A pair of 'Dogwood' ear clips & A 'Bouquet' necklace, by Tiffany & Co. Estimate $12,000 – $18,000. Photo Christie's Image Ltd 2015.
Comprising a 'Bouquet' necklace designed at the front as a series of textured 18k gold flower blossoms, with circular-cut diamond pistils, to the textured gold petal neckchain; and a pair of 'Dogwood' ear clips en suite, 18 ins. (necklace), 1 in. (ear clips). Each signed Tiffany & Co.
Christie's. MAGNIFICENT JEWELS, 10 December 2015, New York, Rockefeller Plaza
Lot 359. A diamond bracelet, by Tiffany & Co. Estimate $20,000 – $30,000. Photo Christie's Image Ltd 2015.
Designed as a series of circular-cut diamond vines and flowers, with marquise-cut diamond leaves, 8 ins., mounted in platinum. Signed Tiffany & Co., no. 21743119
Christie's. MAGNIFICENT JEWELS, 10 December 2015, New York, Rockefeller Plaza
La façade de la grange, telle qu’elle a toujours été, côté cour. À dix mètres de là se trouve une autre grange, transformée en atelier. C’est ici que depuis 1992, André Dubreuil réalise avec son équipe toutes ses œuvres © Ambroise Tézenas
André Dubreuil, avec son chien Tahor. Derrière le somptueux chesterfield habillé de velours de mohair émeraude (Jacques Grange), on voit une cocotte en acier vert-de-grisé, œuvre de Richard Bucher et des statues congolaises. Au fond, la peinture *art not F***, de l’artiste indien Venkanna, et deux rames de cérémonie de Papouasie. © Ambroise Tézenas
Dans le prolongement de l’entrée-corridor, avec de chaque côté une chambre, le living est grand ouvert sur la campagne. Y trône une table à plateau tournant, aux piètements en acier rouillé et plateau en cuivre verni comme un cuir… Une œuvre tout métal, jusqu’à la pagode-centre de table que le designer a réalisée avec un vieux porte-graines en fer. Elle accueille des coraux et des statues africaines. À droite, on voit le dragon de la sculpture Chine-Afrique, œuvre d’André Dubreuil. Le tapis est un kilim Qashqai. © Ambroise Tézenas
Cette rosace de la sculpture La Porte de l’Inde réunit différents savoir-faire chers au designer : le fer forgé, le métal émaillé et le cuivre gravé. © Ambroise Tézenas
Dans le corridor menant au salon, les impostes au-dessus des portes conduisant aux chambres ont été faites en Chine, tout comme la console qui, elle, date du XIXe siècle. Dessus sont posés un vase chinois, des statuettes du Congo et du Cameroun. La lampe a été réalisée par André Dubreuil en 2000. © Ambroise Tézenas
La cuisine joue le contraste entre le bois brut et le mobilier moderne, tout lisse, tout Corian, tout vert (Gaggenau). Les chaises proviennent d’un café de la province chinoise de Shanxi. La suspension, en fer forgé et perles de cristal de roche, est un classique du designer. Au mur, une peinture de Gaëtan de Séguin des Hons, artiste français, et un échantillon de la collection d’assiettes – 300 ! – en porcelaine chinoise. Horloge Atmos (Jaeger-Lecoultre). © Ambroise Tézenas
D’une stèle de la propriété, André Dubreuil a fait le pied d’un mobile de pierre, fer forgé et loupe de verre dont la lente mobilitéétonne, comme celle d’un Calder. © Ambroise Tézenas
Dans une des deux chambres, une belle confrontation de bois : porte en planches brutes, revêtement mural en contreplaqué de bouleau et cadre allemand du XVIIIe siècle. © Ambroise Tézenas
Dans l’entrée, un bas-relief « colonial » des années 1950 est entouré de plateaux perse, iranien et égyptien en cuivre marqueté d’argent. Sur la cimaise, de petits tableaux gravés – à l’origine des bois de lit africains chinés sur eBay. © Ambroise Tézenas
« Je suis un collectionneur obsessionnel », admet le designer. Pour preuve cette étagère du salon. À côté de divers coraux et coquillages, une statuette en bois polychrome datant du xvie flamand, un couple de figurines du XIXe en fonte de fer, des vases en grès et en blanc de Chine, une statuette de bambou du xviiie, une statue Dehua blanche, deux boîtes en cuivre émaillé fin XIXe, le tout provenant de Chine. © Ambroise Tézenas
Texte par Renaud Legrand (Source: AD Décoration)
Matthias Withoos (circa 1627–1703), "The Grashaven in Hoorn", after 1750; one of the paintings stolen from the Westfries Museum.
