We found 9207 price guide item(s) matching your search

18th century | height: 25 cm | region: Delft | country: Holland | provenance: private pharmacy museum | Albarello faience pottery | This pair of decorative jars comes from the 18th century workshops in Delft, when ceramic production there excelled in the production of faience, imitating Chinese porcelain, which was in great demand in Europe at the time. Known for its delicate painting and use of rich colors, Delft pottery combines European and Oriental motifs, which is also evident in these vases. The vases are richly decorated with floral designs that include the typical baroque motifs of flowers and birds, while the lids of the jars are topped with figures of dragons or mythological animals, adding an exotic touch to the overall design. A color scheme that includes shades of blue, red, green and yellow is characteristic of this style. Delft faience was very popular due to its aesthetics and quality workmanship, which mimicked oriental porcelain but offered a more affordable option for European customers. These jars probably served as decorative objects in the interiors of noble houses and are today highly prized collector's items for their artistic and historical value. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

A collection of three Chinese pith paper paintings, late Qing dynasty, painted with figures in a sitting room, 32 x 19cmtogether with a Chinese gouache painting, of a vase with flowers, ink and colour on silk, 34 x 26cm, framed and glazed (4)Condition ReportPith paper paintings - one with a large tear and losses, glaze missing. The other two with small holes and splits. All with foxing and staining marks. Vase painting - foxing marks throughout, colours faded. Silk cockled. Did not examine outside of the frames.

A Chinese modern oil painting, a nude portrait of a lady, in traditional robe in the Qing Dynasty style, signed l.r. and to the back, oil on canvas, 100 x 73cm, framed Condition Reportno obvious faults.

Tatlock RR: A Record of the Collections in the Lady Lever Art Gallery, Port Sunlight. Formed by the First Viscount Leverhulme: THREE volumes: 1- English Painting; 2- Chinese Porcelain & Wedgwood Pottery; 3- English Furniture, Tapestry, & Needlework. Batsford, 1928, LIMITED EDITION OF 200 COPIES, with DWs & slipcase. FINE SET. (3)

A Chinese polychrome decorated vase depicting figures painting scrolls in a garden setting, signed and bearing character marks to the back, converted to a lamp, 57 cm high CONDITION REPORTS Has a large hairline crack running down from the rim which has got a treacle like substance to the interior. There is a further hairline crack running down from the rim. Significant chips to the interior and exterior rim. The base has got a slightly strange black paint type to the rim. The vase has been drilled. There are some scratches/losses to the enamel work. There is a further hairline crack running to the neck. Generally in need of a good clean and firing faults, general wear and tear conducive with age and use - see images for more details.

19th Century Chinese reverse painting on glass, ladies in a garden, 47 x 33cm, housed in a later painted hardwood frame

Chinese reverse painting on glass, river landscape with procession of figures , 32 x 54cm, framed

Group of Chinese ceramics to include figures and a painting on silk

A large Chinese ink and wash ancestor painting, possibly late Qing dynasty (1644-1912), in a conservation grade stained oak frame. H.136 W.100cm

Chinese School (20th century): Mountain Landscape, watercolour scroll painting, with character signature 132cm x 65cm (unframed)

19th century oil painting on canvas- steamship "S.S. Ningchow" Chinese Painting- Hong Kong- dated 1885. Fitted within a gilt frame. [Frame- 36x41cm]

A collection of Chinese & Japanese collectables; Pair of Satsuma panel painted Japanese vases, Eastern Group gathering painting set in mosaic frame, Chinese Famille Rose cat figure signed to the base & Famille Rose Canton butterfly pattern plate- signed.

Two antique Chinese ancestor portraits. Large size. Painting on paper. Gouache on paper. Dimensions: H 160 x W 104 cm. In fair/good condition.

Three old Chinese glass snuffbottles with back-glass painting. Size: H 6,5 - 7,5 cm. In good condition.

A varied collection of Chinese cloisonne, wood and Yixing stoneware works of art, 19th/20th C.Work: 40 x 16,5 cm (painting)Frame: 43 x 19,5 cm (painting)H 11,5 - L 21 - D 16,5 cm (the base)25,5 x 18 cm (the wooden panels)H 41,5 cm (the bird)H 23 - 16,5 - 16,5 cm (the vases)H 5,5 - L 9,5 - D 9,5 cm (box with cover)H 9 - L 12,5 cm (table set)H 9,5 - L 19 cm / H 9 - L 17 cm / H 8 - L 20 cm / H 7,5 - L 13 cm (the teapots)

