Paire de pots pourris en porcelaine bleue de la Chine. Style Louis XV
Paire de pots pourris en porcelaine bleue de la Chine. Style Louis XV. photo Pierre Bergé & associés
formant candélabres à quatre branches de lumières ornés d'une riche monture en bronze ciselé et doré de feuilles d'acanthe. Ils reposent sur une base ajourée de volutes. . H_54 cm L_42 cm - Résultat : 4 800 €
Pierre Bergé & associés. Mercredi 15 décembre à 14h00. Drouot-Richelieu - Salle 5 & 6 - Paris. EMail : contact@pba-auctions.com - Tél. : Paris +33 (0)1 49 49 90 00
Paire de vases en forme de carpes bondissantes. Arita, Japon, XVIIe-XVIIIe siècle
Paire de vases en forme de carpes bondissantes. Arita, Japon, XVIIe-XVIIIe siècle. photo Pierre Bergé & associés
en porcelaine décorée en bleu sous couverte et émaux polychromes (manques et restaurations aux nageoires). H_31 cm - Résultat : 4 500 €
Pierre Bergé & associés. Mercredi 15 décembre à 14h00. Drouot-Richelieu - Salle 5 & 6 - Paris. EMail : contact@pba-auctions.com - Tél. : Paris +33 (0)1 49 49 90 00
Attribué à Anthonie de Lorme et Anthonie Palamedes, L'intérieur d'une église
Attribué à Anthonie de Lorme (Tournai vers 1610-Rotterdam 1673) et Anthonie Palamedes (Delft 1601-Amsterdam, 1673), L'intérieur d'une église. photo Pierre Bergé & associés
Panneau parqueté. Porte une signature en bas à gauche "H. Steenwy". H_65,3 cm L_84,8 cm - Résultat : 12 000 €
Pierre Bergé & associés. Mercredi 15 décembre à 14h00. Drouot-Richelieu - Salle 5 & 6 - Paris. EMail : contact@pba-auctions.com - Tél. : Paris +33 (0)1 49 49 90 00
Anthonie de Lorme. Peintre néerlandais (Tournai v. 1610 – Rotterdam 1673). Déjà mentionné à Rotterdam, en 1627, comme élève du peintre d'architecture Van Vucht, il s'y marie en 1647 et travaille passagèrement à Delft et à Anvers. Ses premiers tableaux datés ne remontent qu'à 1640. Petit maître d'envergure modeste, spécialisé dans la peinture d'église, Lorme répète inlassablement les mêmes motifs, avec une précision sèche et un coloris froid, presque neutre, qui laisse parler les lignes de la perspective. Dans une première partie de sa carrière, il reste fidèle à la manière encore archaïque de Van Vucht et de Steenwyck, affectionnant des intérieurs d'églises imaginaires de style Renaissance tardif, avec des effets d'éclairage artificiel (1641, Kunsthalle de Hambourg, musée de Schwerin ; 1652, musée de Rennes). Puis, dans les années 1650, il se met soudain à la mode nouvelle, décrit des églises réelles avec le seul éclairage du jour et cherche de plus en plus à creuser l'espace et à suggérer des perspectives vraisemblables et bien construites. Son exécution, sa manière et son coloris tendent alors à devenir extrêmement propres et clairs, sinon froids. L'un de ses motifs favoris est l'église Saint-Laurent de Rotterdam, ce que remarquait déjà le voyageur français Monconys, de passage à Rotterdam en 1663 : " Il ne fait que l'église de Rotterdam en diverses vues, mais il les fait bien " (2 exemples, 1655 et 1669, Rotterdam, B. V. B. ; d'autres en 1658 à Schwerin, en 1667 à Grenoble et en 1669 à Lille). www.larousse.fr
Plan de l'article
Anthonie Palamedes, also Anthonie or Antonie Palamedesz., (1601, Delft - ca 27 November 1673, Amsterdam), was a Dutch painter. Palamedes primarily painted portraits and genre works. His brother Palamedes Palamedesz.I later became a battle scene painter. According to the RKD, he was taught by Michiel Jansz. van Mierevelt and Hans Jordaens. Palamedes joined the Delft Guild of Saint Luke in 1621. He was married twice, and had four children in total. His pupils were aside from his brother and Palamedes II, Ludolf de Jongh] Palamedes died in 1673. http://en.wikipedia.org
Commode à léger ressaut en laque européenne. Epoque Transition.
Commode à léger ressaut en laque européenne. Epoque Transition. photo Pierre Bergé & associés
à décor noir et or de paysages animés de palais et d'oiseaux dans le goût de la Chine, elle ouvre à deux tiroirs sans traverse, les montants arrondis, elle repose sur quatre pieds légèrement cambrés. Ornementation de bronzes ciselés et dorés tels que : entrées de serrures, anneaux de tirage, et sabots. Estampillée P.F. GUIGNARD et poinçon de jurande. (restaurations, reprises au décor). Dessus de marbre brèche d'Alep. H_86,5 cm L_92,5 cm P_46,5 cm -
Pierre François Quéniard dit Guignard, ébéniste reçu maître en 1767.
Pierre Bergé & associés. Mercredi 15 décembre à 14h00. Drouot-Richelieu - Salle 5 & 6 - Paris. EMail : contact@pba-auctions.com - Tél. : Paris +33 (0)1 49 49 90 00
Attribué au Maître de Francfort (actif entre 1490 et 1515), La Vierge à l'Enfant
Attribué au Maître de Francfort (actif entre 1490 et 1515), La Vierge à l'Enfant photo Pierre Bergé & associés
Panneau parqueté, cintré dans la partie supérieure. H_51,5 cm L_36,5 cm - Résultat : 64 000 €
Provenance : Collection Fernandez Patto, Paris ; Vente A. Schloss, Paris, Galerie Charpentier, 25 mai 1949 (Mes Reims et Baudoin), n° 32, reproduit.
Exposition : Cent tableaux d'Art religieux, Paris, Galerie Georges Petit, 1953. Bibliographie : M.J. Friedlander, Jahruch der Kön. Preuss. Kunstsammlungen, Berlin, XXXVIII, 1917, p. 147, n° 18.