A treasure trove of Dutch art stolen from a provincial Dutch museum nearly 11 years ago has been linked to a nationalist militia in Ukraine, the museum has announced.
The Westfries Museum in the northern town of Hoorn said that the 24 paintings taken in a burglary on 9 January 2005, along with 70 pieces of silverware are now being offered for sale in Ukraine.
The museum, which wants to deter potential buyers, had an important message for the militia, which it said sought a €5m “finder’s fee” for the art: It is nowhere near as valuable as you think.
Two representatives claiming to represent a militia of the Organisation of Ukrainian Nationalists contacted the Dutch Embassy in Kiev in July claiming to have the complete collection of stolen paintings. They showed a photo of one of the paintings alongside a current Ukrainian newspaper to back up their claim.
The town of Hoorn then used a Dutch expert in stolen art to make contact with the group and offer compensation if the art were returned. At that point, the intermediaries said they wouldn’t settle for less than €5m (£3.6m).
Jan Claesz Rietschoof, "View of Oostereiland", 1652-1719, one of the paintings stolen from the Westfries Museum.
The art expert said that in their current condition the 24 paintings would be worth a combined total of no more than €500,000.
The paintings include landscapes, naval scenes, and still life works, almost all of them dating back to the 17th century. In a statement, the museum alleged that the case involves “Ukrainian art criminals who have contacts on the highest political levels” in the country.
The Dutch Foreign Minister, Bert Koenders, told national broadcaster NOS he had been in contact with Ukrainian political leaders about the case.
“We’ve brought this up at the highest level with the Ukrainians,” he said of the stolen art. “I believe that they are taking it very seriously. We are going to try to ensure it returns to the Westfries Museum.” AP.
Jacob Waben, "Lady World", 1622, one of the paintings stolen from the Westfries Museum.
The museum has put a list of the missing paintings, drawings and print on its website: http://www.wfm.nl/lijst.htm. Translated and alphabetized, the list reads as follows:
Hendrik Bogaert, Peasant wedding, 1671-1675
Steven van Duyven, Portrait of a lady, 1679
Steven van Duyven, Portrait of a gentleman, 1679
Jan van Goyen, Landscape with peasant wagon, 1632
Hendrik Heerschop, Landscape with the story of the Pharaoh’s cup, 1652
Claas van Heussen, Kitchen with cooking utensils, 1672
A second painting by the same master of the same subject, same date
Jan Linsen, Rebecca and Eliëzer, 1629
Claas Molenaer, Winter scene, 1647
Reinier Nooms, Seascape with ships, 1640-1668
Izaak Ouwater, The Nieuwstraat in Hoorn, 1784
Egbert Lievens van de Poel, Interior, 1620-1653
Gerrit Pompe, View of Enkhuizen
Jan Claesz. Rietschoof, View of Oostereiland, 1652-1719
Salomon Rombouts, Winter scene, 1670-1700
Henrik Savrij, View of Andijk, ca. 1900
Floris van Schooten, Kitchen piece, 17th century
Jacob Waben, The return of Jephthah, 1625
Jacob Waben, Lady World, 1622
Matthias Withoos, The Grashaven in Hoorn, after 1750
A second painting by the same master of the same subject, same date
J. Groot, Surgeon, ca. 1850
Herman Henstenburgh (1680-1726), Still-life
- Still-life with memento mori, 1698
Print after David Teniers, A quack, 1766
