01 octobre 2011
A Wedgwood Black Basalt Part Dessert, Coffee and Tea Service. 20th Century
A Wedgwood Black Basalt Part Dessert, Coffee and Tea Service. 20th Century. Photo Sotheby's
comprising: a large circular plate, eighteen dessert plates, eighteen teacups and saucers, eighteen coffee cups and saucers, a coffee pot and a sugar bowl and cover, impressed factory mark. 94 pieces. ESTIMATE 500-700 USD. Lot Sold: 125 USD
Sotheby's. The Collection of Craig Wright. New York 30 september 2011 www.sothebys.com
22 septembre 2011
Porsche 356 Cabriolet 75 CV - Septembre 195
Porsche 356 Cabriolet 75 CV - Septembre 1958. Photo CHEVAU LEGERS ENCHERES
CHEVAU LEGERS ENCHERES. Dimanche 25 Septembre A 17h00. Trianon Palace 1 Boulevard De La Reine 78000 Versailles. Tél. : 01.39.50.58.08 -Fax : 01.30.21.32.48 -Email : chevau-legers.encheres@wanadoo.fr
1953 Tojeiro Bristol Barquette Sport bi-place
1953 Tojeiro Bristol Barquette Sport bi-place Two seat sports barchetta. Photo CHEVAU LEGERS ENCHERES
Estimation : 350 000/400 000€
CHEVAU LEGERS ENCHERES. Dimanche 25 Septembre A 17h00. Trianon Palace 1 Boulevard De La Reine 78000 Versailles. Tél. : 01.39.50.58.08 -Fax : 01.30.21.32.48 -Email : chevau-legers.encheres@wanadoo.fr
Jaguar E S I 4'2 Cabriolet 1966
Jaguar E S I 4'2 Cabriolet 1966. Photo CHEVAU LEGERS ENCHERES
Estimation : 125 000/135 000€
CHEVAU LEGERS ENCHERES. Dimanche 25 Septembre A 17h00. Trianon Palace 1 Boulevard De La Reine 78000 Versailles. Tél. : 01.39.50.58.08 -Fax : 01.30.21.32.48 -Email : chevau-legers.encheres@wanadoo.fr
05 septembre 2011
A mirror-black monochrome vase with trumpet neck and white-glazed base
A mirror-black monochrome vase with trumpet neck and white-glazed base. Photo Bonhams
24 août 2011
1962 Porsche 356 1600 B T6 Roadster
1962 Porsche 356 1600 B T6 Roadster. photo courtesy Bonhams
Coachwork by D'Ieteren. Chassis no. 89753. Engine no. P700369. One of 248 Twin Grille Roadsters built. Sold for US$172,000
For 1960, Porsche introduced the new "T-5" body style, designating the model 356B. The T-5 had a flatter hood and front sheet metal, and larger, higher bumpers. The next transition was for the Convertible D to be discontinued, and replaced by the Roadster, but still built by Drauz. During the lifetime of the model, bodywork production for the Roadster was transferred to D'Ieteren in Belgium, who would produce the final cars up to 1962. The design was updated along this process and designated the T-6 body type for that final year. The revision included an air vent on the scuttle, the arrival of the gas tank cover on the right side fender and twin grilles on the engine cover. This final derivation of the Roadster is one of the rarest ever built, with just 248 constructed. Not surprisingly for their desirable late specification and rarity they have become highly collectible.
According to the 356 Registry this car's history can be traced through a number of Californian owners, the earliest on their listing being Dr. Ralph Harder, then Bob Davidson, Brian Burnett and Neil McSwain. After this it passed through two noted specialists of the marque, European Collectibles and Classic Showcase. In the latter ownership it is understood to have been the subject of a comprehensive cosmetic refurbishment in the mid-2000s. That work included a bare metal respray and re-trim to the black and tan scheme it wears today, a livery which shows the chrome accents well externally and the interior contrasts well. Headrests are fitted to both seats. Shortly after this it passed into the current ownership of the prestigious Oldenburg Collection. When it arrived in this custody, it was systematically checked over and worked through so that it would always be ready to use, and its maintenance has continued over the last 5 years.