Pierre Bergé & associés. Mercredi 15 décembre à 14h00. Drouot-Richelieu - Salle 5 & 6 - Paris. EMail : contact@pba-auctions.com - Tél. : Paris +33 (0)1 49 49 90 00
Maître de Francfort. Peintre flamand (v. 1460 – actif jusqu'en 1515 – 1520 env.). Ce maître anonyme anversois a été ainsi nommé pour avoir peint un triptyque consacré à Sainte Anne pour l'église des Dominicains de Francfort (auj. au Musée historique) et un triptyque de la Crucifixion pour Claus Humbracht, bourgeois de la même ville (Städel. Inst.). Un portrait qui lui est attribué avec des réserves le représente avec sa femme (Vienne, ancienne coll. Auspitz, auj. au musée d'Anvers) porte la date de 1496 et l'âge respectif des personnages, trente-six et dix-sept ans. Son œuvre, abondante, comporte notamment des peintures de grand format inspirées par des modèles du Maître de Flémalle, de Rogier Van der Weyden (dans le triptyque de Watervliet, il développe une Déposition de croix de ce maître connue par un dessin) ou de Van der Goes (dans un triptyque du musée d'Anvers, il copie librement le retable de Monforte du musée de Berlin). Il est capable de donner un accent monumental à ses figures, surtout par une science remarquable de la plastique. Cependant, son art n'atteint pas au niveau de ses modèles, faute d'une inspiration profonde. Ses personnages sont souvent marqués d'une lourdeur très paysanne, et leurs visages sont affectés d'un accent brutal proche de la caricature, ce qui pourrait indiquer une origine hollandaise de l'artiste. On a proposé successivement de l'identifier avec Hendrick Van Wueluwe, franc maître en 1483, et avec Jan de Vos, qui est mentionné à Francfort en 1512. C'est la première hypothèse qui semble aujourd'hui retenir les suffrages les plus avisés et déterminer la distinction entre les œuvres du maître de Francfort lui-même — alias Hendrick Van Wueluwe — et celles de ses émules, le Maître de San Diego, le Maître de Stuttgart, le Maître de Watervliet. (www.larousse.fr)
Deux bibliothèques formant pendant de forme mouvementée en placage d'ébène et placage « en partie » d'écaille rouge et laiton
Deux bibliothèques formant pendant de forme mouvementée en placage d'ébène et placage « en partie » d'écaille rouge et laiton. photo Pierre Bergé & associés
Elle est décorée de rinceaux feuillagés, volutes, feuilles d'acanthe et oiseaux. Les montants à pans coupés ornés de cannelures de cuivre, elle ouvre à deux portes grillagées. Elle est surmontée d'une corniche en arbalète ornée d'une frise d'oves en bronze doré. L'une d'époque Louis XIV, l'autre de style (bronzes rapportés, restaurations). H_262 cm L_166 cm P_46 cm - Résultat : 81 000 €
Ce modèle d'armoire est à rapprocher des productions de l'ébéniste Nicolas Sageot (1). On retrouve ce type d'armoire à corniche cintrée ou à corniche en arbalète dans sa production (2).
Nicolas Sageot, né en 1666 devient ouvrier libre au Faubourg Saint-Antoine jusqu'à l'obtention de sa maîtrise en 1706. Son activité se développe, il se fait une spécialité des marqueteries à fond d'écaille rouge et laiton dont le décor est inspiré de l'ornemaniste Jean Berain (1637-1711).
(1) Le Mobilier Boulle et les ateliers de l'époque, par Pierre Grand in « L'estampille l'Objet d'art », février 1993, n°266.
(2) Opus cité note (1), p. 55.
Pierre Bergé & associés. Mercredi 15 décembre à 14h00. Drouot-Richelieu - Salle 5 & 6 - Paris. EMail : contact@pba-auctions.com - Tél. : Paris +33 (0)1 49 49 90 00
17th century London & English Delft chinoiserie
A London Delft named and dated blue and white chinoiserie mug. 1635, Southwark, probably Pickleherring Quay. Photo: Christie's Images Ltd., 2010
Barrel-shaped, painted with a frieze of 'birds-on-rocks' among flowering plants and insects, the neck inscribed and dated :EDMVND:PEIRSON:&:ELIZABETH 1635, the lower body with a band of S-scrolls; 5 5/8 in. (14.3 cm.) high - Estimate $70,000 - $90,000
Provenance: A.E. Blake; Sotheby's, London, 26 May 1970, lot 43.
Thomas Burn, Rous Lench Court; Sotheby's, London, 1 July 1986, lot 24.
Literature: Louis L. Lipski and Michael Archer, Dated English Delftware, Tin-Glazed Earthenware 1600-1800, London, 1984, p. 159, no. 715.
Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D233.
Notes: For a similar mug with an inscription to 'IOHN POTTEN AND SVSANNA 1633', see Bernard Rackham, Catalogue of The Glaisher Collection of Pottery & Porcelain in the Fitzwilliam Museum Cambridge, Woodbridge, 1987, Vol. I, no. 1295, pl. 82C.
A London Delft dated blue and white chinoiserie wine-bottle, 1628, Southwark, Pickleherring Quay. Photo: Christie's Images Ltd., 2010
Of conventional form, painted with a frieze of 'birds-on-rocks' amongst flowering plants and an insect, the neck with a trellis-pattern band, indistinctly dated 1628 below the handle; 7 3/8 in. (18.7 cm.) high - Estimate $50,000 - $80,000
Provenance: Anonymous sale; Christie's, London, 15 February 1988, lot 23.
With Jonathan Horne, London, 1988.
Literature: Leslie B. Grigsby, 'Dated Longridge Delftware and Slipware', The Magazine Antiques 155, no. 6, June 1999, p. 877, pl. 2.
Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D219.
Aileen Dawson, The British Museum - English & Irish Delftware 1570-1840, London, 2010, pp. 162-163, no. 66.
Notes: Of the rare group of delft wares made 1628-1636, painted with a continuous frieze in the 'bird-on-rock' pattern, and now attributed to Pickleherring Quay, Southwark, six wine-bottles dated 1628 are known: two in the Longridge Collection (the present bottle and the following lot), one formerly in the Rous Lench Collection (sold Christie's, London, 29/30 May 1990, lot 13), one from the collection of Harriet Carlton Goldweitz (sold Sotheby's, New York, 20 January 2006, lot 5), one now in the collection of the British Museum, and one now at the Fitzwilliam Museum, Cambridge. A seventh virtually identical but undated bottle is in the collection of the Chipstone Foundation, Milwaukee. The recurring date of 1628 is not accidental, as it was in this year that a Royal Grant of Monopoly was awarded to the pottery works of Christian Wilhelm at Pickelherring Quay, Southwark. The undated posset-pot offered as lot 31 and the named mug dated 1635 and offered as lot 32 in the present sale should be considered part of this same group.