A peachbloom-glazed water pot, Taibai zun, Kangxi six-character mark in underglaze blue and of the period. Estimate HK$700,000 - HK$900,000 ($90,745 - $116,672). Price Realized HK$875,000 ($113,432). Photo Christie's Image Ltd 2015
The 'beehive'-shaped vessel is well potted with rounded sides rising to a short flaring rim, incised with three archaistic dragon roundels on the body. The glaze is of rich raspberry tones with crimson-red speckles. The interior and countersunk base are covered in a transparent glaze. 4 7/8 in. (12.5 cm.) wide, box
Provenance: Sold at Sotheby's Hong Kong, 5 November 1996, lot 840
Sold at Sotheby's Hong Kong, 2 May 2005, lot 671
Notes: Waterpots of this form are known as Taibai zun, after the Tang dynasty poet Li Bo who is often depicted leaning against a large wine jar of similar form. They are also known as jizhao zun because their shape resembles that of a chicken coop. Such waterpots belong to the group of eight peachbloom wares for the scholar's desk, of which a complete set is in the Metropolitan Museum of Art, New York, illustrated by S. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, p. 237. Another complete set of eight from the Jingguantang Collection, was sold at Christie's Hong Kong, 3 November 1996, lot 557.
Similar waterpots can be found in many important museum collections, for example, in the Palace Museum, Beijing, published in Kangxi Yongzheng Qianlong, Hong Kong, 1989, p. 142, pl. 125; in the Percival David Foundation, London, included in the Illustrated Catalogue of Ming and Qing Monochrome Wares, London, 1989, no. 580; and another included in the Hong Kong Museum of Art exhibition Ming and Ch'ing Porcelain from the Collection of the T. Y. Chao Family Foundation, 1976, illustrated in the Catalogue, no. 52.
Christie's. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 2 December 2015, Convention Hall
A rare small pink-enamelled bottle vase, Daoguang six-character seal mark in iron red and of the period (1821-50). Estimate HK$600,000 - HK$800,000 ($77,782 - $103,709). Price Realized HK$750,000 ($97,227). Photo Christie's Image Ltd 2015
The vase is finely enamelled around the globular body and slightly flaring neck with lotus blossoms surrounded by leafy tendrils, interspersed with small floral sprays. The interior of the neck and base are enamelled in turquoise. 6 1/8 in. (15.7 cm.) high, box
Christie's. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 2 December 2015, Convention Hall
A fine Ming yellow-enamelled bowl, Zhengde six-character mark in underglaze blue within a double square and of the period (1506-1521). Estimate HK$500,000 - HK$700,000 ($64,818 - $90,745). Price Realized HK$625,000 ($81,023). Photo Christie's Image Ltd 2015
The bowl is finely potted with thin steep sides and a flared rim, resting on a slightly tapering foot. It is covered inside and out with a translucent egg-yolk yellow enamel. The base is covered with a transparent glaze of bluish tinge. 7 in. (17.7 cm.) diam., box
Notes: Compare to a pair of similar Zhengde-marked yellow-enamelled bowls in the Topkapi Saray Museum, illustrated by Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, London, 1988, vol. II, p. 448, no. 775; another in the Victoria and Albert Museum, illustrated by John Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, pl. 155; and a third from the Edward T. Chow collection was sold at Sotheby's Hong Kong, 25 November 1980, lot 53, and again at Christie’s Hong Kong, 28 October 2002, lot 685.