A Chinese silk painting and a Japanese woodcut, 19th C.Work: 24,5 x 18 cmFrame: 46 x 39,2 cmWork: 37,5 x 20,5 cmFrame: 50,3 x 33 cm

λ&nbspSIR FRANK BRANGWYN (BRITISH 1867-1956) THE JAPANESE KIMONO: PORTRAIT OF LUCY RAY Oil on canvas Signed with initials and dated '93' (upper right) 100 x 95cm (39¼ x 37¼ in.) Provenance: The Fine Art Society, London Sale, Sotheby's, London, 19 May 1982, lot 19 The collection of Mr and Mrs Tim Rice Literature: The Decorative Arts Society, Journal 26, 2002, Horner, 'Brangwyn and the Japanese Connection', reference O3237 Young woman sits behind dark table facing left, wearing kimono and seated in white Chinese looking chair. Pink cherry blossom in bowl foreground, pale chrysanthemum patterned panel behind her left and plain peacock blue panel right.Very Whistlerian and obviously Japanese in 'quotation' mode. Unusual for Brangwyn, not only because he painted few portraits, but also because the lady is quite beautiful and the painting sympathetic to the female figure. The work was initially known as Lady in a Kimono until The Fine Art Society suggested that it was a portrait of Lucy Ray, Brangwyn's wife.Lucy Ray was born in 1870 in Stantonbury, Buckinghamshire so she would have been 23 in 1893 which accords with the sitter. She married Brangwyn on the 28th January 1896 at the Registry Office, St George's, Hanover Square, London, when she was 26 and Brangwyn was 29. The marriage certificate described her as a nurse. Unfortunately there are very few close up photographs of Lucy - one was taken in Longpré, France in 1896 and the other is undated.Very little is known about Lucy. Much was written about Brangwyn and his work during his lifetime, most of it 'purple prose', but very little biographical, except Philip Macer-Wright's book Brangwyn. A Study of Genius at Close Quarters. published in 1940. The reliability of the book is debateable, but he does quote Brangwyn as stating that 'sheer laziness had prevented him from making portraits of his wife'. Laziness was not one of Brangwyn's characteristics but one would have thought he'd recall painting her before they were married.Comparing the known photographs of Lucy with the portrait Horner argues that the sitter is unlikely to be Lucy, who had a much longer face, a wide mouth with thin lips and different shaped eyebrows. Whether we will ever know for sure who the sitter is remains a mystery.We are grateful to Dr Libby Horner for her assistance with cataloguing this lot.   Condition Report: The canvas has been lined. Craquelure throughout. Rubbing and abrasions to the framing edges. The canvas perhaps a little loose. Inspection under UV reveals some scattered light retouching and infilling throughout.Condition Report Disclaimer

A pair of watercolours and a Chinese painting, ink on paper all framed and glazed.

A Chinese reverse painting on glass depicting a young lady with a fan.

A FRAMED CHINESE FAN PAINTING, 19/20TH CENTURY. Watercolour on paper depicting a house in a rural landscape scene, with inscription. The fan mounted on silk decorated with peony scrolls, framed and glazed. Fan 52cm width. Total frame size 62.5cm x 37cm Condition: In good overall condition.

A FRAMED CHINESE PITH PAINTING, LATE 19TH CENTURY. The painting on rice paper depicting courtiers and attendants at an altar table. Later framed and glazed. Total frame size 52cm x 40.5cm. Condition: Slight visible cracking to the rice paper in places. Frame edges with some losses at edges.

A Chinese scroll painting of a flying blackbird, red seal mark lower left, 94x31cm

A MASSIVE CHINESE POTTERY MODEL OF A HORSETANG DYNASTYdepicted standing four-square on a rectangular base, its head raised and turned slightly to the left, with bulging eyes, flaring nostrils and the left ear cocked back, with a deep groove to the neck originally for fixing the mane and the tail set with white and grey horse hair, with traces of black and red pigment to the surface92.5cm high This lot is offered together with a copy of the Oxford Authentication Thermoluminescence Analysis Report, sample no.77d18, dated 21st December 1994.ProvenanceFrom an English private collection, Sussex.Catalogue NoteDuring the Tang dynasty, horses were valued as an important status symbol in Chinese society. Strict sumptuary laws regulated the ownership of horses, which were only the privilege of the aristocracy. Hence, they figured prominently not only in the painting and poetry of the time but were also a popular theme in funerary wares. The type of horses depicted was Ferghana stock from Central Asia, an import highly prized in China since the Han dynasty. Usually portrayed tacked up with saddles and other trappings, the example offered here is unusual for being untacked, thereby placing a greater emphasis on the strong physical appearance of the animal. This composition closely relates it to two glazed examples reputedly excavated from the tomb of General Liu Tingxun (d.728) in Luoyang, Henan province, later in the collection of George Eumorfopoulos and now in The British Museum, London, accession nos.1936,1012.226 and 1936,1012.227. Another similar glazed example can be seen in The Metropolitan Museum of Art, New York, accession no.51.66.