For the details, see Connoisseur Magazine, August 1960 and February 1961; Frank Britton, London Delftware, London, 1987, p. 35.; Louis L. Lipski and Michael Archer, Dated English Delftware, London, 1984, pp. 706-708, nos. 1250-1253.
A London Delft dated blue and white chinoiserie wine-bottle, 1628, Southwark, Pickleherring Quay. Photo: Christie's Images Ltd., 2010
Of conventional form, painted with a frieze of 'bird-on-rock' amongst flowering plants and insects, the neck with banded dot and dash ornament, the lower part with a band of trellis pattern, dated 1628 below the handle; 7 5/8 in. (19.3 cm.) high - Estimate $50,000 - $80,000
Provenance: Brian and Marion Morgan.
With Jonathan Horne, London, 1983.
Literature: Michael Archer and Brian Morgan, Fair as China Dishes, English Delftware, Washington, D. C., 1977, pp. 18-20, no. 4.
Louis L. Lipski and Michael Archer, Dated English Delftware, Tin-Glazed Earthenware 1600-1800, London, 1984, p. 310, no. 1253.
Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D218.
Aileen Dawson, The British Museum - English & Irish Delftware 1570-1840, London, 2010, pp. 162-163, no. 66.
A Bristol Delft polychrome chinoiserie posset-pot and cover. First quarter of the 17th century. Photo: Christie's Images Ltd., 2010
Of baluster form with domed cover, surmounted by a bird finial flanked by scrolls applied with dragons, the curved spout flanked by flattened scroll handles with similar ornament, painted in blue, green, iron-red and yellow with vignettes of seated figures beside tables, screens and a kettle among rockwork, the handles and spout with blue dash ornament: 10¼ in. (26 cm.) high (2) - Estimate $25,000 - $30,000
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D285.
Notes: For a similar posset-pot in the Bristol Museum, see Mrs. (Celia) Hemming, 'Thomas Frank and John Niglett of Bristol', The Connoisseur, July 1929, p. 27, no. VI. Also see Frank Britton, English Delftware in the Bristol Collection, London, 1982, p. 75, no. 4.21 for a posset-pot cover of similar design and decoration. The decoration here compared to a dish, op. cit, no. 12.14, bearing the initials thought to be those of John Niglett, apprenticed at Limekiln Lane in 1714.
A London Delft blue and white chinoiserie vase, circa 1670-1675. Photo: Christie's Images Ltd., 2010
Of baluster form, painted with birds, dragonflies, butterflies and moths among sprays of prunus, chrysanthemum, peony, carnation, tulip, berries, foliage and other flowers, below a 'three brick' pattern rim; 12¼ in. (31.2 cm.) high - Estimate $20,000 - $30,000
Provenance: With Jonathan Horne, London, 1999.
Literature: Jonathan Horne, A Collection of Early English Pottery, Part XIX, London, March 1999, no. 555.
Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D365.
Notes: Inspired by Chinese blue and white porcelain of the Ming dynasty, the decoration on the present vase is distinguished by its large scale, the richness of the flowers, the delicacy of the shading, the whimsical dragonflies, butterflies and birds. The vase belongs to a small class of wares similarly decorated that includes four posset pots dating 1669-1678 (Louis L. Lipski and Michael Archer, Dated English Delftware, London, 1984, nos. 899, 903, 907, 908), as well as a large undated dish with Jonathan Horne in 1990, a tall mug dated 1769 formerly in the Longridge Collection and now in another private collection (Christie's, London, 10-11 June 2010, lot 1171) and an initialed 'curles' salt dated 1675 still part of the Longridge Collection (Grigsby, op. cit., Vol. II, D208).
An English Delft blue and white chinoiserie puzzle-jug. Third quarter of the 17th century, London or perhaps Brislington. Photo: Christie's Images Ltd., 2010
With triple-nozzle rim, knopped and pierced tapering neck, globular body and shaped foot, painted with a running or dancing figure in a landscape with a pavilion, rockwork and bushes, initialed I·P above a flourish, between concentric lines; 7¼ in. (18.5 cm.) high - Estimate $20,000 - $30,000
Provenance: The Estate of Adelaide Stein Miller; Sotheby's, New York, 10 October 1990, lot 477.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D299.
Notes: For similar examples of this early type of puzzle-jug with a narrow heavily pierced neck, see Frank Britton, London Delftware, London, 1987, p. 133, no. 91 and Louis L. Lipski and Michael Archer, Dated English Delftware, London, 1984, pp. 229-230, nos. 1011 and 1015.
An English Delft dated blue and white chinoiserie caudle-cup, 1673, probably London. Photo: Christie's Images Ltd., 2010
Painted with a figure of a musician seated below a willow between rockwork amongst pine, flowers and foliage between pagodas, flanked by the initials IB above a flourish and the date 1673, within a rectangular panel, the handle with chevron ornament; 3¾ in. (9.5 cm.) high - Estimate $15,000 - $20,000
Provenance: Anonymous sale; Sotheby's, London, 18 March 1955, lot 69.
Thomas Burn, Rous Lench Court; Christie's, London, 29-30 May 1990, lot 7.
Literature: Louis L. Lipski and Michael Archer, Dated English Delftware, Tin-Glazed Earthenware 1600-1800, London, 1984, p. 171, no. 772.
Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D241.
An Bristol Delft dated polychrome chinoiserie two-handled bowl, 1728. Photo: Christie's Images Ltd., 2010
Molded with a rib below the rim and supported on a domed foot, applied with scroll handles, painted in blue, iron-red, yellow and green with figures before a fenced landscape and distant pine, between concentric lines and bands, the handles sponged in blue, the interior initialed and dated ML/1728 above a flourish. 4 5/8 in. (11.9 cm.) high - Estimate $10,000 - $15,000
Provenance: Anonymous sale; Sotheby's, London, 20 June 2000, lot 11.
Notes: See the catalogue note for lot 110.
