) diam. Estimate: £3,000 - 5,000, HK$35,000 - 59,000
Provenance: according to the family, purchased by Paul Lauder in Asia circa 1934, and thence by descent
Two large blue and white 'kraak porselein' dishes. Wanli. photo Bonhams
Each with steep flaring sides, painted with a central medallion depicting ducks in a lotus pond, enclosed by a petal-shaped border of alternating panels of key-fret and diaper grounds, the shaped rim painted with lotus-shaped panels alternately enclosing chrysanthemums, artemesia leaves and groups of scholar's objects. 49.2cm (19¼in) diam. (2). Estimate: £3,000 - 5,000, HK$35,000 - 59,000
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Provenance: the first: Mrs W.S.Halsey
Acquired by the present owner's father between 1910 and 1920, and thence by descent
Exhibited: Burlington Fine Arts Club, 1910, Case E, no.16.
Illustrated: Burlington Fine Arts Club, Illustrated Catalogue of Early Chinese Pottery and Porcelain, London, 1911, p.44, Catalogue no E16.
A blue and white oviform jar. Chongzhen/Shunzhi. photo Bonhams
Raised on a short, straight foot, finely painted around the exterior with two scholars and three kneeling figures within a landscape, all with arms raised and heads bowed in prayer, looking out over a misty riverscape, all below an incised band of floral scroll at the shoulder, wood stand and cover. 17.8cm (7in) high (3). Estimate: £3,000 - 4,000, HK$35,000 - 47,000
Provenance: according to the family, purchased by Paul Lauder in Asia circa 1934, and thence by descent
A blue and white dish. Late Ming Dynasty. photo Bonhams
With shallow rounded sides, supported on a tapering foot, the interior painted with a central medallion enclosing a qilin by a fenced garden looking at an insect, the cavetto with six cranes amidst cloud scrolls, the underside with six horse medallions, underglaze-blue fu gui jia qi mark (Beautiful vessel for the rich and honourable), box. 29.6cm (11⅝in) diam. (2). Estimate: £1,500 - 2,000, HK$18,000 - 24,000
Provenance: an English private collection
A blue and white bowl. Wanli. photo Bonhams
The gently rounded sides rising from a recessed foot, the interior painted with a seated female figure before a table supporting a mirror, with a large ornamental screen behind, and set within an ornamental garden, the base with lingzhi fungus. 14.5cm (5¾in) diam. Estimate: £1,500 - 2,000, HK$18,000 - 24,000
A small blue and white saucer dish. Wanli six-character mark and of the period. photo Bonhams
Painted at the centre with a pair of cranes by a gnarled pine tree, framed by double rings, the underside painted with blossoming peony scrolls. 8.7cm (3½in) diam. Estimate: £800 - 1,200, HK$9,500 - 14,000
Provenance: R.H.R.Palmer, collection no.443 label; purchased in July 1936 for £13.
Bonhams. Fine Chinese Art, 13 May 2010. New Bond Street www.bonhams.com
Jade jewelry @ Christie's. Jewels: The New York Sale
An art deco diamond, sapphire, jade and onyx bracelet. photo: Christie's Images Ltd 2010
Designed as an old European-cut diamond band, enhanced by tapered jade blossoms with black onyx stems, spaced by three pierced French-cut sapphire geometric panels, mounted in platinum, circa 1925, 7 1/8 ins., in a brown leather fitted case
Numbered 4365 - Estimate: $25,000 - $35,000 Price Realized $37,500
A single-strand jadeite bead and diamond necklace. photo: Christie's Images Ltd 2010
Comprising eighty-three graduated jadeite beads, measuring from approximately 5.82 to 10.05 mm, joined by a collet-set diamond clasp, mounted in platinum, 24 ins., with French importation mark - Estimate: $5,000 - $7,000 Price Realized $35,000
A jade, diamond and gold pendant necklace, by Henry Dunay. photo: Christie's Images Ltd 2010
Suspending a jade hoop pendant, from a circular-cut diamond and 18k gold looped bail, to the articulated textured gold link neckchain, enhanced by circular-cut diamond knotted detail, mounted in 18k gold, 20 ins., with maker's marks. Signed Dunay for Henry Dunay - Estimate: $20,000 - $30,000 Price Realized $25,000
Henry Dunay was born in Jersey City, New Jersey in 1935. He started in the jewellery field working for Rudolph Caccioli, a jeweller on Canal Street in New York City with whom he remained for seven years, learning the art of jewellery making and diamond setting. He opened his own company in 1956, specialising in pavé-set jewellery. In 1967, he won the first of his three Diamond International Awards, and, in 1982, he was inducted into the illustrious Diamonds International Academy, the only American so honoured to this date. In 1989, Dunay was invited to become a member of the Council of Fashion Designers of America. He is based in New York.