That use has been relatively limited, such that it has only accrued only modest mileage in the last few years and remains extremely presentable, with near perfect interior trim.
With modest numbers of the Roadster produced, opportunities to acquire this rare and practical derivative of 356 are infrequent, and this is a well sorted example of those few.
Bonhams. Quail Lodge Sale, 18 Aug 2011 to 20 Aug 2011. California, Carmel www.bonhams.com
A black diamond and diamond ring
A black diamond and diamond ring. photo courtesy Bonhams
centering a reverse-set pear-shaped black diamond,weighing approximately 7.95 carats; mounted in eighteen karat white gold; size: 7 (colored diamond not tested for origin of color). Sold for US$4,636
Bonhams. Jewelry and Watches, 19 Aug 2011. California, Carmel www.bonhams.com
19 juillet 2011
Pablo Picasso (Malaga, 1881 - Mougins, 1973), Corrida sur fond noir, 1953
Pablo Picasso (Malaga, 1881 - Mougins, 1973), Corrida sur fond noir, 1953. Photo Artcurial
(A.R. #198 - R #714). Plat rectangulaire. R.A. terre de faïence blanche, décor aux engobes, gravé au couteau sous couverte. Bleu, vert, rouge, blanc, fond noir. Tiré à 500 exemplaires. Cachet "Madoura Editions Picasso". Largeur : 31,5 cm. Longueur : 39 cm. Estimation : 6 000 - 7 000 €
Artcurial - Briest-Poulain-F.Tajan - Monte-Carlo. Lundi 25 juillet 2011. www.artcurial.com
16 juin 2011
The 1970 Porsche 911S "Le Mans" - Steve McQueen @ For RM's Monterey Sale
1970 Porsche 911S "Le Mans" - Steve McQueen. Photos RM Auctions © 2011 RM Auctions
Chassis No.9110301502
200 DIN horsepower @ 6500 rpm, 7,300 rpm redline, 2,195 cc / 133.9 cubic inch horizontally opposed six-cylinder engine, five-speed manual transmission, independent front and rear suspension. Wheelbase: 102.4"
- Delivered new to Steve McQueen on the set of the iconic motorsport movie Le Mans
- Highest available specification offered by Porsche for street models
- Invoiced and assigned by the Property Master for use during filming and for McQueen’s personal use
- Four owners from new, including McQueen’s personal collection in California
- Excellent in highly original preserved condition
- Well documented with invoices and correspondence corroborating absolute authenticity
For the first three minutes and 40 seconds, Steve McQueen isn’t the only star of the 1971 film Le Mans. The steely-eyed McQueen’s co-star for the film’s memorable opening scenes is a Slate Gray 1970 Porsche 911S. This magnetic pair opens the film in convincing fashion, and the tranquil images of McQueen driving the snarling 911 through the bucolic French countryside, contemplating the complex and shifting equations of life and death in competition, are in stark contrast to the racing action that would follow.
Le Mans
Indeed, this film, for all its production challenges and cutting edge, budget-busting production hurdles, is considered by most motoring enthusiasts as the best racing motion picture ever filmed, joined perhaps only by James Garner’s Grand Prix. It is a film that not only allowed Steve McQueen to exercise his creative potential on his life’s foremost passion but, from a cinematic standpoint, also accurately depicted the era, the dangers of endurance racing and the magic of Circuit de La Sarthe in the French countryside, to which the American moviegoer had heretofore never been exposed. McQueen’s expressive face and limited dialogue practically play a supporting role to the visceral, high-revving wails of Porsche 917s and Ferrari 512s as they speed through sun and rain, night and day, cheating death on the 240-mph Mulsanne Straight to claim victory in the historic “24 Heures du Mans.” Such was the importance of this film, with all its real-life footage, that in the car collecting hobby, virtually any item associated with Steve McQueen – and more specifically his major films, Le Mans included – attract tremendous attention – and rightfully so. Be it something as small as the attractive Heuer Monaco wrist watch his character wore or as significant as the 917 (chassis 022) he drove, liveried in iconic Gulf Oil colors, there are certain images of motoring that are at once uniquely “McQueen” and perpetually desirable. The 917, incidentally, was sold by Richard Attwood at RM’s Monterey auction in 2000 to Los Angeles Times publisher Otis Chandler, a noted Porsche collector, before it passed through several distinguished owners and is now presently owned by none other than Jerry Seinfeld.