A Bristol Delft chinoiserie dish, circa1735-1740. Photo: Christie's Images Ltd., 2010
Painted in blue, yellow, iron-red and green with a figure waving a flag, beside rockwork issuing pine before fence and terraced landscape; 13 3/8 in. (34 cm.) diameter - Estimate $7,000 - $10,000
Provenance: With Jonathan Horne, London, 1994.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D120.
Jonathan Horne, A Collection of Early English Pottery, Part XIV, London, March 1994, no. 394.
A London Delft blue and white chinoiserie mug, circa 1680-1700. Photo: Christie's Images Ltd., 2010
Of compressed globular form below a cylindrical neck molded with a horizontal rib, painted in blue and outlined in manganese with a seated figure amongst rockwork and foliage, the scroll handle with dash ornament; 5¾ in. (14.5 cm.) high - Estimate $6,000 - $8,000
Provenance: Robert Hall Warren; Phillips, London, 11 June 1986, lot 10.
John Philip Kassebaum, 1991.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D250.
A London Delft dated blue and white chinoiserie dish, 1686. Photo: Christie's Images Ltd., 2010
Painted in shades of blue and outlined in black with a seated figure below the initials ·S·B· above the date 1686, among rockwork and foliage within concentric bands, the narrow border painted with an 'arc-and-crescent' pattern; 8½ in. (21.6 cm.) diameter - Estimate $5,000 - $8,000
Provenance: Louis L. Lipski Collection; Sotheby's, London, 10 March 1981, lot 38.
John Philip Kassebaum; Sotheby's, London, 1 October 1991, lot 26.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D106.
Louis L. Lipski and Michael Archer, Dated English Delft, London, 1984, no. 161.
An English Delft dated blue and white chinoiserie plate, 1684, almost certainly London. Photo: Christie's Images Ltd., 2010
Painted with a seated figure among rockwork and foliage below the initials RC and the date 1684, within concentric bands, the border with two further figures; 8½ in. (21.6 cm.) diameter - Estimate $5,000 - $7,000
Provenance: H. Griffiths, 1891.
Louis Gautier; Puttick & Simpson, London, 9 March 1944, lot 172.
F. H. Garner; Sotheby's, London, 6 October 1964, lot 126.
Major E. R. W. Robinson.
John Philip Kassebaum; Sotheby's, London, 1 October 1991, lot 28.
Literature: Louis Gautier, English Delft, London, 1929, p. 5, pl. 8.
F. H. Garner and Michael Archer, English Delftware, London, 1972, p. 25 and pl. 43b (as Lambeth).
F. H. Garner English Delftware, New York, n.d., pl. 26b.
Louis L. Lipski and Michael Archer, Dated English Delftware, London, 1984, p. 53, no. 158.
Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D105.
An English Delft blue and white chinoiserie mug, circa 1675, probably London. Photo: Christie's Images Ltd., 2010
Of lobed baluster form, painted with a figure amongst rockwork issuing leaves and flowering prunus branches, the handle with scroll ornament; 4 5/8 in. (11.7 cm.) high - Estimate $5,000 - $8,000
Provenance: With Mark and Marjorie Allen, New Hampshire, 1998.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D249.
A pair of English Delft chinoiserie bottle-vases, circa 1760, probably Liverpool. Photo: Christie's Images Ltd., 2010
Painted in manganese and blue with 'Long Eliza' figures among rockwork and foliage; 6¼ in. (15.9 cm.) high (2) - Estimate $5,000 - $7,000
Provenance: With Jonathan Horne, London, 1996.
Literature: Jonathan Horne, A Collection of Early English Pottery, Part XVI, London, March 1996, no. 455a&b.
Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D372.
An English Delft chinoiserie plate, circa 1760, probably Liverpool, enameled in Staffordshire, possibly at Cobridge. Photo: Christie's Images Ltd., 2010
Painted in the famille rose palette with a figure of a woman and child on horseback between flowering branches below pierced rockwork within an elborate border of scrolled panels and trailing branches; 8½ in. (21.6 cm.) diameter - Estimate $4,000 - $6,000
Provenance: With Jonathan Horne, London, 1995.
Literature: Jonathan Horne, A Collection of Early English Pottery, Part XV, March 1995, no. 433.
Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D131.
Notes: For other plates from this service see John C. Austin, British Delft at Williamsburg, Williamsburg, 1994, p. 174, no. 310, cl. pl. 24 and Michael Archer and Brian Morgan, Fair as China Dishes, Washington, D.C., 1977, pp. 120-121, no. 86. For a plate likely by the same hand, see Michael Archer, Delftware the Tin-Glazed Earthenware of the British Isles, the Catalogue of the Collection in the Victoria and Albert Museum, London, 1997, p. 185, no. B.145. Also see the plate from the collection of Brian and Marion Morgan, Sotheby's, London, 25 March 1980, lot 60.
A London Delft dated blue and white chinoiserie mug, last quarter of the 17TH century. Photo: Christie's Images Ltd., 2010
Of baluster form, painted with a seated figure among rockwork and foliage between concentric lines, the handle with dash ornament; 4 in. (10.1 cm.) high - Estimate $3,000 - $4,000
Provenance: Robert Hall Warren, no. 14; Phillips, London, 11 June 1986, lot 86.
John Philip Kassebaum; Sotheby's, London, 1 October 1991, lot 21.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D251.
An English Delft blue and white chinoiserie mug, circa 1725, Bristol or London. Photo: Christie's Images Ltd., 2010
Painted with birds and insects among flowers issuing from rockwork between whorl and lappet bands, the grooved handle with scroll ornament, the underside painted with a figure in a basket in landscape; 6¾ in. (17.1 cm.) high - Estimate $3,000 - $5,000
Provenance: Anonymous sale; Sotheby's, London, 2 October 1984, lot 114.
John Philip Kassebaum; Sotheby's, London, 7 October 1992, lot 86.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D260.
An English of Irish Delft blue and white chinoiserie pickle or sweetmeat set, circa 1755-1760, Liverpool or possibly Dublin(World's end pottery). Photo: Christie's Images Ltd., 2010
Comprising a lobed square-shaped tray painted with a vase on stand issuing flowers amongst peony and foliage within a border of leaves, containing a lobed square dish and four fan-shaped dishes painted with flowering branches within a fret and whorl-pattern border; 8 1/8 in. (20.6 cm.) wide, the tray (6) - Estimate $2,500 - $5,000
Provenance: Kenneth Hammitt; Skinner Inc., Boston, 11 December 1993, lot 86 (as Irish).
