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Van Cleef & Arpels. Années 1930. Bague diamant coussin solitaire

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Van Cleef & Arpels. Années 1930. Bague diamant coussin solitaire. Photo Tajan.

Elle est ornée d'un diamant coussin en chaton à griffes. Monture en platine. Signé VAN CLEEF & ARPELS et numéroté. Poids brut : 5,2 gr. (soudures au chaton). Poids du diamant : 6,14 carats. TDD : 51. Estimation : 75 000 € / 100 000 €

A 6,14 carats diamond and platinum ring by VAN CLEEF & ARPELS circa 1930.

TAJAN. Importants Bijoux. le 28 Juillet 2014 à 15h. CAFÉ DE PARIS - SALON BELLEVUE - MONTE CARLO. Contact: Romain Monteaux-Sarmiento au +33 (0)1 53 30 30 30.


Bague diamant ovale

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Bague diamant ovale. Photo Tajan.

Elle est ornée d'un diamant ovale monté d'un chaton à griffes. Monture en or gris 18K. Poids brut : 3,5 gr. Poids du diamand : 4,06 carats. TDD : 49. Estimation : 32 000 € / 38 000 €

Le diamant est accompagné d'un rapport du laboratoire LFG énonçant selon son opinion : couleur G, pureté VVS2.

A 4,06 carats diamond and gold ring.

TAJAN. Importants Bijoux. le 28 Juillet 2014 à 15h. CAFÉ DE PARIS - SALON BELLEVUE - MONTE CARLO. Contact: Romain Monteaux-Sarmiento au +33 (0)1 53 30 30 30.

Cartier. Années 1900. Rare bracelet rubis et diamants

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Cartier. Années 1900. Rare bracelet rubis et diamants. Photo Tajan.

Il se compose de deux grands maillons hexagonaux à décor de fleurons, encadrant un rubis rond entouré de diamants taille brillant (TA). Le tour de bras est également composé de rubis ronds dans de fins entourages de diamants. La monture est en platine. Travail français. Signé CARTIER Paris Londres. Poids brut : 27,7 gr. Poids du rubis central : 1,80 carat environ. Dimensions : 16,7 x 2,5 cm. Estimation : 30 000 € / 35 000 €

TAJAN. Importants Bijoux. le 28 Juillet 2014 à 15h. CAFÉ DE PARIS - SALON BELLEVUE - MONTE CARLO. Contact: Romain Monteaux-Sarmiento au +33 (0)1 53 30 30 30.

Bague rubis

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Bague rubis. Photo Tajan.

Elle est ornée d'un rubis de forme ovale dans un entourage de diamants taille brillant et baguette. Monture or jaune 18K. Poids brut : 12,9 gr. Poids du rubis : 12,96 carats. TDD : 54. Estimation : 28 000 € / 35 000 €

Le rubis est accompagné d'un rapport du laboratoire GRS énonçant selon son opinion : origine Mozambique, sans trace de traitement thermique.

A 12,96 carats ruby, diamond & gold ring.

TAJAN. Importants Bijoux. le 28 Juillet 2014 à 15h. CAFÉ DE PARIS - SALON BELLEVUE - MONTE CARLO. Contact: Romain Monteaux-Sarmiento au +33 (0)1 53 30 30 30.

Bague diamant

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Bague diamant. Photo Tajan.

Elle est ornée d'un diamant coussin dans un entourage de très petits diamants. Anneau partiellement serti de petits diamants taille brillant. Monture en or gris 18K. Poids brut : 6,2 gr. Poids du diamant : 3,18 carats. TDD : 53. Estimation : 28 000 € / 35 000 €

Le diamant est accompagné d'un rapport du laboratoire HRD énonçant selon son opinion : couleur H, pureté VVS2.

A 3,18 carats diamond and gold ring.

TAJAN. Importants Bijoux. le 28 Juillet 2014 à 15h. CAFÉ DE PARIS - SALON BELLEVUE - MONTE CARLO. Contact: Romain Monteaux-Sarmiento au +33 (0)1 53 30 30 30.

Balenciaga

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Balenciaga Dress with Scarves- 1951.

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1952 - Sunny Harnett in Balenciaga Photo by Richard Avedon for Vogue,

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Balenciaga, 1952 Sophie Malgat is wearing an evening dress of white organdie embroidered with black polka-dots.

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1953 - Balenciaga Evening Dress.