McQueen’s Ownership
In Hollywood, few celebrities have ever amassed a car, motorcycle and airplane collection as impressive as that of Steve McQueen. Be it a Porsche 356 Speedster, a Jaguar XK-SS, a Ferrari 250 GT Lusso Berlinetta or even a host of Von Dutch customized utility vehicles, his cars are not only legendary and highly valuable but have also been extensively written about.
Porsche’s Slate Gray was a particular favorite, as he owned several Porsches in this color. The car we have the pleasure of offering here, which figures so prominently in Le Mans, was similar to a 911S McQueen already had at home, which was the same model and color but just one year older. It was likely easier, however, to acquire another car in Europe than ship his own 1969 911S twice across the Atlantic. It is also quite plausible that Porsche, which was involved in the production of Le Mans, wanted him to showcase its latest model. The car seen in the memorable opening sequences, and in several other scenes, was invoiced to Solar Productions on June 1, 1970. It was a more heavily optioned car than McQueen’s own ’69 model, including rare factory-installed air-conditioning, muffler apron, tinted glass, a Blaupunkt Frankfurt radio, the Comfort Group (which includes leather upholstery and other interior upgrades) and front fog lamps with the then-required-in-France yellow lenses. The total cost of this machine, which was the top of the 911 street machine range in 1970 with a significant horsepower increase over the base model, cost just over 30,000 DM, or $8,338.61 to be exact, a princely sum at the time.
According to a letter from Porsche, “The car was driven as is directly to Le Mans by our people, for use by Steve and the Solar Productions crew. At a later date, the car was returned to our repair shop for modifications,” which included the installation of a limited-slip differential and revised gear ratios.
After its starring role in McQueen’s motorsport magnum opus, during which time it was extensively photographed on the movie set in France, with McQueen always near it or aboard, the car was shipped home to Los Angeles in January 1971. Sometime later, McQueen elected to sell this one instead of his ’69. There is no clear reason why he chose one over the other, but it is widely believed that he already had installed an upgraded and costly stereo system in his first car. The Le Mans car was advertised in the Los Angeles Times and was purchased by an L.A.-based attorney. He kept the car, largely in secret, for more than three decades, during which time he documented virtually everything about the car, as letters from Solar Productions and Porsche attest. Another Southern California resident, Judge Jesse Rodriquez, then purchased it in April 2005, who has since sold it on to its current owner, a noted Porsche collector in his own right.
Other than one repaint in the factory color, reupholstered front seats, new shock absorbers and a fresh windshield, it is completely original. It is likely the amber fog lamp lenses were replaced with clear ones when the 911 was brought into the United States all those years ago. The engine and transmission are original with all numbers matching, and the car has never suffered any rust or accident damage – a wonderful example of preservation versus restoration. It wears its original, and correctly sized, factory-installed Fuchs alloy wheels, and the odometer currently indicates less than 12,400 miles. The car has been freshly serviced and detailed, drives on the button and has been the subject of many recent magazine stories.
The ’70 “S” was viewed as such an impressive performer in its time that it was routinely compared, by contemporary magazine road testers, with the Ferrari 246 Dino and other high-end exotics. The 911, itself a successor to the wildly popular 356, entered production for 1964 and took the racing world by storm. The “S” variant was the first high performance version for the street and engendered a long line of pavement-pounding Nürburgring weapons to come, including the road-going Carreras, RS and RSRs, as well as of course the iconic Turbo.