⊕DAVID BATES (lots 170-177)IntroductionBates enrolled as a student at the Royal College of Art in 1950, where he railed with his tutor Francis Bacon and also the young art critic David Sylvester about the rise of abstraction, arguing vehemently for realism and naturalism. Sylvester was disparaging of the so called 'Kitchen Sink School' to which he all too readily consigned Bates, and was especially critical of Bates' fellow student and friend John Bratby. But Bates was not to be dissuaded. He joined the Communist Party, and his strongly held socialist convictions led him later both to campaign for nuclear disarmament and to march in protest against the war in Vietnam. His subject matter in the 1950s reflected his political views and his interest in the worker in society: in London he made studies of workers removing tram lines and emblematic studies of industrial objects such as a cement mixer. Later he would celebrate the working man in his powerful portrait of Billy Griffiths, a plumber in Preston (lot 174). At the RCA he met fellow art student June Moss, his wife to be. The couple were married in Nottingham in 1957 where Bates was teaching at Boots College (lots 171 & 177). They first moved together to Yeovil, then In 1961 they took their burgeoning family to Preston where Bates became senior lecturer in painting at Harris School of Art. They remained there until the late 1970s, by the end of which the couple were running non-vocational art courses, and Bates was directing the Preston Arts Centre, overseeing a diverse programme of music, film, art and events. In 1978 he took early retirement and he and June moved further north to live and work at Newbiggin Hall, Carlisle.Bates was born in China, the son of a Methodist mIssionary and headmaster. But with the rise of the Kuomintang (the Chinese Nationalist Party) his parents were forced to leave, returning with their young family to England in 1931. Over the next two decades the family relocated regularly. They first lived briefly in Birmingham, then moved to Penzance, and subsequently to Nottingham before settling in Stockport in 1940, where Bates attended Stockport Polytechnic, and Bristol in 1945, where he enrolled in the West of England College of Art. In the late 1940s the family moved to Millom, South Cumbria where Bates began recording the heavy industry of the area (lot 173), before starting his studies at the Royal College of Art in London. Then, in 1951 the family upped-sticks once again and moved to Stoke-on-Trent where he drew and painted the potteries (lots 172 & 176).DAVID FREDERICK BATES (BRITISH 1929-2024)AT THE LIDOoil on cardboard17.5 x 19cm; 6 3/4 x 7 1/2in unframed

Two Japanese tea tins, Chinese spice boxes, a set of twelve Japanese cups, decorated with flowers and bamboo, and a Chinese ink and watercolour painting Condition Report:Available upon request

A CHINESE EXPORT REVERSE GLASS 'EUROPEAN SUBJECT' PAINTING LATE 18TH / EARLY 19TH CENTURYcircular, depicting two ladies sat on cliffs overlooking the sea and a ship in full sail, within a blue and gilt star border and in a giltwood frame, together with a smaller Chinese reverse glass painting of a lady in an interior setting holding a portrait minaiture of her loved one, cracked, in a giltwood frame (2)33cm diameter ProvenanceThe contents of The Grange, Wendover.

A CHINESE SCROLL PAINTING OF CARPLATE 19TH / EARLY 20TH CENTURYwatercolour on paper, signed 'Wu Quing' with an artist's seal mark in a later glazed gilt and ebonised frame134.6 x 72.6cmProvenanceThe contents of The Grange, Wendover.

A CHINESE LANDSCAPE PAINTING19TH CENTURYink and gouache on silk, depicting agricultural silk production on a silk mount in a later glazed Hogarth style frame, together with a Chinese album leaf painting depicting Tie Guaili standing on a stick and Han Zhongli with a banana leaf fan in a later glazed wood frame (2)108.3 x 33cm (max)ProvenanceThe contents of The Grange, Wendover.

A Chinese painting on silk and an embroidery. The painting depicting a blue bird amongst flowers, inscription and seal top right, 24cm x 29cm. The embroidery depicting a butterfly over peonies in brocade borders, 40cm x 20cm, both framed and glazed.

A Chinese or Korean painting on paper of a growling tiger. With an inscription and seal to the left. 81cm x 44cm, framed and glazed.