Christie's. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 2 December 2015, Convention Hall
A blue and white 'Nine Peaches' dish, Qianlong six-character seal mark in underglaze blue and of the period (1736-1795). Estimate HK$500,000 - HK$800,000 ($64,818 - $103,709). Price Realized HK$625,000 ($81,023). Photo Christie's Image Ltd 2015
The dish is painted in cobalt of inky-blue tones in the centre of the interior with nine peach fruits borne on leafy gnarled branches, the exterior with a band of morning glory scroll, all against a later enamelled yellow ground. 10 1/2 in. (26.7 cm.) diam., box
Provenance: T.T. Tsui Collection, Hong Kong
Literature: The Tsui Museum of Art: Chinese Cearmics IV, Qing Dynasty, Hong Kong, 1995, pl. 90
Christie's. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 2 December 2015, Convention Hall
A large lime-green ground famille-rose'Three Rams' vase, Daoguang six-character seal mark in iron red and of the period (1821-1850). Estimate HK$600,000 - HK$800,000 ($77,782 - $103,709). Price Realized HK$500,000 ($64,818). Photo Christie's Image Ltd 2015
The vase is heavily potted with a baluster body rising from a splayed foot to a long neck flaring widely to the rim, flanked on either side of the shoulders with an archaistic phoenix handle enamelled in red. The body is delicately enamelled with a continuous scene to depict three rams resting and gambolling in a garden setting, amongst pine trees, budding flowers and rockwork, all set between a border of ruyi-heads against a lime-green ground detailed with composite floral sprays. The neck is decorated on each side with an elaborate flower head surrounded by scrolling leafy tendrils, all reserved against a lime-green ground. 27 1/2 in. (69 cm.) high, wood stand
Provenance: A Japanese private collection, acquired in the first half of the 20th century
Christie's. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 2 December 2015, Convention Hall
A fine iron-red decorated blue and white 'Lotus' tea bowl, Yongzheng six-character mark in underglaze blue within a double square and of the period (1723-1735). Estimate HK$300,000 - HK$500,000 ($38,891 - $64,818). Price Realized HK$500,000 ($64,818). Photo Christie's Image Ltd 2015
The delicately potted bowl is decorated to the exterior with four iron-red lotus blooms surrounded by underglaze-blue leaves growing from scrolling stems. The decoration is framed by an underglaze-blue double line below the mouth rim and a single line to the foot ring. 3 1/4 in. (8.3 cm.) diam., box
Christie's. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 2 December 2015, Convention Hall
A small doucai'chrysanthemum medallion' dish, Yongzheng six-character mark in underglaze blue within a double circle and of the period (1723-1735). Estimate HK$ 100,000 - HK$200,000 ($12,964 - $25,927). Price Realized HK$350,000 ($45,373). Photo Christie's Image Ltd 2015
The delicately potted dish is decorated to the centre of the interior with a stylised chrysanthemum medallion encircled by lotus scrolls. The exterior is similarly enamelled with five stylised chrysanthemum medallions. 4 1/2 in. (11.4 cm.) diam., box
Christie's. IMPORTANT CHINESE CERAMICS AND WORKS OF ART, 2 December 2015, Convention Hall
Part of the new Ballet Oriental collection, this parure from Boghossian shimmers with the light of more than 200 carats of diamonds, including almost 150 carats of Fancy Yellow diamonds.
A 15.86 carat sugarloaf Kashmir sapphire is set centrally in this Boghossian ring, flanked by rondel-cut diamonds.
Pear-shaped motifs frame the central diamond and emerald, each carved in the shape of a lotus flower, in this pair of earrings from Boghossian.
Emeralds and diamonds appear to have merged into one, thanks to the technically demanding Art of Inlay technique in which absolutely no metal is visible in this pair of Boghossian drop earrings.
The Mozambique ruby in this ring from Boghossian is set in a 10ct diamond using the technique of Kissing Diamonds, which lays one stone on top of another.
The verdant green 2.57 carat emerald in this Boghossian ring has been set over a 7.15 carat round-cut diamond, creating an effect that radiates a high-voltage display of colour and light.
This Boghossian Reverence diamond bracelet creates a tiered formation of diamonds and graduated rubies that encircle the wrist, and which rise towards the centre, culminating in an impressive 3.06ct Burmese ruby.
Like an exotic and bejewelled tendril, Boghossian's Saut d'Ange diamond bracelet twists around the wrist and then over the top of the hand to fasten on the pinkie finger.
Defying gravity and convention, oval-cut diamonds flow along the earlobe and taper into an impressive square, radiant-cut diamond, surrounded by clusters of marquise cuts in this pair of Boghossian Saut d'Ange diamond earrings from the Ballet Oriental collection.