An Opportunity Not to be Missed
It is rare that we are able to offer a machine so impressive on at least three different levels. Early, chrome bumper 911Ss have become extremely valuable and are prized and much sought after by Porsche aficionados the world over. Second, this car comes with an impressive file of original documentation, including letters from the Porsche factory, plus the original invoice and numerous documents authored and signed by McQueen himself. Finally, this car’s incomparable Hollywood movie and ownership provenance make it that much more an historic proposition. Steve McQueen, who passed away in 1980, was not only Hollywood’s highest paid actor with such films as Papillon, The Great Escape, The Thomas Crown Affair, Bullitt and of course Le Mans to his credit, but he was also a truly talented and highly successful racing driver on sand, road, track and everything in between. Furthermore, his reputation as the “King of Cool” – the composed anti-hero who frequently performed his own stunts – has made him a pop culture icon of Elvis Presley proportions who not only inspires Hollywood actors to this day but everything from new production cars (consider the “Bullitt Edition” Ford Mustang) and movie remakes (The Thomas Crown Affair) to fashion magazines that use his likeness to tout a turtleneck, desert boots and Persol sunglasses as the quintessentially American “look.” It is this type of attraction that renders this car quite possibly the world’s best known, most significant non-racing Porsche 911.
Is it the most charismatic Porsche ever? Absolutely. It played a leading role among the to-die-for machinery in Le Mans, to many the ultimate motor racing film. Driven in the movie by its real life owner, the undisputed King of Cool Steve McQueen, it is hard to imagine another car with such glamorous, exceptional and meticulously documented provenance. © 2011 RM Auctions
14 avril 2011
BALENCIAGA, haute couture n°59675. Robe de cocktail en tulle plumetis noir.
BALENCIAGA, haute couture n°59675. Robe de cocktail en tulle plumetis noir. Photo AUDAP - MIRABAUD
effet de drapé bouilloné, haut bustier souligné d'un noeud de satin, rappel au bas de la robe sur satin ivoire, un important pan de tulle tombant du dos pouvant se porter en étole. Griffe blanche, graphisme noir. Estimation : 2000/2500€
AUDAP - MIRABAUD. Vendredi 15 avril 2011 à 14h00. Drouot Richelieu, salle n°14, 75009 Paris. Tél. : 01.53.30.90.30 - Fax : 01.53.30.90.31 - Email : contact@audap-mirabaud.com
06 février 2011
Pair of Platinum, Black Jade and Diamond Pendant-Earrings, Tiffany & Co
Pair of Platinum, Black Jade and Diamond Pendant-Earrings, Tiffany & Co.. photo Sotheby's
Composed of black jade segments alternating with bands of small round diamonds, signed Tiffany & Co. Estimate 5,000—7,000 USD. Lot Sold 12,500 USD
Sotheby's. Important Jewels, 02 Feb 11, New York www.sothebys.com
15 janvier 2011
Georges Lucien Guyot (Paris, 1885-1973), Panthère noire branchée, Ecole Française
Georges Lucien Guyot (Paris, 1885-1973), Panthère noire branchée, Ecole Française © BRAFA 2010
Dessin au fusain et pastel sur papier, 76,5 x 56 cm. Signé en bas à gauche - Prix sur demande.
Il débuta chez un sculpteur sur bois, tout en continuant à assouvir sa passion pour le dessin en allant trouver ses modèles au Jardin des Plantes de Paris. C’est là que sa vocation d’animalier et son amour des grands fauves prennent naissance. En 1906, il commence par exposer au Salon des Artistes Français et à partir de 1920, au Salon des Indépendants et au Salon d’Automne.
Il est très apprécié pour ces sculptures, mais on ne saurait négliger son œuvre de dessinateur et de peintre
French school. Georges Lucien Guyot (Paris, 1885-1973), Black panther on a tree branch
Charcoal and pastel on paper. Signed lower left. H 76.5 x L 56 cm
He started as sculptor and sought his models in the 'Jardin des Plantes' in Paris. He participated in several exhibitions in Paris and was very much appreciated for his sculpture his drawings and paintings are also valuable
Provenance: private collection
Philippe Heim @ BRAFA (Brussels Antiques & Fine Arts Fair), Stand N°105. 21-30 january 2011
Installé 20, rue du Cirque à Paris, Philippe Heim accueille et conseille sa clientèle. Il se consacre à la présentation de ceux que l’on nomme les artistes voyageurs et autres peintres et sculpteurs de la première moitié du XXe siècle. Pour présenter leurs œuvres, il organise des expositions monographiques et continue à développer sa présence dans les foires internationales où il expose le fruit de ses découvertes, sur les thèmes qui lui sont chers.