Literature: Jonathan Horne, Irish Delftware Exhibition, London, 2000.
Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D202.
Notes: For a similar sweatmeat set, see Peter Francis, Irish Delftware an Illustrated History, London, 2000, p. 130, figs. 163 a-c. Also compare, John C. Austin, British Delft at Williamsburg, Williamsburg, Virginia, 1994, p. 195, no. 391.
It is interesting to note that Josiah Wedgwood's 1774 catalogue of creamware models, lists a set of similar form as a 'Large Dish which contains five small pieces a,b,c, for Pickles of different kinds.'
An English Delft dated blue and white chinoiserie plate, 1697, probably Brislington. Photo: Christie's Images Ltd., 2010
Painted in shades of blue and outlined in black, the center with the initials ·A·T· above the date 1697 and a bouquet of fruit and flowers within concentric bands and a border of rockwork issuing foliage: 8¼ in. (21 cm.) diameter - Estimate $2,000 - $3,000
Provenance: With Jonathan Horne, London, 1994.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D166.
Notes: See Louis L. Lipski and Michael Archer, Dated English Delftware, Tin-Glazed Earthenware 1600-1800, London, 1984, pp. 62-63, no. 212 for a related plate initialed KT above the date 1697 with an identical border and likely by the same hand.
An English Delft chinoiserie circular plate, last quarter of the 17th century, London, Bristol or Brislington.. Photo: Christie's Images Ltd., 2010
Painted in manganese, green and blue with a seated figure among rockwork and foliage, within concentric bands, the border with two further figures; 8 5/8 in. (22 cm.) diameter - Estimate $2,000 - $3,000
Provenance
Anonymous sale; Sotheby's, London, 12 June 2001, lot 248.
Lot Notes
Similar dated plates appear between circa 1675 and 1684, see Louis L. Lipski and Michael Archer, Dated English Delftware, Tin-Glazed Earthenware 1600-1800, London, 1984, pp. 50-53, nos. 138, 144 and 157.
An English Delft chinoiserie octogonal plate, last quarter of the 17th century, London, Bristol or Brislington.. Photo: Christie's Images Ltd., 2010
Painted in manganese and green with a seated figure amongst rockwork and foliage, within concentric bands, the border with two further figures; 7 7/8 in. (20 cm.) wide - Estimate $2,000 - $3,000
Provenance: Louis L. Lipski; Sotheby's, London, 10 March 1981, lot 21.
Anonymous sale; Sotheby's, New York, 20 October 1993, lot 29.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D110.
An English Delft chinoiserie octogonal plate, last quarter of the 17th century, London, Bristol or Brislington.. Photo: Christie's Images Ltd., 2010
Painted in manganese and yellow with a seated figure amongst rockwork and foliage, within concentric bands, the border with two further figures; 7¾ in. (19.7 cm.) wide - Estimate $1,500 - $2,000
Provenance: John Philip Kassebaum; Sotheby's, London, 7 October 1992, lot 2.
Literature: Michael Archer and Brian Morgan, Fair as China Dishes: English Delftware from the Collection of Mrs. Marion Morgan and Brian Morgan, Washington D.C., 1977, p. 38, no. 17.
Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D112.
An English Delft blue and white chinoiserie fluted dish. circa 1680-1695, London, Bristol or Brislington.. Photo: Christie's Images Ltd., 2010
Painted with a seated figure amongst rockwork and foliage, the border with half-flowerheads and pendant buds; 8¼ in. (20.9 cm.) diameter - Estimate $1,500 - $2,000
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D104.
An English Delft chinoiserie octogonal plate, last quarter of the 17th century, London, Bristol or Brislington.. Photo: Christie's Images Ltd., 2010
Painted in blue and yellow with a seated figure amongst rockwork and foliage within concentric bands, the border with two further figures; 7¾ in. (19.7 cm.) wide - Estimate $1,500 - $2,000
Provenance: Louis L. Lipski; Sotheby's, London, 17 November 1981, lot 230.
John Philip Kassebaum; Sotheby's, London, 7 October 1992, lot 1.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D111.
An English Delft polychrome chinoiserie plate, circa 1755, probably Bristol or Liverpool. Photo: Christie's Images Ltd., 2010
Painted with stylized plants within a fenced garden, the scalloped border with trailing fruit and flowers; 9 3/8 in. (24 cm.) wide - Estimate $1,500 - $2,500
Provenance: Anonymous sale; Phillips, London, 3 June 1998, lot 331.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D130.
A Bristol Delft blue and white chinoiserie rectangular 'brick', circa 1740. Photo: Christie's Images Ltd., 2010
Both long sides painted with a lady and serving boy in an interior, each end with a ship, the upper surface pierced with three rows of apertures with dot and flower-head ornament; 6¼ in. (16 cm.) wide - Estimate $1,200 - $1,800
Provenance: Kenneth Hammitt; Skinner Inc., Boston, 11 December 1993, lot 64.
Literature: Leslie B. Grigsby, The Longridge Catalogue, Vol. II, D375.
Christie's; Syd Levethan: The Longridge Collection? 24 January 2011? New York, Rockefeller Plaza www.christies.com
L’artiste Marina Abramovic fait la couverture de Elle magazine
Marina Abramovic by Dusan Reljin for Elle Serbia January 2011
BELGRADE (SERBIE) [31.12.10] - Marina Abramovic, artiste contemporaine serbe connue pour ses performances où elle met en scène son corps nu qu’elle mutile, fait la couverture du magazine Elle Serbie de janvier 2011.
L’artiste serbe Marina Abramovic, performeuse sans limites du « body art » réputée pour s’exposer nue et meurtrir son corps, est en page de couverture du magazine Elle Serbie du mois de janvier 2011.
Ce n’est pas la première fois que Marina Abramovic fait la une d’une revue de mode. Après Lady Gaga et Marc Jacobs en couverture de V magazine du mois de septembre 2010, c’est à son tour de poser à nouveau aux côtés du top model Tyson Ballou pour une nouvelle parution du magazine féminin.
En 2010, Marina Abramovic a fait parler d’elle avec son exposition au MoMA « Marina Abramovic : The artist is present». La performance de plusieurs artistes nus qui recherchaient l’interaction avec le public n’était pas sans provoquer un certain malaise.