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1955-56. Dovima is wearing a dress by Balenciaga. Photo Richard Avedon for Harper's Bazaar. 

Fabulous Ferraris and beautiful Bugattis take centre stage at RM AUctions' London sale

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1938 Bugatti Type 57 Ventoux. Chassis no. 57701. Engine no. 494. Est. £595,000-715,000Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

LONDON.- Now in its ninth year, RM Auctions’ annual London sale, has gained a reputation for bringing a world-class collection of cars to market, offering a broad selection of vehicles to cater to a diverse range of automotive tastes and budgets. From imposing Edwardians to modern era supercars and modest market investments to magnificent million-pound automobiles, RM’s London sale is well established as one of Europe’s finest and most comprehensive collector car auctions. 

Reinforcing RM’s position as the world’s pre-eminent specialist in the sale of classic Ferraris, the upcoming sale is led by a roster of no less than 20 examples from the famed Italian marque, 12 of which come from a single private collection in Switzerland. With models spanning more than three decades of production, enthusiasts of the legendary marque can choose from a stylish 1961 250 GTE (Est. £180,000–£240,000) through to another of the great 2+2 V-12’s of the modern era, a 1995 456 GT (Est. £40,000-£60,000).

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1961 Ferrari 250 GTE 2+2 Series I by Pininfarina. Est. £180,000–£240,000. Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

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1995 Ferrari 456 GT. Est. £40,000-£60,000Photo: Neil Fraser ©2014 Courtesy of RM Auctions. 

The undoubted star of all the Ferraris consigned to date is the 1966 275 GTB, chassis 8199, which is a wonderful example of this rapidly appreciating and much-in-demand 1960s GT car, featuring the highly desirable long-nosed, alloy-bodied configuration (Est. £1,900,000–£2,200,000). 

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1966 Ferrari 275 GTB Alloy by Scaglietti. Est. £1,900,000–£2,200,000. Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

Other notable early Ferrari highlights represent a broad cross-section of the marque’s road going models from the 1960s through to the 1990s, including beautiful examples of such iconic models as a 1968 330 GTC (Est. £400,000–£500,000), a 1972 365 GTB/4 Daytona Berlinetta (Est. £450,000–£550,000), and a 1989 F40 (Est. £395,000-£495,000). 

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1968 Ferrari 330 GTC by Pininfarina. Est. £400,000–£500,000. Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

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1972 Ferrari 365 GTB/4 Daytona Berlinetta by Scaglietti. Est. £450,000–£550,000Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

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1989 Ferrari F40. Est. £395,000-£495,000Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

Max Girardo, Managing Director, RM Auctions, Europe, says: “RM is the world’s leading seller of classic Ferraris, and it is fantastic to be able to feature such a broad selection of the marque’s finest road cars at our London sale. We have a strong reputation for quality, and it’s important to note that the Ferraris on offer are of a particularly high standard, with many being incredibly low mileage examples and presented in almost‘as new’ condition. The market loves the best, and we are certainly offering the best in London”. 

The London auction is not only about Ferraris, and nothing contrasts better with post-war Italian exotica than the pre-war glamour of French Bugattis. RM will present three glorious examples at the upcoming sale, from an early sporting Type 13 through to the splendour of two Type 57s, the ultimate 1930s grand routier. The 1920 Bugatti Type 13 ‘Brescia’, chassis 981, was manufactured in Molsheim before being delivered to its first owner. With its low weight and technically advanced 16-valve, overhead-camshaft engine, the Type 13 was considered state of the art for its time, as illustrated by the model’s exceptional period competition history. Well-documented, and benefitting from a meticulous specialist restoration, chassis 981 has been a well-loved and much campaigned car, and is expected to fetch between £285,000 and £330,000. 

The Bugatti Type 57s of the 1930s are truly worthy of the term “iconic”. With their magnificent straight eight-cylinder, supercharged engines, which were derived from Bugatti’s highly successful Grand Prix cars of the period, the Type 57 boasted exceptional performance, which owners could combine with a number of different, and invariably beautiful, coachbuilt bodies. Two such cars will be offered in London, a 1937 Type 57C with Stelvio coachwork by Gangloff and a 1938 example clothed by Ventoux. 