20 Rue du Cirque. F-75008 Paris, France. T +33 (0)1 45 61 16 36 - M +33 (0)6 09 02 05 35 - ph.heim@wanadoo.fr
27 décembre 2010
Yuan Black Lacquer in "The world of Kubilai Khan" @ Metropolitan Museum, New York
Tray with Bird-and-Flower Design, dated either 1234 or 1294, Southern Song dynasty (1115–1279) or Yuan dynasty (1271–1368), China. Carved lacquer; H. 9/16 in. (1.5 cm), W. 4 3/8 in. (11.1 cm), L. 8 13/16 in. (22.4 cm). Lent by Museum of Fine Arts, Boston. Asiatic Curator's Fund, 58.689
An inscription incised into the base of this tray provides a cyclical date that can be read as either 1234 or 1294, and indicates that it was made in the Lu family shop, likely in Hangzhou. Several features—including the relative flatness of the surface and the overlarge heads and short wings of the birds—suggest that the tray was produced in the early part of the thirteenth century. In addition, the use of bright red lacquer highlights, for example on the edges of the beaks, is also typical of the Southern Song.
Plate with Flowering Plum and Birds, 14th century, Yuan (1271–1368) or Ming (1368–1644) dynasty, China. Black lacquer with mother-of-pearl inlay; H. 1/8 in. (0.3 cm), Diam. 11 5/8 in. (29.5 cm). The Metropolitan Museum of Art, New York, Promised Gift of Florence and Herbert Irving (L.1992.62.19)
The technique of inlaying mother-of-pearl into black lacquer was further refined during the Yuan, when the use of smaller, more carefully harvested pieces allowed for greater detail in shape and color. These delicate plum blossoms may have been inspired by woodblock prints (and accompanying poems), such as those published by the mid-thirteenth-century artist Song Boren in the Meihua xishen pu (Manual of Plum Blossom Likeness), which served as a major resource for artists through the end of the fourteenth century. Some of the plums are shown blossoming, while others are in full bloom. Many appear to be twisting, a reflection of the interest in depth that characterizes the art of the Yuan dynasty.
Box with "Fragrant Grass" Design, late 13th century, Yuan dynasty (1271–1368), China. Carved black lacquer with colored layers; H. 1 5/8 in. (4.1 cm), Diam. 3 7/8 in. (9.8 cm). The Metropolitan Museum of Art, New York, Purchase, The Vincent Astor Foundation Gift, 2007 (2007.231a, b)
The production of carved lacquer is a time-consuming process, often requiring the application of hundreds of layers of resin, each of which has to be individually set before another coating can be applied. The technique first flourished around the twelfth century and became particularly important in the fourteenth, possibly as a result of the Mongol predilection for lush and articulated surfaces. This small box, which was most likely used to hold incense or cosmetics, is typical of early carved lacquers; layers of additional colors, in this case red and yellow, have been interspersed with the dominant black.
The Yuan dynasty was one of the most innovative periods in the decorative arts of China. The native arts of pottery and lacquer were transformed by the coming together of artistic traditions from the north and the south, while craftsmen brought into China from other areas of the greater Mongol Empire introduced new skills to weaving and metalwork.
Relative to the decorative arts of previous periods, those of the Yuan dynasty can be distinguished by a predilection for three-dimensional form and elaborate surface decoration. The former is demonstrated by high-relief carving on lacquer. Painted decoration was applied to all types of Yuan ceramics, of which the blue-and-white porcelain of Jingdezhen is the best known and appreciated. Both technically and artistically, the decorative arts of the Yuan period remain unsurpassed.