Depuis les années 1970 jusqu’à son projet d’Institut des Arts de la Performance, elle ne cesse de repousser les frontières du « body art » et de la performance. www.artclair.com
World acclaimed contemporary artist Marina Abramovic fronts the January issue of her homeland Elle magazine, Marina is lensed by fashion photographer Dusan Reljin.
Carnegie Museum Announces Acquisitions in Neoclassical and Contemporary Art
Antonio Canova, Terpsichore.
PITTSBURGH, PA.- Carnegie Museum of Art announce two major acquisitions representing the museum’s strengths in 19th century neoclassical art and contemporary art. The works are Terpsichore, Muse of Lyric Poetry, 1812, an exceptionally rare sculpture by Antonio Canova, a leading artist of 19th century Europe; and five works, which together comprise a single installation, by one of the most provocative American artists to emerge in the last decade, Gedi Sibony.
“While Canova’s Terpsichore and Sibony’s five pieces were made in different time periods and from different materials, they each contribute to strengthening the breadth and depth of Carnegie Museum of Art’s collection and illustrate our commitment to collecting diverse and important works,” said Lynn Zelevansky, The Henry J. Heinz II Director of Carnegie Museum of Art.
Terpsichore, Antonio Canova
“Terpsichore is one of those great works that has the ability to elevate Carnegie Museum of Art’s 19th-century sculpture collection to an international standing,” says Louise Lippincott, the museum’s curator of fine arts. “As the most famous artist of his time, Canova defined the Neoclassical style and the practice of sculpture for almost a century. Terpsichore, a full-length, life-size ideal figure, exemplifies this style and was one of the artist’s most popular subjects.”
The sculpture was originally intended as a portrait of Alexandrine Bonaparte for Canova’s patron, Lucien Bonaparte (brother of Napoleon.) When Lucien abandoned the commission, Canova changed the sculpture to a figure of a muse, and one of his favorite subjects: Terpsichore. Terpsichore is traditionally identified as the muse of dance, but the sculpture’s inscription “Terpsichore Lyran” associates her with lyric poetry, as do the lyre that she holds and the caduceus (an insignia commonly associated with the medical profession) on the side of the pedestal.
According to Lippincott, the Canova sculpture is rare because it is the original plaster worked on by Canova, himself; many other finished sculptures of the time—particularly those in marble—were the products of workshop technicians. Evidence of the artist’s involvement includes a change in the position of Terpsichore’s head, undercutting in the draperies and carved and modeled additions to the figure, lyre, and pedestal. The skill of Canova is evident in the fluidity of line, smooth surface, and graceful form creating a classic ideal of feminine beauty.
Five Works by Gedi Sibony
“Encountering a Gedi Sibony installation is like walking into an abstract painting,” said Daniel Byers, associate curator of contemporary art at Carnegie Museum of Art. “Using urban detritus, Sibony creates poetic meditations on space, form, texture, and the almost magical life of everyday materials.”
The materials Sibony uses—packing tape, cardboard, foam core, plastic sheet and wire, among others—are often disposable objects, yet Sibony repurposes them for display by reactivating these cast-off materials.
“This installation represents the full range of the artist’s work,” adds Byers. “It is an important acquisition of work by an artist at the forefront of aesthetic experimentation and whose importance to contemporary art will only grow in the future.”
Currently, only a few museums in the United States—the Museum of Modern Art, Whitney Museum of American Art, and Walker Art Center—own art work by Sibony.
Both works of art are currently on display in the museum galleries. Terpsichore is on exhibit in Scaife Gallery 2 under the main skylight while Sibony’s five pieces (which were last seen at the 2010 Basel Art Fair) are in the contemporary galleries and will be on view until February 2011.
The materials Sibony uses—packing tape, cardboard, foam core, plastic sheet and wire, among others—are often disposable objects, yet Sibony repurposes them for display by reactivating these cast-off materials
Blue & White porcelains from the Lady Lever Art Gallery (2)
Vase. Porcelain with underglaze blue decoration. H. 19.7 cm, DB. 12 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6037. Lady Lever Art Gallery.
Vase, which belongs to a set of five (with three vases, LL 6037, LL 6038 (cover to LL 6037 ), LL 6039, LL 6040 (cover to LL 6039 ), LL 6041 & LL 6042 (cover to LL 6041 ) with slender oval bodies, short necks, dome-shaped covers, and slightly spreading feet; and two beakers, LL 6043 & LL 6044, with bulbous stems and flaring mouths). Design in bands of leaf-shaped panels with ladies and vases of flowers. On the necks, floral sprays.
Mark of Yu (jade) on the base.
Provenance: Richard Bennett collection; his sale, 1911, purchased by Edgar Gorer for Lever; by whom gifted to the Lady Lever Art Gallery, 1922.
Literature: E. Gorer, Catalogue of the Collection of Old Chinese Porcelains formed by Richard Bennett, Esq. Thornby Hall, Northampton, London, 1911, p. 5, No. 11. R. L. Hobson, Chinese Porcelain and Wedgwood Pottery with Other Works of Ceramic Art, London: B. T. Batsford, Ltd., 1928, No. 80. Vase, which belongs to a set of five (with three vases, LL 6037, LL 6038 (cover to LL 6037 ), LL 6039, LL 6040 (cover to LL 6039 ), LL 6041 & LL 6042 (cover to LL 6041 ) with slender oval bodies, short necks, dome-shaped covers, and slightly spreading feet; and two beakers, LL 6043 & LL 6044, with bulbous stems and flaring mouths). Design in bands of leaf-shaped panels with ladies and vases of flowers. On the necks, floral sprays.
Mark of Yu (jade) on the base.
Provenance! Richard Bennett collection; his sale, 1911, purchased by Edgar Gorer for Lever; by whom gifted to the Lady Lever Art Gallery, 1922.
Literature: E. Gorer, Catalogue of the Collection of Old Chinese Porcelains formed by Richard Bennett, Esq. Thornby Hall, Northampton, London, 1911, p. 5, No. 11. R. L. Hobson, Chinese Porcelain and Wedgwood Pottery with Other Works of Ceramic Art, London: B. T. Batsford, Ltd., 1928, No. 80.
Cover to LL 6037. Porcelain with underglaze blue decoration. H. 4.5 cm, D. 7 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6038. Lady Lever Art Gallery.