Zheng Guogu (Chinese, b.1970) 'Year Two Thousand, Another Two Thousand Years to Rust', 1999-2007 a set of etched bottles and cans in steel, brass and copper, each signed and dated '1999-2007' to the underside 10.5 to 40cm high (23) Zheng Guogu is a prominent Chinese postmodern artist, known for his innovative and multifaceted approach to contemporary art. His work spans a variety of media, including photography, sculpture, installation, and painting, often exploring themes related to the rapid modernisation of China and the impact of globalisation. The artist is one of the founding members of the Yangjiang Group, a collective formed in the early 2000s, along with Chen Zaiyan and Sun Qinglin. The group is known for its experimental and avant-garde projects, which often incorporate diverse elements, such as calligraphy and performance art, reflecting the unique cultural and social landscape of their hometown. In 2006, Zheng Guogu's talents were recognised when he won the prestigious 'Chinese Contemporary Art Award' (CCAA). His work has been exhibited widely in his home country and internationally, where he continues to challenge and redefine the boundaries of contemporary art. Condition ReportSurface dust and dirt with tarnishing and rust. For a full report please contact the department.

A large 20th century Chinese decorative watercolour on silk painting depicting exotic bird resting on branches of blooming flowers, 78 x 215 cm, framed

ATTRIBUTED TO JANS JOSEF HOREMANS THE ELDER (ANTWERP 1682-1759): AN OIL PAINTING ON CANVAS DEPICTING A PARTY HAVING TEA, WITH A DOG AND VARIOUS BLUE AND WHITE CHINESE PORCELAIN ON THE SHELVES,Signed bottom left. 40cm x 32cmMounted in a frame and glazed.46cm x 38cm

A CHINESE SCROLL PAINTING DEPICTING A FISH IN A POND WITH A FLOWER, Painting 70cm x 40cm Scroll 107cm x 47cm

JEAN LEGADEC (FRENCH CONTEMPORARY) 'ZEUS', an abstract mixed media study on paper, signed bottom right, approximate size 19cm x 29cm, together with a Glynis M. Wilson Chinese style painting on silk 'Apple Blossom', red chop mark signature, approximate size 40cm x 33cm, a reproduction etching of 'Riddlesworth' after a painting by John Fernley Snr, a Gilbert Joseph Holiday print titled 'Diana', a 19th century indenture with a VI pence revenue stamp on blue paper, and four photographic prints on canvas

Chinese shallow dish with painting of immortals , restored approx size 17cm

Early Chinese painting on rice paper of a woman with flower basket, signed, (A/F - very fragile)

An Indian brass ewer with engraved decoration together with an engraved brass tray, a Chinese painting on silk and other items

After Vladimir Tretchikoff - The Chinese Girl - A retro mid 20th century print of the painting also known as 'The Green Lady' originally painted in Cape Town. The picture set within its original teak wooden frame.Measures approx. 63cm x 53cm framed.

A pair of Chinese famille rose porcelain planters, 20th century, with all round painting of peonies, rockwork and bamboo, approx. 25cm diameter x 16cm high each. (2) Further details: some scuffs to rims; glazed and gilded manufacturer flaws.

A Chinese mirror painting of a Manchu/Chinese lady seated at the left with a small, coastal vessel, lakeside landscape, and overhanging tree behind her. Overall dimensions, including the wood frame, 32 x 27cm. Together with a small rectangular alabaster [or other] plaque decorated on the obverse with standing figures [including Shoulao] and on the reverse with a four-line inscription, 22 x 14cm [2]Provenance: The Property of a Gentleman. From a Private UK Collection. Whilst attribution to the genre, characterised by the name and work of Guan Zuolin [perhaps better known as 'Spoilum'], is not offered here for this mirror painting, see Patrick Conner's 'The Enigma of Spoilum and The origins of China Trade Portraiture' [Magazine Antiques/March 1998/pages 418-425]. Interestingly, however, similar compositions that are associated with the Spoilum name, also portray a figure to one side beside overhanging branches, and a water or harbour landscape.

A Chinese elm painting table, 20th Century, with rectangular panelled top, above moulded apron, on cylindrical legs joined by stretchers, 82cm high x 179.5cm wide x 50cm deep

A Chinese watercolour scroll painting, depicting mountain landscape, framed, overall frame dimensions 106cm x 45cm

A large and interesting Victorian leather bound scrap book, with a variety of cut outs, drawings, cards and other items including Animals, Children, King William IV, pencil drawing of a Huntsman and hound, a painting of a Brigande, Robert Burns, James Watt, Chinese Borders engraving, watercolour of a flower, pencil drawing of a cat signed Frank Schoder, and many more. Album 38cms by 27cms. *CR See online images.