"The world of Kubilai Khan" @ Metropolitan Museum New York, september 28, 2010 - january 2, 2011 www.metmuseum.org
04 décembre 2010
Editorial: 'Flying High'vwith Ming Xi by Lachlan Bailey for Vogue China, December 2010
Photographer: Lachlan Bailey - Stylist: Mélanie Huynh - Hair: Syd Hayes - Makeup: Adrien Pinault - Manicure: Elsa Durrens - Source: Scanned by 212 @ modernparty
21 novembre 2010
A Japanese black laquered suit of armour. Edo period (18th-19th century).
625
A Japanese black laquered suit of armour. Edo period (18th-19th century). Photo: Christie's Images Ltd., 2010
Nuinobe do gusoku type, with sixteen-plate sujibachi ridged helmet, the armour black lacquered iron with blue lacing, the menpo [face guard] with detachable nose piece, lacquered tsuneate [leg guards]; 61¼ in. (156 cm.) high including plinth - Estimate £3,000 - £5,000. Price Realized £6,875
Christie's. Quai d'Orsay, Paris - An Apartment by Jacques Grange, 19 November 2010, London, King Street www.christies.com
BG - Élizabeth GAROUSTE (Née en 1949) - Mattia BONETTI (Né en 1952) Cendrier, "Tortue", 1995.
BG - Élizabeth GAROUSTE (Née en 1949) - Mattia BONETTI (Né en 1952) Cendrier, "Tortue", 1995. photo courtesy Tajan
Rare cendrier en bronze à patine noire et dorée, composé de trois pièces, la base est formée d'un personnage mi-femme, mi-tortue accueillant dans sa carapace le cendrier à décor de lettres en relief en pourtour, couvercle supérieur stylisant le sommet de la carapace soutenant la prise formée d'un dé et d'une vrille. Signé du cachet "BG". Haut. 17,5 cm - Long. 20 cm - Larg. 15 cm - Estimation : € 2,500-3,500
Collection : Un exemplaire en faïence appartient à la collection du Musée des Arts Décoratifs.
Tajan. 23 nov. 2010 18:00 Espace Tajan. www.tajan.co
Piero Fornasetti (1923-1988) Jardinière "Mauro".
Piero Fornasetti (1923-1988) Jardinière "Mauro". photo courtesy Tajan
Sujet en faïence, émail noir. Signée sous la base. (Un petit saut d'émail à la base). Haut. 29,3 cm Estimation : € 500-600
Tajan. 23 nov. 2010 18:00 Espace Tajan. www.tajan.co
20 novembre 2010
Red carpet: Eva Mendes in Andrew Gn
Eva Mendes in Andrew Gn
Trois boîtes de Mariage. Sud Vietnam, début du 20° siècle @ Cornette de Saint Cyr - Paris
Boite de Mariage. Sud Vietnam, début du 20° siècle © Cornette de Saint Cyr
En laque noire, à grande anse, destinée au bétel et aux noix d'arec. Riche décor de fleurs incrustées en nacre. L'intérieur, aménagé avec des compartiments est laqué rouge. Petits accidents visibles. 37 cm - Estimation : 350 / 450 €
Boite de Mariage. Sud Vietnam, début du 20° siècle © Cornette de Saint Cyr
En laque noire, destinée au bétel et aux noix d'arec. Riche décor de fleurs et d'idéogrammes incrustés en nacre. L'intérieur, aménagé avec des compartiments est laqué rouge. Petits accidents visibles. 25 x 17 cm - Estimation : 350 / 450 €
Boite de Mariage. Sud Vietnam, début du 20° siècle © Cornette de Saint Cyr
En laque noire, destinée au bétel et aux noix d'arec. Riche décor de fleurs incrustées en nacre. L'intérieur, aménagé avec des compartiments est laqué rouge. Petits accidents visibles. 25 x 17 cm - Estimation : 350 / 450 €
Cornette de Saint Cyr - Paris. Vente du Lundi 29 novembre 2010. Expert Jean-Luc ESTOURNEL ( +33 6 09 22 55 13). Consultant Philippe TRUONG ( +33 6 31 34 40 59). Drouot Richelieu - Salle 7 - 9, rue Drouot - 75009 Paris. Pour tout renseignement , veuillez contacter Laura Cristau au : +33 1 47 27 11 24
11 novembre 2010
Important Chinese Black Lacquer from Japanese Collections @ Bonhams
A fine large tixi black lacquer carved circular dish. Song-Yuan Dynasty © 2002-2010 Bonhams 1793 Ltd