The opulence of the Orient shines through in this Boghossian Saut d'Ange ring with its impressive 14.6 carat Tanzanian ruby.
Thanks to the delicately suspended stones with an additional lower fringe, these marquise-cut High Jewellery diamond earrings from Boghossian appear to hover over the ear as if by magic.
This diamond ring from Boghossian sets a rare yellow diamond into a white diamond in a daring technique that the jeweller calls Kissing Diamonds.
One-of-a-kind Boghossian Reverence bracelet from the Ballet Oriental collection, set with round-cut tsavorites, diamonds and pear-shaped jadeite.
One-of-a-kind Boghossian Arabesque bracelet from the Ballet Oriental collection, set with a Colombian emerald in blue chalcedony and diamonds.
One-of-a-kind Boghossian high jewellery necklace and earrings from The Art of inlay collection, with diamond inlaid into prasiolite, enclosed in light green jade.
One-of-a-kind Boghossian Masterpieces necklace from the Ballet Oriental collection, set with emeralds and diamonds.
Boghossian Reverence pink and white diamond set from the new Ballet Oriental collection, in which diamonds tremble with the lightest movement and capture the intensity of the surrounding light.
“We really wanted to do something different and take fine jewellery design into a new territory," explains CEO Albert Boghossian. "We also wanted to acknowledge the skills of past master jewellers and invent new techniques to move forward so that we, too, could leave behind a design legacy.”
Creative director Edmond Chin - the celebrated Singaporean genius known for his groundbreaking designs incorporating magnificent stones - designed Boghossian's fabulously extravagant new Ballet Oriental collection.
(Source: TheJewelleryEditor)
Two Archers, c. 1710‑1720, India (Rajasthan, Sawar), Brush and black ink, watercolor, and opaque watercolor on beige paper, mounted on paper, Philadelphia Museum of Art, The Conley Harris and Howard Truelove Collection of Indian Drawings, purchased with the Stella Kramrisch Fund for Indian and Himalayan Art, 2013-68-13.
PHILADELPHIA, PA.- The Philadelphia Museum of Art is presenting an exhibition of rare and masterful drawings created in the workshops of royal Indian courts over the course of four centuries. Drawn from Courtly India: The Conley Harris and Howard Truelove Collection features a wide range of sketches, preparatory studies, and compositional drawings that vividly depict mythological themes, verdant landscapes and architectural settings, portraits of prominent rulers, and scenes from the lives of Indian nobility. The Museum acquired these important works in 2013, many as a gift, and is presenting the collection in this exhibition for the first time.
Raj Singh of Sawar with a Standing Courtier, c. 1710‑1720, India (Rajasthan, Sawar), Brush and black ink with white opaque watercolor on beige paper, Philadelphia Museum of Art, The Conley Harris and Howard Truelove Collection of Indian Drawings, 2013-77-18.
While Indian paintings have long been sought after by museums and individual collectors, there has been only a limited interest in drawings. Yet drawings may be wonderful works of art in their own right, yielding a remarkable amount of information about workshop practices and artistic process. Conley Harris, a landscape painter, and the late Howard Truelove, an architectural designer, shared a passion for drawing. They began collecting Indian drawings after being inspired by their travels throughout that country. The collection they assembled over the course of more than a decade provides new insights into the artistic practices of the royal workshops that developed over generations, and offers fresh perspectives on Indian painting. Many of the works to which these collectors were drawn were created during the eighteenth century in the Hindu courts of western India and the Himalayan foothills, an area including the present-day states of Rajasthan, Himachal Pradesh and Jammu-Kashmir.
A Prince and Courtiers in a Garden, c. 1720‑1730, India (Rajasthan, Jodhpur), Brush and brown ink, metallic gold and silver paints, and opaque watercolor over traces of charcoal on beige laid paper, Philadelphia Museum of Art, The Conley Harris and Howard Truelove Collection of Indian Drawings, 2013-77-31.