In the tradition of coachbuilt cars, Ventoux-style cars differed from one another in certain respects, and chassis 57701 was delivered new in 1938 to Bugatti’s Swiss agent having been purchased at a “special” price of 82,000 French Francs. Offered today in exceptional yet highly original condition, it carries a pre-sale estimate of £300,000–£335,000. The other car, chassis 57467, sports the lovely drophead Stelvio bodywork from the famous Gangloff Works. Commissioned by the Bugatti factory, it was completed in 1937 and delivered to Bugatti’s Lyon agent, where it soon found a home with a local customer. Much in demand in today’s market, it is estimated to achieve between £595,000 and £715,000 at the upcoming sale. 

And also  my favourites: 

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1927 Rolls-Royce Phantom I Piccadilly Roadster by Rolls-Royce Custom Coachwork. Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

1929 Rolls-Royce Phantom I Tourer by Barker

1929 Rolls-Royce Phantom I Tourer by BarkerPhoto: Neil Fraser ©2014 Courtesy of RM Auctions.

1929 Auburn 120 Eight Speedster

1929 Auburn 120 Eight SpeedsterPhoto: Neil Fraser ©2014 Courtesy of RM Auctions.

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1934 Rolls-Royce Phantom II Continental Sports Saloon by Thrupp & MaberlyPhoto: Neil Fraser ©2014 Courtesy of RM Auctions.

1939 Daimler DB18 Drophead Coupé by Carlton

1939 Daimler DB18 Drophead Coupé by CarltonPhoto: Neil Fraser ©2014 Courtesy of RM Auctions.

1947 Bentley Mark VI Fixed Head Coupé by Figoni et Falaschi

1947 Bentley Mark VI Fixed Head Coupé by Figoni et Falaschi. Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

1948 Bentley Mark VI Three-Position Drophead Coupé by James Young

1948 Bentley Mark VI Three-Position Drophead Coupé by James Young. Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

1951 Bentley Mark VI Two-Door Saloon by Hooper

1951 Bentley Mark VI Two-Door Saloon by Hooper. Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

1954 Aston Martin DB2

1954 Aston Martin DB2/4. Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

1955 Lancia Aurelia B24 Spider America by Pinin Farina

1955 Lancia Aurelia B24 Spider America by Pinin FarinaPhoto: Neil Fraser ©2014 Courtesy of RM Auctions.

1958 Mercedes-Benz 300 SL Roadster

1958 Mercedes-Benz 300 SL RoadsterPhoto: Neil Fraser ©2014 Courtesy of RM Auctions.

1958 Mercedes-Benz 220 S Cabriolet

1958 Mercedes-Benz 220 S CabrioletPhoto: Neil Fraser ©2014 Courtesy of RM Auctions.

1960 Mercedes-Benz 300 D Presidential Cabriolet

1960 Mercedes-Benz 300 D Presidential CabrioletPhoto: Neil Fraser ©2014 Courtesy of RM Auctions.

1960 AC Ace 2

1960 AC Ace 2.6 'Ruddspeed'Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

1962 Porsche 356 B Super 90 Cabriolet by Reutter

1962 Porsche 356 B Super 90 Cabriolet by ReutterPhoto: Neil Fraser ©2014 Courtesy of RM Auctions.

1970 Mercedes-Benz 280 SL 'Pagoda'

1970 Mercedes-Benz 280 SL 'Pagoda'. Photo: Neil Fraser ©2014 Courtesy of RM Auctions.

A multigem and gold bangle by Lydia Courteille

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Lydia Courteille. Large bracelet poissons. Photo Tajan.

Il est en forme de bracelet rigide ouvert portant au centre une grande plaque de jade jadéite sculptée de deux carpes. Le corps du bracelet représente des poissons pavés de diamants champagne dans des vagues stylisées pavées de saphirs en camaïeu de bleu. Monture en or gris 18K patiné. Poids brut : 163,8 gr. Dimensions du plateau : 6 x 4,5 cm environ. Poids des saphirs : 34 carats environ. Poids des diamants : 5 carats environ. Estimation : 26 500 € / 28 000 €

A multigem and gold bangle by Lydia Courteille

TAJAN. Importants Bijoux. le 30 Juillet 2014 à 15h. CAFÉ DE PARIS - SALON BELLEVUE - MONTE CARLO. Contact: Romain Monteaux-Sarmiento au +33 (0)1 53 30 30 30.


Getty Foundation announces grant to conserve iconic masterpieces by Caravaggio and Rubens

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Michelangelo Merisi, gen. Caravaggio, David mit dem Haupt des Goliath, 1600/01. Photo: Kunsthistorisches Museum Vienna.