The interior deeply carved through the layers of thick black lacquer with a central flower head, surrounded by three registers of concentric ruyi-heads, the exterior with a further band of ruyi, the base lacquered black, Japanese wood box; 32cm (12½in) diam. (2). Estimate: £50,000 - 60,000, HKD 610,000 - 740,000, USD 79,000 - 95,000
The term tixi can be literally translated as 'carved rhinoceros', and is recorded in use as early as the 9th century to refer a type of lacquer. The earliest recorded descrption of it (printed in 1366) explains that the term arose because of the similarities with a rider's leather saddle, which over time changes from black to red to brown and finally becomes a combination of all three colours, see H.Garner, Chinese Lacquer, London, 1979, p.70. While the technique is known to have been used as early as the Tang Dynasty, it rose to popularity during the Song and Yuan periods. Tixi lacquers from this period are known for the U-shaped profiles of their designs, as seen on the current dish.
This type of lacquer is also referred to by the Japanese term guri, which refers to pommel scrolls, which these designs are thought to resemble.
Compare another very similar but smaller dish with three registers of ruyi-heads in the Nezu Institute of Fine Arts, dated to the Northern Song period, illustrated in The Colours and Forms of Song and Yuan China: featuring lacquerwares, ceramics and metalwares, Tokyo, 2004, fig.63.
A fine black lacquer circular carved 'peony' dish, 14th century © 2002-2010 Bonhams 1793 Ltd
With shallow rounded sides, the interior deeply carved to the interior with a dense design of a large blossoming peony surrounded by further peony sprays, all borne on meandering leafy tendrils, the underside similarly carved with scrolling blossoms, the base lacquered brown, Japanese wood box; 17.5cm (7in) diam. (2). Estimate: £40,000 - 60,000, HKD 490,000 - 740,000, USD 63,000 - 95,000
Provenance: a Japanese private collection
Bold, deeply carved floral designs, such the peony blossom seen on the present dish, are typical of the best examples of 15th century lacquer production. The dense composition and use of a large, central bloom can also be seen on another black-lacquered peony dish, dated to the 14th century, in the Tokugawa Museum, illustrated by K.Mono, Imported lacquerwork - Chinese, Korean and Ryukyuan (Okinawa). Selections from the Tokugawa Art Museum, Nagoya, 1997, Catalogue no.39
Another related dish in the collection of the National Museum of Denmark, Copenhagen, carved with large blossoming hibiscus blooms, is illustrated by H.Garner, Chinese Lacquer, London, 1979, fig.34.
A black lacquer tixi circular carved box and cover. Yuan-early Ming Dynasty © 2002-2010 Bonhams 1793 Ltd
The domed cover and base both carved through the layers of black and red lacquer with registers of concentric ruyi-heads, the interiors and recessed base lacquered black, Japanese wood box; 16cm (6¼in) diam. x 8.5cm (3¼in) high (3). Estimate: £30,000 - 50,000, HKD 370,000 - 610,000, USD 47,000 - 79,000
Tixi lacquer continued to be produced in relatively large numbers during the Yuan through to the end of the Ming Dynasty. Tixi lacquer in the form of boxes and covers are, however, relatively rare. Compare a related black-lacquered bowl and cover, surmounted by a central finial and dated to the early 15th century, formerly in the Lee family collection, illustrated in Dragon and Phoenix. Chinese Lacquerware. The Lee Family Collection, Cologne, 1990, Catalogue no.10.
Another later example in the Victoria and Albert Museum, London, dated to the 16th century, unusually has the characters Tian xia tai ping within a central medallion on the cover: see H.Garner, Chinese Lacquer, London, 1979, fig.55.
Bonhams. Fine Chinese Art, 11 Nov 2010. New Bond Street www.bonhams.com