Timothy Rub, the George D. Widener Director and CEO, stated: “The ongoing development of the Museum’s collection has always represented our partnership with great collectors who have been as passionate as we are about sharing with everyone the finest works of art. In this regard we are especially fortunate to have acquired the marvelous collection assembled by Conley Harris and Howard Truelove, and we are enormously grateful to the collectors. This collection adds a new and important dimension to our holdings of Indian art, which is one of the most important in the country. It also enables us to bring to a broader audience this fascinating and delightful aspect of South Asia’s artistic heritage.”
Portrait of a Seated Ruler Dressed for Ritual Practice, c. 1740, India (Rajasthan, Kishangarh), Brush and black ink and watercolor over charcoal with corrections by the artist in white opaque watercolor on beige laid paper on decorative mount, Philadelphia Museum of Art, The Conley Harris and Howard Truelove Collection of Indian Drawings, 2013-77-25.
The first section of the exhibition features a group of finished drawings and explores the relationship between court artists and their royal patrons. A second focuses on the innovative workshop process, examining how artists developed and revised drawings through techniques such as white wash corrections, color notations, and pouncing. The drawings in this section highlight not only the artists’ adept handling of the medium, they will also testify to the collaboration of artists employed within a hierarchical workshop structure, demonstrating how skills were conveyed from master to apprentice. A third section, dedicated to the key moment when brush first meets paper, calls attention to the expressive power of the expert brushstroke. The fourth and final section of the exhibition invites visitors to respond to the works on display by creating their own drawings using workshop techniques.
Battle Scene with Demons, c. 1740, Attributed to Manaku of Guler, India (Himachal Pradesh, Guler), Brush and black ink over charcoal with pen and red ink ruled line around perimeter on beige paper, Philadelphia Museum of Art, The Conley Harris and Howard Truelove Collection of Indian Drawings, purchased with the Stella Kramrisch Fund for Indian and Himalayan Art, 2013-68-2.
The exhibition is organized by Ainsley M. Cameron, the Museum’s Ira Brind and Stacey Spector Assistant Curator of South Asian Art. She stated: “These works offer new ways of looking and thinking about Indian courtly drawing. People tend to approach the study of paintings or drawings from the perspective of the patron because so many of the artists’ names are unknown, but we are exploring the perspective of the artist, as maker—the gesture of an artist’s hand, the spontaneity of line, and the process through which ideas are born.”
Devi and the Shakti Forces Attack Nishumbha, Shumbha, and Their Army, c. 1760, India (Himachal Pradesh, Guler), Brush and black, red, and orange‑red inks and opaque watercolor over black chalk on beige paper, Philadelphia Museum of Art, The Conley Harris and Howard Truelove Collection of Indian Drawings, purchased with the Stella Kramrisch Fund for Indian and Himalayan Art, 2013-68-8.
Krishna Dancing atop Kaliya, c. 1770-1800, India (Rajasthan, Bikaner), Brush and black ink with touches of red ink over traces of charcoal on beige paper on decorative mount with gold flecks, Philadelphia Museum of Art, The Conley Harris and Howard Truelove Collection of Indian Drawings, 2013-77-23.
Walking Vaishnava Disciples, Late 18th century, India (Rajasthan, Kishangarh), Brush and black ink and watercolor over traces of charcoal on beige laid paper, Philadelphia Museum of Art, The Conley Harris and Howard Truelove Collection of Indian Drawings, 2013-77-5.
The Birth of Krishna, c. 1780, Indian, Brush and black ink over charcoal with touches of blue watercolor on beige laid paper, Philadelphia Museum of Art, The Conley Harris and Howard Truelove Collection of Indian Drawings, purchased with the Stella Kramrisch Fund for Indian and Himalayan Art, 2013-68-17.
Men Falling from Their Rearing Horses, c. 1790, India (Himachal Pradesh, Guler), Brush and black ink over charcoal on beige laid paper, Philadelphia Museum of Art, The Conley Harris and Howard Truelove Collection of Indian Drawings, purchased with the Stella Kramrisch Fund for Indian and Himalayan Art, 2013-68-6.