LOS ANGELES, CA.- The Getty Foundation in Los Angeles is awarding a grant of €300,000 (roughly $416,000 US) to the Kunsthistorisches Museum in Vienna (KHM) for the conservation of two great masterpieces by Michelangelo Merisi da Caravaggio and Peter Paul Rubens. The KHM grant will be one of the last training grants of the Foundation’s successful Panel Paintings Initiative, through which the next generation of paintings conservators is being trained in the complexities of conserving works of art painted on wood panels. 

The conservation of these two spectacular paintings in Vienna provides a fascinating learning opportunity for all of the conservators involved in the project. When the last major training grants are completed in late 2016, the Panel Paintings Initiative will have succeeded in reaching its goals, ensuring that the next generation of conservators is in place to provide quality care for panel paintings in major European and North American collections,” said Deborah Marrow, Director of the Getty Foundation. “The Initiative’s success is the result of a joint effort by all of the expert conservators involved, who have been extremely generous in sharing their time and knowledge.” 

Sabine Haag, General Director of the Kunsthistorisches Museum, added "I am an advocate of publicizing scholarship, science and research in the context of the museum's ongoing international collaborations and interconnected projects, of informing the general public about these important aspects of museum work. Our collaboration with the Getty Foundation has allowed us to expand the Kunsthistorisches Museum as a center of competence and training for panel conservation. I am extremely happy that we will continue this successful collaboration and that this long-term cooperation ensures the optimum examination and conservation of two icons of art history." 

The two KHM paintings – Caravaggio’s David with the Head of Goliath (ca. 1600) and Rubens’ Stormy Landscape (ca. 1625) – are both iconic masterpieces representing the height of Baroque painting. 

Caravaggio’s David with the Head of Goliath is one of only two existing paintings by the artist on wood panel. A beautiful and emotionally evocative work, this panel is in critically fragile condition, the result of past conservation interventions that shaved the wood support to only a few millimeters in thickness, nearly as thin as paper. The project will require the removal of the existing rigid cradle - a latticed wooden structure attached to the back of the panel intended to prevent warping. Following the cradle’s removal, the panels must rest to resume their natural shape before the conservators can determine the next steps, which will include the construction of a new flexible support and the repair of multiple fractures that threaten the integrity of the paint layers. 

Rubens’ Stormy Landscape is a powerful representation of the natural world, setting the course for the future development of landscape painting. The work is among the greatest dramatic landscapes by Rubens, who created it for his own personal collection. It is one of two large landscapes painted by the artist in this period that feature scenes from classical literature, in this case, from Ovid’s Metamorphoses . (Small figures on the right side of the painting indicate it is the story of Philemon and Baucis being rescued from the storm by the gods Jupiter and Mercury.) The painting is structurally complex and was cobbled together from ten different pieces of wood. Because each plank has aged differently, the panel presents some unique conservation challenges. The separations between the pieces are now visible to the naked eye. 

Old master paintings on wooden supports, or panels, are among the most significant works of art in American and European museum collections. Years of practice are required for a panel paintings conservator to develop the surgical skills required for intervention, including a deep knowledge of painting conservation techniques and exceptional woodworking expertise. With only a handful of experts fully qualified to conserve these paintings, and nearly all of them set to retire within the next decade, the Getty Foundation, Getty Conservation Institute, and J. Paul Getty Museum together launched the Panel Paintings Initiative in 2009 to ensure that the next generation of conservators would be prepared to take their place. Since then, the Foundation has identified and supported a number of projects designed to achieve this goal. 

The Initiative already has achieved a concentrated but significant impact on the field, so far providing more than 20 conservators intensive training and hands-on experience in panel paintings conservation. In addition, hundreds of other conservators and students have benefitted from the workshops that have been offered, university courses that have resulted, or translations of key works on panel painting conservation that have been disseminated. 

One of the key goals of the initiative was to increase knowledge among conservators in Central and Eastern Europe. The project in Vienna will support training for five conservators in from Crakow, Dresden, Prague, and Vienna. Two of these individuals hold teaching positions at conservation schools in their respective countries, which will extend the reach of training activities as they incorporate their newly acquired knowledge into their courses. 