An art deco diamond, coral, jade and ruby brooch. photo: Christie's Images Ltd 2010
Designed as a carved jade basin, decorated with square-cut ruby and black enamel trim, extending a bouquet of carved coral blossoms, each topped with a collet-set diamond, the black enamel leaves set with old European and rose-cut diamonds, mounted in platinum and gold, circa 1925, in a black leather case - Estimate: $6,000 - $8,000 Price Realized $15,000
A pair of jadeite and diamond ear pendants, by Tiffany & Co. photo: Christie's Images Ltd 2010
Each suspending an oblong jadeite carved plaque, from a circular-cut diamond link, to the cabochon jade surmount, within a circular-cut diamond surround, mounted in platinum. Signed Tiffany - Estimate: $4,000 - $6,000 Price Realized $12,500
Tiffany & Co. John P. Young opened a stationery and fancy goods store known as Tiffany & Young at 259 Broadway in New York City. Within ten years, jewellery and silver items were added to their stock. By 1853, Tiffany had assumed complete ownership of the business and the name was changed to Tiffany & Co. During the 19th century, designers such as Edward C. Moore and G. Paulding Farnham, as well as renowned gemmologist George Frederick Kunz, propelled Tiffany & Co. to the forefront of the international jewellery world. From 1907, the firm manufactured and sold the jewellery designs of Louis Comfort Tiffany, son of the founder. Upon taking over the management of Tiffany & Co. in 1955, Walter Hoving invited several talented designers to join the firm. Among them were Jean Schlumberger and Donald Claflin. In 1974, they added Elsa Peretti as an exclusive designer, followed by Paloma Picasso in 1980. In 1979, Avon Products purchased Tiffany & Co. After the management-led buyout of Tiffany in 1984, headed by then chairman William R. Chaney, and a successful public offering of stock in 1987, the company has successfully expanded into key domestic and international markets. Today they comprise more than 100 locations worldwide.
Christie's. Jewels: The New York Sale, with The Catherine the Great Emerald Brooch and The Emperor Maximilian Diamond. 22 April 2010. New York, Rockefeller Plaza www.christies.com
A George IV silver-gilt coral and bells, Charles Rawlings, London, circa 1820
A George IV silver-gilt coral and bells, Charles Rawlings, London, circa 1820. photo Sotheby's
maker's mark at top, others below, date letter not clear. measurements: length 5 1/4 in. 13.4 cm. Est. 1,200—1,500 USD. Lot Sold 3,750 USD
Sotheby's. Property from the Collection of Mrs. Charles Wrightsman: The London Residence. 28 Apr 10. New York www.sothebys.com
A set of eight Italian silver "artichoke" salt shakers and eight pepper mills, Missiaglia, Venice, late 20th century
A set of eight Italian silver "artichoke" salt shakers and eight pepper mills, Missiaglia, Venice, late 20th century. photo Sotheby's
salt shaker marked on base, pepper mill marked on end of stalk. weight 78 oz 4 dwt gross/2438 g. measurements: length of pepper mill 8 in./20.3 cm. Est. 3,000—5,000 USD. Lot Sold 35,000 USD
Sotheby's. Property from the Collection of Mrs. Charles Wrightsman: The London Residence. 28 Apr 10. New York www.sothebys.com
Chinese tables, 18th-19th century from the Collection of Mrs. Charles Wrightsman: The London Residence
A pair of Chinese black and gilt lacquer small tables, 18th century. photo Sotheby's
height 18 in.; width 14 1/4 in.; depth 14 1/4 in. 49 cm; 36.5 cm; 36.5 cm. Est. 1,200—1,800 USD. Lot Sold 30,000 USD
PROVENANCE: Harold Eberhard, 1974
A pair of Chinese circular black and gilt lacquer small tables, 19th century. photo Sotheby's
height 14 1/2 in.; diameter of top 11 in. 37 cm; 28 cm. Est. 200—300 USD. Lot Sold 25,000 USD
PROVENANCE: Mallett, London, 1972
A Chinese black and gilt lacquer low table, 19th century. photo Sotheby's
height 17 1/2 in.; width 43 in.; depth 24 1/2 in. 44.5 cm; 109.5 cm; 62.5 cm. Est; 6,000—9,000 USD. Lot Sold 21,250 USD
PROVENANCE: Rene Weiller, Paris, 1971
A Chinese black, red and gilt lacquer low table, 18th-19th century. photo Sotheby's
height 12 in.; width 38 in.; depth 25 1/2 in. 30.5 cm; 96.5 cm; 65 cm. Est. 2,000—3,000 USD. Lot Sold 7,500 USD
PROVENANCE: Garrick C. Stephenson, New York, 1972
Sotheby's. Property from the Collection of Mrs. Charles Wrightsman: The London Residence. 28 Apr 10. New York www.sothebys.com
Deux vues de Venise par Félix Ziem & Charles-Clément Calderon
Félix Ziem (1821-1911), Voile jaune et gondole sur le grand canal. photo Mercier & Cie
Huile sur toile signée en bas à droite. 52 x 72 cm - Estimation : 40 000 / 50 000 €
Provenance : Collection privée.