A Nobleman and His Family in a Pavilion, c. 1790, India (Himachal Pradesh, Kangra), Brush and black and red inks, watercolor, and opaque watercolor with corrections by the artist in white opaque watercolor on beige paper, Philadelphia Museum of Art, The Conley Harris and Howard Truelove Collection of Indian Drawings, purchased with the Stella Kramrisch Fund for Indian and Himalayan Art, 2013-68-14.
Lot 187. A rhinoceros horn libation cup, Nepal, 17th century. Estimate 15000/20000 €. Unsold © 2015 Nagel Auctions
the yoni-shaped libation cup carved to the inside in shallow relief with the four-armed Vishnu standing on a lotus base and a nimbus behind, the outside carved with probably his ten incarnations, all standing on a lotus base and a nimbus behind - L. 10,7 cm - Slightly chipped
Provenance: Former old German private collection, bought from Hermann Historica in Munich
Nagel. "Asian Art", 07/12/2015
Lot 327. A fine and rare rhinoceros horn libation cup, China, 17th century. Estimate 50000/70000 €. Unsold © 2015 Nagel Auctions
on carved wood stand. The inside of the cup carved as a grape vine leaf, the exterior with a continuous scene of grape vine branches demonstrating bunches of grapes amidst leafs, all supported on a gnarled vine branch encircling the foot and extending to the rim forming the handle - L. 17,7 cm - Minor wear, very slightly chipped
Provenance: Former old English private collection collected in the 1960's by repute
Nagel. "Asian Art", 07/12/2015
Lot 329. A large caramel-colored carved rhinoceros libation cup on a carved wood stand, China, 19th century. Estimate 15000/20000 €. Lot sold 18.000 € © 2015 Nagel Auctions
L.51/H.66cm - Few restored breaks.
Property from an old Stuttgart private collection.
Rhinoceros horn carvings of this type were made during the late Qing period - almost certainly in Canton - with the importation of the very large horns of the African white rhinoceros into China. It is the species which had produced the longest hons of any, with recorded lengths in some instances over 150 centimetres.
Nagel. "Asian Art", 07/12/2015
Lot 350. A rhinoceros horn libation cup, China, 17th-18th century. Estimate 30000/50000 €. Unsold © 2015 Nagel Auctions
of open flower form, the exterior carved with a continuous scene of grapes suspending from branches amidst leafs, all supported on a gnarled vine branch encircling the foot and extending to the rim to form the handle - L. 15 cm - Few small chips, some polished
Provenance: European priavte collection, collected in Europe in the 1980's by repute - Few small chips, some polished
Nagel. "Asian Art", 07/12/2015
Lot 524. Former collection of Prince Alexander of Thurn und Taxis, An unusual snuff bottle made of rhinoceros horn decorated and set within a metal mount, China, late Qing dynasty. Estimate 3000/5000 €. Lot sold 3.600 € © 2015 Nagel Auctions
Fine metal mounting with relief of insects and flowers, on both shoulders a lion mask with ring handles. Foot decorated with Chinese character - H. 11 cm - Good condition
Property of Prince Viktor of Thurn und Taxis,inherited from his father Prince Willy of Thurn und Taxis in 2004, former collection of Prince Alexander of Thurn und Taxis (01.12.1851 - 21.07.1939) according to the present owner
Nagel. "Asian Art", 07/12/2015
Lot 452. A two 'kinrande' porcelain bowls and a blue and white porcelain dish, China, 16th-17th century. Estimate 1200/1800 €. Lot sold 1.200 € © 2015 Nagel Auctions
D. 11,7/11,8/15 - The dish with tiny chip to rim
Property from an old Rhineland private collection.
Nagel. "Asian Art", 07/12/2015
Lot 453. A fine gilt-painted 'kinrande' porcelain bowl, China, underglaze blue four-character mark wanfu youtong, Wanli period. Estimate 600/1000 €. Lot sold 600 € © 2015 Nagel Auctions
D. 12,1 cm - Fine hairline crack to body
Property from an important South German private collection
Nagel. "Asian Art", 07/12/2015