Experts at KHM will oversee the project, and structural treatment will be undertaken by two of the world’s foremost panel paintings conservators, the Metropolitan Museum of Art’s George Bisacca and the Museo Nacional del Prado’s José de la Fuente. Also consulting on the project will be two leading experts and active trainers on the Panel Paintings Initiative: retired Opificio delle Pietre Dure conservator Ciro Castelli and Ebury Street conservator Ray Marchant. The project was developed in consultation with the initiative’s lead trainers and with members of the Panel Paintings Initiative advisory committee, which includes experts from Denmark, Italy, the Netherlands, the UK, and the United States. 

Although this is one of the last major training grants of the initiative, a number of the current projects remain active and will continue to yield interesting results over the next two to three years. 

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Peter Paul Rubens, Stormy Landscape, c.1625. Photo: Kunsthistorisches Museum Vienna.

A selection of Barbara Nanning's works at Pierre Marie Giraud Gallery

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Barbara Nanning, Untitled, 2014, glass, blue gold, 18 x 30 x 22 cm © Barbara Nanning and Pierre Marie Giraud Gallery.

Evolution, a term for mapping out a piece of artistic history in a Darwinian manner. But not in a rigid way, just as nature does not let itself be governed by systematic laws that are all too strict. The oeuvre of Barbara Nanning is a continuum of objects that can be classified into groups, as if species and families. Her new objects follow from the preceding ones. Ideas often continue to have an effect for a long period of time, but never in a strictly linear way. 

Sometimes the forms are hybrid, emerging like some caprice of nature in an entirely new guise – and in isolated cases, via a large detour after much searching and dead-end experiments. But they almost always come into being without a shred of hesitation, confident and bold.

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Barbara Nanning, Untitled, 2014, orange gold, sandblasting, 16 x 29 x 23 cm © Barbara Nanning and Pierre Marie Giraud Gallery.

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Barbara Nanning, Untitled, 2014, orange gold, sandblasting, 16 x 31 x 22 cm © Barbara Nanning and Pierre Marie Giraud Gallery.

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Barbara Nanning, Untitled, 2014, blue, champagne gold, 16 x 29 x 24 cm © Barbara Nanning and Pierre Marie Giraud Gallery.

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Barbara Nanning, Untitled, 2014, champagne gold, 17 x 37 x 24 cm © Barbara Nanning and Pierre Marie Giraud Gallery.

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Barbara Nanning, Untitled, 2014, glass, orange gold, sandblasting, 17 x 28 x 29 cm © Barbara Nanning and Pierre Marie Giraud Gallery. 

Pierre Marie Giraud Gallery. 

Seaman Schepps: Mousetrape Bracelet, Bamboo Section Cluster Bracelet and Branch Bracelet

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One of Seaman Schepps original Mousetrape Bracelets in ruby and diamond, circa 1935 and a photo of Blanche Knopf wearing a stack of three Mousetrap Bracelets.

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Seaman Schepps Bamboo Section Cluster Bracelet in mixed tourmaline, amethyst, emerald, aquamarine, diamond, gold (Formerly the property of Mrs. Axel Wenner-Gren), circa 1945.

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Seaman Schepps Branch Bracelet made of coral, emerald, diamond and gold, circa 1950. 

Chinese porcelain bowl, Guangxu (1875/1908) mark and of the period.

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Chinese porcelain bowl, Guangxu (1875/1908) mark and of the period. Photo courtesy Alberto Varela Santos.

Chinese porcelain bowl decorated in famille rose (Fencai) palette opaque enamels with five clawed dragons amidst clouds, base with the six character iron-red mark of Guangxu (1875/1908) in two lines and of the period, Qing dynasty, ø 14,2 cm, 5 1/2 in. Price on request

Alberto Varela Santos. santos@santoslondon.com · albertovsantos@aol.com

Chinese porcelain bowl, Guangxu (1875/1908) mark and of the period

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Chinese porcelain bowl, Guangxu (1875/1908) mark and of the period. Photo courtesy Alberto Varela Santos.

Chinese porcelain bowl decorated in famille rose (falencai) palette opaque enamels with two phoenix in flight. Base with the six character iron red mark of Guangxu (1875/1908) and of the period, ø 14,2 cm, 5 1/2 in.. SOLD

Alberto Varela Santossantos@santoslondon.com · albertovsantos@aol.com

Chinese porcelain bowl, base with "yongqing changchun" mark, Tongzhi-Guangxu (1862/83)

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Chinese porcelain bowl, base with "yongqing changchun" mark, Tongzhi-Guangxu (1862/83). Photo courtesy Alberto Varela Santos.