Cover of vase, which belongs to a set of five (with three vases, LL 6037, LL 6038 (cover to LL 6037 ), LL 6039, LL 6040 (cover to LL 6039), LL 6041 & LL 6042 (cover to LL 6041) with slender oval bodies, short necks, dome-shaped covers, and slightly spreading feet; and two beakers, LL 6043 & LL 6044, with bulbous stems and flaring mouths). Design in bands of leaf-shaped panels with ladies and vases of flowers. On the necks, floral sprays.
Vase. Porcelain with underglaze blue decoration. H. 20 cm, DB. 12.5 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6039. Lady Lever Art Gallery.
Vase, which belongs to a set of five (with three vases, LL 6037, LL 6038 (cover to LL 6037 ), LL 6039, LL 6040 (cover to LL 6039), LL 6041 & LL 6042 (cover to LL 6041 ) with slender oval bodies, short necks, dome-shaped covers, and slightly spreading feet; and two beakers, LL 6043 & LL 6044, with bulbous stems and flaring mouths ). Design in bands of leaf-shaped panels with ladies and vases of flowers. On the necks, floral sprays.
Mark of Yu (jade) on the base.
Provenance/ Richard Bennett collection; his sale, 1911, purchased by Edgar Gorer for Lever; by whom gifted to the Lady Lever Art Gallery, 1922.
Literature/ E. Gorer, Catalogue of the Collection of Old Chinese Porcelains formed by Richard Bennett, Esq. Thornby Hall, Northampton, London, 1911, p. 5, No. 11. R. L. Hobson, Chinese Porcelain and Wedgwood Pottery with Other Works of Ceramic Art, London: B. T. Batsford, Ltd., 1928, No. 80.
Cover to LL 6039; Porcelain with underglaze blue decoration. H. 4.5 cm, D. 7.2 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6040. Lady Lever Art Gallery.
Cover of vase, which belongs to a set of five (with three vases, LL 6037, LL 6038 (cover to LL 6037), LL 6039, LL 6040 (cover to LL 6039), LL 6041 & LL 6042 (cover to LL 6041) with slender oval bodies, short necks, dome-shaped covers, and slightly spreading feet; and two beakers, LL 6043 & LL 6044, with bulbous stems and flaring mouths). Design in bands of leaf-shaped panels with ladies and vases of flowers. On the necks, floral sprays.
Vase. Porcelain with underglaze blue decoration. H. 20.2 cm, DB 12 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6041. Lady Lever Art Gallery.
Vase, which belongs to a set of five (with three vases, LL 6037, LL 6038 (cover to LL 6037), LL 6039, LL 6040 (cover to LL 6039), LL 6041 & LL 6042 (cover to LL 6041) with slender oval bodies, short necks, dome-shaped covers, and slightly spreading feet; and two beakers, LL 6043 & LL 6044, with bulbous stems and flaring mouths). Design in bands of leaf-shaped panels with ladies and vases of flowers. On the necks, floral sprays.
Mark of Yu (Jade) on the base.
Provenance/ Richard Bennett collection; his sale, 1911, purchased by Edgar Gorer for Lever; by whom gifted to the Lady Lever Art Gallery, 1922.
Literature/ E. Gorer, Catalogue of the Collection of Old Chinese Porcelains formed by Richard Bennett, Esq. Thornby Hall, Northampton, London, 1911, p. 5, No. 11. R. L. Hobson, Chinese Porcelain and Wedgwood Pottery with Other Works of Ceramic Art, London: B. T. Batsford, Ltd., 1928, No. 80.
Cover to LL 6041. Porcelain with underglaze blue decoration. H. 4.7 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6042. Lady Lever Art Gallery.
Cover of vase, which belongs to a set of five (with three vases, LL 6037, LL 6038 (cover to LL 6037), LL 6039, LL 6040 (cover to LL 6039), LL 6041 & LL 6042 (cover to LL 6041) with slender oval bodies, short necks, dome-shaped covers, and slightly spreading feet; and two beakers, LL 6043 & LL 6044, with bulbous stems and flaring mouths). Design in bands of leaf-shaped panels with ladies and vases of flowers. On the necks, floral sprays.
Beaker. Porcelain with underglaze blue decoration. H. 22.1 cm, D. 12.8 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6043. Lady Lever Art Gallery.
Beaker, which belongs to a set of five ( with three vases, LL 6037, LL 6038 ( cover to LL 6037 ), LL 6039, LL 6040 ( cover to LL 6039 ), LL 6041 & LL 6042 ( cover to LL 6041) with slender oval bodies, short necks, dome-shaped covers, and slightly spreading feet; and two beakers, LL 6043 & LL 6044, with bulbous stems and flaring mouths ). Design in bands of leaf-shaped panels with ladies and vases of flowers. On the necks, floral sprays.
Mark of Yu (jade) on the base.
Provenance: Richard Bennett collection; his sale, 1911, purchased by Edgar Gorer for Lever; by whom gifted to the Lady Lever Art Gallery, 1922.
Literature: E. Gorer, Catalogue of the Collection of Old Chinese Porcelains formed by Richard Bennett, Esq. Thornby Hall, Northampton, London, 1911, p. 5, No. 11. R. L. Hobson, Chinese Porcelain and Wedgwood Pottery with Other Works of Ceramic Art, London: B. T. Batsford, Ltd., 1928, No. 80.
Beaker. Porcelain with underglaze blue decoration. H. 22.8 cm, D. 13.1 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6044. Lady Lever Art Gallery.
Beaker, which belongs to a set of five (with three vases, LL 6037, LL 6038 (cover to LL 6037), LL 6039, LL 6040 (cover to LL 6039), LL 6041 & LL 6042 (cover to LL 6041) with slender oval bodies, short necks, dome-shaped covers, and slightly spreading feet; and two beakers, LL 6043 & LL 6044, with bulbous stems and flaring mouths). Design in bands of leaf-shaped panels with ladies and vases of flowers. On the necks, floral sprays.
Mark of Yu (jade) on the base.
Provenance: Richard Bennett collection; his sale, 1911, purchased by Edgar Gorer for Lever; by whom gifted to the Lady Lever Art Gallery, 1922.
Literature: E. Gorer, Catalogue of the Collection of Old Chinese Porcelains formed by Richard Bennett, Esq. Thornby Hall, Northampton, London, 1911, p. 5, No. 11. R. L. Hobson, Chinese Porcelain and Wedgwood Pottery with Other Works of Ceramic Art, London: B. T. Batsford, Ltd., 1928, No. 80.