A large Chinese painting on silk, signed, late 19th century. Depicting a village scene with figures shooting, fishing, farming and standing in huts beside a river, frame and glazed 57 x 210cm.Losses to the paper. Some close up pictures have been added to our website www.davidlay.co.uk

1962 oil painting on reverse of another painting (?) of a Chinese / Hong Kong scene with junks signed Harrison - frame 29cm x 57cm

A CHINESE WATERCOLOUR PAINTING BOOK.

A FINE CHINESE SCROLL PAINTING ON SILK DEPICTING MULTIPLE BOYS PLAYING IN A GARDEN, inscribed lower left with red seal mark, image 84cm x 60cm.

A CHINESE PAINTING ON PAPER DEPICTING A BIRD, inscribed upper right with two red seal marks, framed and glazed, image 33.5cm x 45cm.

A CHINESE BRASS GROUP OF A MAN PAINTING A VASE, mounted to a rectangular red marble base, 13cm x 8cm at base.

Set of six 19th century Chinese painting on pith, depicting dignitaries and courtesans, in confirming glazed frames, various sizes, the largest 22 x 35cm

Set of eight 19th century Chinese painting on pith, depicting dignitaries and courtesans, in confirming glazed frames, various sizes, the largest 31 x 19cm

A 20th century Chinese large watercolour painting depicting cranes in a river landscape signed/inscribed upper left, 111cm x 61cm, framed & glazed (127 x 76cm overall).

18th and later Chinese and Japanese wares together with a framed leaf painting

Chinese Export School Album of avian pith paintings, 19th century Oblong 4to, contemporary Chinese binding of patterned red silk with green cloth ties, containing 12 watercolours on pith paper, depicting birds against a variety of backdrops, each mounted to separate paper sheet within onlaid blue paper border, painting dimensions 10.5 x 17cm, mount dimensions 16.5 x 23.5cm, wear to binding, one painting with substantial loss to body of bird The Library of a Scottish Gentleman

Chuah Thean Teng (Chinese/Malaysian, 1914-2008). Batik painting depicting a mother caring for three young children. Signed along the lower left.Provenance: Collected in Kuala Lumpur, 1960-65.Sight; height: 22 1/2 in x width: 17 in. Framed; height: 25 in x width: 19 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and deep. There are no visible tears, losses, creases, or restorations. One light spot of soiling just to the left of the young boy's shoulder. Framed under glass; light wear to the frame. Not inspected out of frame.

Chinese ink calligraphy painting with a scene depicting three fish. With three red seals in three corners. Signed Qi Baishi (Chinese, 1864-1957).Sight; height: 14 in x width: 10 3/4 in. Framed; height: 23 in x width: 20 in x depth: 1 1/4 in.Condition: There are no visible tears, losses, or restorations. The sheet is toned. There is a slight undulation to the left of the sheet. Framed under glass; light wear to the frame. Not inspected out of frame.

Ink on paper calligraphy painting. Red seal stamp along the lower left and signed Sun Wen (Sun Yat-Sen) (Chinese, 1866-1925).Sight; height: 20 in x width: 18 in. Framed; height: 29 in x width: 27 in x depth: 1 in.Condition: There are no visible tears, losses, or restorations. There are creases running throughout the work, some of which are consistent with folding. There are a few small areas of soiling along the work; however, due to the fibrous nature of the paper it is difficult to discern the characteristics of the paper from possible light soiling. Toning surrounding the red seal stamp. Framed under glass; light accretions along the surface of the glass and light wear to the frame. Not inspected out of frame.

Chinese ink and pigment on silk painting of two galloping horses. Inscribed and with a red seal along the lower right. In the manner of Xu Beihong (Chinese, 1895-1953).Sight; height: 12 1/2 in x width: 15 in. Framed; height: 21 1/2 in x width: 24 in x depth: 1 in.Condition: The colors are bold and deep. There are no visible tears, losses, or restorations. Framed under plexiglass; light wear to the frame. Dust gathered throughout. Not inspected out of frame.

This large lamp features a finely detailed depiction of Emperor Wen of Sui from the Thirteen Emperors painting by Tang Dynasty artist Yang Jian in the second half of the 7th century CE. On the opposite side of the lamp is information about the piece in Chinese writing. Functionality not guaranteed. The lampshade measures 15"L x 17"W x 11.5"H. Dimensions: 8"dia. x 32.75"HCondition: Age related wear. The lamp is working at the time of cataloging.