Chinese porcelain bowl decorated in famille rose (Fencai) palette opaque enamels with tree peonies, branches entwined with wisteria and a mynah bird on a green ground; rim with Daya Zhai (Studio of great elegance) and oval cartouche with tiandi yijia chun (Heaven and Earth harmonious as one family); base with four character iron-red mar in two lines reading yongqing changchun (enduring spring eternally celebrated). Tongzhi/Guangxu (1862/83), Qing dynasty, ø 12,6 cm, 5 in. Price on request

Literature: A similar bowl but with a yellow ground from the Percival David Foundation, now at the British Museum, London, with the number PDF A838 is illustrated in Rare Marks in Chinese Ceramics by Ming Wilson, pp. 40/41.

Alberto Varela Santossantos@santoslondon.com · albertovsantos@aol.com

Chinese porcelain bowl, mark of Xianfeng (1851/61) and of the period

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Chinese porcelain bowl, mark of Xianfeng (1851/61) and of the period. Photo courtesy Alberto Varela Santos.

Chinese porcelain bowl decorated in famille rose (falencai) palette opaque enamels. Base with the six character iron red mark of Xianfeng (1851/61) and of the period. - SOLD

Alberto Varela Santossantos@santoslondon.com · albertovsantos@aol.com


Chinese porcelain bowl, Qianlong (1723-1795) zhuanshu mark and of the period

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Chinese porcelain bowl, Qianlong (1723-1795) zhuanshu mark and of the periodPhoto courtesy Alberto Varela Santos.

Chinese export porcelain bowl decorated with a marbled ground in famille rose (falencai) palette opaque enamels. Base with the mark of Qianlong (1736/1795) in zhuanshu and of the period. ø 14 cm, 5 1/2 in. - SOLD

Alberto Varela Santossantos@santoslondon.com · albertovsantos@aol.com

JAR Paris - Pendant Brooch, jade, garnets, sapphires, spinels, tourmalines, diamonds, silver and gold

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JAR Paris - Pendant Brooch, jade, garnets, sapphires, spinels, tourmalines, diamonds, silver and gold.

Chinese porcelain bowl, Qianlong (1723-1795) zhuanshu mark and of the period

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Chinese porcelain bowl, Qianlong (1723-1795) zhuanshu mark and of the period. Photo courtesy Alberto Varela Santos.

Chinese export porcelain bowl with three reserves decorated with Europeans in famille rose (Fencai) palette opaque enamels on a brown ground decorated in gilt, the interior left white, base with the mark of Qianlong (1736/1795) in zhuanshu in under glaze cobalt blue (Qinghua) and of the period, Qing dynasty, ø14 cm, 5 1/2 in. Price on request.

Alberto Varela Santos. santos@santoslondon.com · albertovsantos@aol.com

Chinese porcelain bowl, Daoguang (1821/1850) mark in zhuanshu in under glaze cobalt blue and of the period

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Chinese porcelain bowl, Daoguang (1821/1850) mark in zhuanshu in under glaze cobalt blue and of the period. Photo courtesy Alberto Varela Santos.

Chinese porcelain "medallion" bowl with deep rounded sides on a short foot, reserved on a rich dark red incised ground with four medallions decorated with flowers and peaches in famille rose (Fencai) palette opaque enamels, base with the Daoguang (1821/1850) mark in zhuanshu in under glaze cobalt blue (Qinghua) and of the period, Qing dynasty, ø 15 cm, 5 7/8 in. Price on request

Alberto Varela Santos. santos@santoslondon.com · albertovsantos@aol.com

Pair of Chinese porcelain bowls, mark of Guangxu (1875/1908) and of the period

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Pair of Chinese porcelain bowls, mark of Guangxu (1875/1908) and of the period. Photo courtesy Alberto Varela Santos.

Yellow ground Chinese porcelain bowl decorated in famille rose (Fencai) palette opaque enamels, decorated with flowers, four reserves with characters ??? and  ???, base with the six character iron-red mark of Guangxu (1875/1908) in two lines and of the period, Qing dynasty, ø 11 cm, 4 1/4 in. Price on request

Alberto Varela Santos. santos@santoslondon.com · albertovsantos@aol.com

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