Cylindrical vase. Porcelain with underglaze blue decoration. H. 23 cm, DB. 10 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6045. Lady Lever Art Gallery.
Vase, of rouleau shape with cylindrical body, narrow neck, and spreading mouth, painted in brilliant blue with a mountain landscape with river and boats. On the shoulder, a border of cloud scrolls. On the neck, borders of key fret and silkworm scrolls.
Provenance: Richard Bennett collection; his sale, 1911, purchased by Edgar Gorer for Lever; by whom gifted to the Lady Lever Art Gallery, 1922.
Literature: E. Gorer, Catalogue of the Collection of Old Chinese Porcelains formed by Richard Bennett, Esq. Thornby Hall, Northampton, London, 1911, p. 5, No. 10. R. L. Hobson, Chinese Porcelain and Wedgwood Pottery with Other Works of Ceramic Art, London: B. T. Batsford, Ltd., 1928, No. 70.
Vase. Porcelain with underglaze blue decoration. H. 29 cm (with cover), DB. 11.5 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6046. Lady Lever Art Gallery.
Vase, one of a pair (to LL 6048), of similar form, with palace garden scenes - receptions by the Emperor. Borders of small flowers.
Literature: R. L. Hobson, Chinese Porcelain and Wedgwood Pottery with Other Works of Ceramic Art, London: B. T. Batsford, Ltd., 1928, No. 196.
Cover to LL 6046. Porcelain with underglaze blue decoration. H. 29 cm (with cover), DB. 11.5 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6047. Lady Lever Art Gallery.
Dome-shaped cover of LL 6046.
Vase. Porcelain with underglaze blue decoration. H. 29.7 cm (with cover), DB. 11.2 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6048. Lady Lever Art Gallery.
Vase, one of a pair (to LL 6046), of similar form, with palace garden scenes - receptions by the Emperor. Borders of small flowers.
Literature: R. L. Hobson, Chinese Porcelain and Wedgwood Pottery with Other Works of Ceramic Art, London: B. T. Batsford, Ltd., 1928, No. 196.
Cover to LL 6048. Porcelain with underglaze blue decoration. D. 7.2 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6049. Lady Lever Art Gallery.
Dome-shaped cover of LL 6048.
Vase. Porcelain with underglaze blue decoration. H. 28 cm (with cover), DB. 11.5 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6050. Lady Lever Art Gallery.
Vase, one of a pair (to LL 6025), of slender oval form, with straight neck and dome-shaped cover. On the sides, a garden scene with rocks and plantain trees. Two ladies seated at a table playing checkers, another approaching with a musical instrument. Rock and flowering plants on the neck. Boys on the cover. Borders of hatched Vandyke pattern and flowers.
Literature: R. L. Hobson, Chinese Porcelain and Wedgwood Pottery with Other Works of Ceramic Art, London: B. T. Batsford, Ltd., 1928, No. 195.
Cover to LL 6050. Porcelain with underglaze blue decoration. D. 7.5 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6051. Lady Lever Art Gallery.
Dome-shaped cover of LL 6050.
Jar with lid. Porcelain with underglaze blue decoration. H. 24.2 cm, DB. 12 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6052. Lady Lever Art Gallery.
Jar with lid, which belong to a set of five, with three jars with lids (LL 6052, LL 6053 & LL 6054) and two beakers with covers (LL 6055 & LL 6056).
Provenance: Purchased by Lever from James Orrock between 1903 and 1912, gifted to the Lady Lever Art Gallery, 1922.
Literature: National Museums & Galleries on Merseyside, The Making of a Gallery - William Hesketh Lever, Collector & Builder, Guide One, Chinese Ceramics, Item No. 1.
Jar with lid. Porcelain with underglaze blue decoration. H.. 24.9 cm, DB. 11.5 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6053. Lady Lever Art Gallery.
Jar with lid, which belong to a set of five, with three jars with lids (LL 6052, LL 6053 & LL 6054) and two beakers with covers (LL 6055 & LL 6056).
Provenance: Purchased by Lever from James Orrock between 1903 and 1912, gifted to the Lady Lever Art Gallery, 1922.
Literature: National Museums & Galleries on Merseyside, The Making of a Gallery - William Hesketh Lever, Collector & Builder, Guide One, Chinese Ceramics, Item No. 1.
Jar with lid. Porcelain with underglaze blue decoration. H.. 24.7 cm, DB. 11.7 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6054. Lady Lever Art Gallery.
Jar with lid, which belong to a set of five, with three jars with lids (LL 6052, LL 6053 & LL 6054) and two beakers with covers (LL 6055 & LL 6056).
Provenance: Purchased by Lever from James Orrock between 1903 and 1912, gifted to the Lady Lever Art Gallery, 1922.
Literature: National Museums & Galleries on Merseyside, The Making of a Gallery - William Hesketh Lever, Collector & Builder, Guide One, Chinese Ceramics, Item No. 1.
Beaker and cover. Porcelain with underglaze blue decoration. H. 25.5 cm, DB. 11.2 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6055. Lady Lever Art Gallery.
Beaker and cover, which belong to a set of five, with three jars with lids (LL 6052, LL 6053 & LL 6054) and two beakers with covers (LL 6055 & LL 6056).
Provenance: Purchased by Lever from James Orrock between 1903 and 1912, gifted to the Lady Lever Art Gallery, 1922.
Literature: National Museums & Galleries on Merseyside, The Making of a Gallery - William Hesketh Lever, Collector & Builder, Guide One, Chinese Ceramics, Item No. 1.
Beaker and cover. Porcelain with underglaze blue decoration. H. 21.6 cm, DB. 10.8 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6056. Lady Lever Art Gallery.
Beaker, which belongs to a set of five, with three Jars with lids (LL 6052, LL 6053 & LL 6054) and two beakers with covers (LL 6055 & LL 6056).
Provenance: Purchased by Lever from James Orrock between 1903 and 1912, gifted to the Lady Lever Art Gallery, 1922.
Literature: National Museums & Galleries on Merseyside, The Making of a Gallery - William Hesketh Lever, Collector & Builder, Guide One, Chinese Ceramics, Item No. 1.
Cover for LL 6056. Porcelain with underglaze blue decoration. D. 7.5 cm. Jingdezhen, China. Qing Dynasty, Kangxi (1662-1722 AD). LL 6057. Lady Lever Art Gallery.
Cover for LL 6056, chipped.