L'Association Félix Ziem représentée par Messieurs Mathias Ary Jan et David Pluskwa a confirmé l'authenticité de cette œuvre.
Un certificat pourra être délivré à la demande de l'acquéreur.
Charles-Clément Calderon (1864-1906), Venise, gondoles sur le Grand Canal. photo Mercier & Cie
Huile sur toile. Signée en bas à droite “C. C. Calderon”. 54,5 x 37,5 cm - Estimation : 3 000 / 4 000 €
Mercier & Cie - 59000 Lille. Monsieur Marc OTTAVI, Expert. Vente du Dimanche 2 mai 2010. Hôtel des ventes de Lille - 14, rue des jardins. Pour tout renseignement, veuillez contacter la maison de ventes au 03 20 12 24 24
Gustave Surand (1860-1937), Tigre couché
Gustave Surand (1860-1937), Tigre couché. photo Mercier & Cie
Huile sur toile signée et dédicacée en bas à droite. 29,5 x 45 cm - Estimation : 4 000 / 5 000 €
Mercier & Cie - 59000 Lille. Monsieur Marc OTTAVI, Expert. Vente du Dimanche 2 mai 2010. Hôtel des ventes de Lille - 14, rue des jardins. Pour tout renseignement, veuillez contacter la maison de ventes au 03 20 12 24 24
Attribué à Gabriel Viardot (1830-1906), Meuble de vitrine. Fin du XIXe siècle
Attribué à Gabriel Viardot (1830-1906), Meuble de vitrine. Fin du XIXe siècle. photo Mercier & Cie
en poirier souligné de motifs en os et nacre, ouvre à deux vantaux et un tiroir, décor de dragon en bronze à l'amortissement. 192 x 84 x 33 cm - Estimation : 800 / 1 200 €
Mercier & Cie - 59000 Lille. Monsieur Guillaume DILLÉE, Expert. Vente du Dimanche 2 mai 2010. Hôtel des ventes de Lille - 14, rue des jardins. Pour tout renseignement, veuillez contacter la maison de ventes au 03 20 12 24 24
Peinture en hauteur, Corée, période Choson, fin XIXe/début XXe siècle
Peinture en hauteur, Corée, période Choson, fin XIXe/début XXe siècle. photo Mercier & Cie
encre et polychromie sur papier, tigre debout, la tête tournée légèrement vers la gauche. Encadrée sous verre. À vue : 99 x 68 cm - Estimation : 300 / 400 €
Mercier & Cie - 59000 Lille. Monsieur Thierry PORTIER, Expert. Vente du Dimanche 2 mai 2010. Hôtel des ventes de Lille - 14, rue des jardins. Pour tout renseignement, veuillez contacter la maison de ventes au 03 20 12 24 24
Bague en or et argent figurant une croix camarguaise, XIXème siècle
Bague en or et argent, XIXème siècle. photo Philocale - Olivet
figurant un coeur en grenat dans un entourage de petits diamants et petites pierres précieuses ou pierres fines. (Réparations). Poids brut : 5 gr. Estimation : 500 / 800 €
Cette forme de bague semble issue de la croix camarguaise présentant un coeur et une ancre.
Philocale - Olivet. Vente du Samedi 1er mai 2010. Domaine de la Fontaine - 45160. Pour tout renseignement, merci de contacter directement la Maison de Ventes au +33 (0)1 74 90 91 10
photo courtesy cigalia.e-monsite.com
La croix camarguaise fut créée en 1924 par Paul Hermann qui la conçut et la dessina à la demande du Marquis de Baroncelli.
Elle incarne les trois vertus fondamentales : la Foi, l'Espérance et la Charité. Elle symbolise à elle seule la "Nation camarguaise" (ou "Nation gardiane") car elle associe symboliquement les gardians, les pêcheurs et les saintes Maries :
- la croix et ses tridents de gardians exprime la foi
- l'ancre des pêcheurs symbolise l'espérance
- le cœur représente la charité des saintes Maries
La croix originelle réalisée par Joseph Barbanson, forgeron aux Saintes-Maries-de-la-Mer, fut fabriquée dans son atelier de la Place de la Révolution (l'actuelle place du Grenier à Sel) et c'est lui qui suggéra à son créateur d'y rajouter les trois tridents des gardians afin de symboliser encore mieux la Camargue. Ainsi elle associe symboliquement les gardians, les pêcheurs et les saintes Maries. (wikipedia)
