Glass before 1900
See also : Glass and crystal Archaic China Ritual bronzes Qianlong Egypt Bird
Chronology : 600 BCE - CE 18th century 1730-1739 1750-1759
Chronology : 600 BCE - CE 18th century 1730-1739 1750-1759
The Fang Hu of the Warring States
2020 SOLD for $ 8.3M including premium
Around 400 BCE the Zhou were forced to recognize the full independence of three kingdoms around Henan. Their inexorable decline opens the Warring States period which will put up to seven major states in competition. The Qin emerge victorious in 221 BCE and found the Chinese empire.
The wording Warring States wrongly evokes anarchy. This period instead opened up China to new life styles through the development of Confucianism and Taoism. The traditional sacrificial or funeral rites persist while taking into account the observation of nature and medicine. The taotie, which expressed the mystery of the spirits, disappear from the bronze vessels.
The technological evolution of bronze becomes multidisciplinary. In very thick walls, deep grooves are filled with precious materials that bring the colors : gold, silver, copper, malachite, turquoise. Bronze handles and zoomorphic elements are added.
The baluster-shaped hu is the most common vessel at that time for the ritual use of wine. On September 23 in New York, Sotheby's sells a 35 cm high covered fang hu, lot 578 estimated $ 2.5M. Please watch the video shared by the auction house. Fang means that the bottle has a square section. It is richly decorated with gold, silver and glass.
The gold was encrusted by hammering a sheet on a pattern of protruding knobs added after casting. The glass was fitted in diamond- or half diamond- shaped plaques of nine or six beads in hollow reserves between the gold bosses. Silver volutes decorate the dark brown bronze surface inlaid with green malachite. The slightly domed cover is surmounted by four animals in the round.
The use of glass, recently introduced in China, is extremely rare. The only other example from the same period of a bronze vessel inlaid with glass is a pair of hu discovered around 1930, known from photographs of the time.
Each glass bead has the shape of an eye, in a concentric polychromy. This design, which perhaps had magical significance, was produced for a very short period of time. Examples were found in the tomb of Marquis Yi of the principality of Zeng in Hubei, dated 433 BCE.
The sale of the fang hu, which had not been seen since 1938, allows a real rediscovery by the experts of the opulence reached in the time of the Warring States by the ritual bronzes of classical form.
The wording Warring States wrongly evokes anarchy. This period instead opened up China to new life styles through the development of Confucianism and Taoism. The traditional sacrificial or funeral rites persist while taking into account the observation of nature and medicine. The taotie, which expressed the mystery of the spirits, disappear from the bronze vessels.
The technological evolution of bronze becomes multidisciplinary. In very thick walls, deep grooves are filled with precious materials that bring the colors : gold, silver, copper, malachite, turquoise. Bronze handles and zoomorphic elements are added.
The baluster-shaped hu is the most common vessel at that time for the ritual use of wine. On September 23 in New York, Sotheby's sells a 35 cm high covered fang hu, lot 578 estimated $ 2.5M. Please watch the video shared by the auction house. Fang means that the bottle has a square section. It is richly decorated with gold, silver and glass.
The gold was encrusted by hammering a sheet on a pattern of protruding knobs added after casting. The glass was fitted in diamond- or half diamond- shaped plaques of nine or six beads in hollow reserves between the gold bosses. Silver volutes decorate the dark brown bronze surface inlaid with green malachite. The slightly domed cover is surmounted by four animals in the round.
The use of glass, recently introduced in China, is extremely rare. The only other example from the same period of a bronze vessel inlaid with glass is a pair of hu discovered around 1930, known from photographs of the time.
Each glass bead has the shape of an eye, in a concentric polychromy. This design, which perhaps had magical significance, was produced for a very short period of time. Examples were found in the tomb of Marquis Yi of the principality of Zeng in Hubei, dated 433 BCE.
The sale of the fang hu, which had not been seen since 1938, allows a real rediscovery by the experts of the opulence reached in the time of the Warring States by the ritual bronzes of classical form.
A Glass Bottle from before the Crusades
2008 SOLD 360 K£ including premium
The antique glass is necessarily rare in good condition. This reinforces the exceptional nature of this bottle, which dates from the third century of the Hegira and that the Crusaders failed to break.
Yet that lot number 72 from the sale of Sotheby's in London on October 8, was announced with an unusual discretion in the press release from the auction house. So, contrary to my usual discipline, I went to seek more information directly in the catalog.
The object was made in Persia 1100 years ago. It is a round bottle with a long cylindrical neck, 17 cm high overall. The transparent body is adorned on both sides with an applied green layer representing horses in a dynamic attitude that is particularly successful, over a foliaged background. The neck is decorated with geometric designs cut into the glass with a wheel. We are told that this carving technique, similar to that used for cameos, is especially rare for glass, more difficult to work this way.
The conditions report indicates some misses and repairs, which probably justifies that the lower estimate does not exceed 300 K£ for this scarcity. I hope it will be more expensive.
POST SALE COMMENT
At 360 K £ including premium, this bottle was correctly sold. One might think that if its condition was perfect it could have reached a much better price.
Yet that lot number 72 from the sale of Sotheby's in London on October 8, was announced with an unusual discretion in the press release from the auction house. So, contrary to my usual discipline, I went to seek more information directly in the catalog.
The object was made in Persia 1100 years ago. It is a round bottle with a long cylindrical neck, 17 cm high overall. The transparent body is adorned on both sides with an applied green layer representing horses in a dynamic attitude that is particularly successful, over a foliaged background. The neck is decorated with geometric designs cut into the glass with a wheel. We are told that this carving technique, similar to that used for cameos, is especially rare for glass, more difficult to work this way.
The conditions report indicates some misses and repairs, which probably justifies that the lower estimate does not exceed 300 K£ for this scarcity. I hope it will be more expensive.
POST SALE COMMENT
At 360 K £ including premium, this bottle was correctly sold. One might think that if its condition was perfect it could have reached a much better price.
A Fatimid Rock Crystal Ewer
2008 SOLD 3.1 M£ including premium
The Islamic art reached an extreme opulence before that irreparable cultural disaster that we called the Crusades. 1000 years ago, we were at less than 400 years after the Hegira, and the Fatimid dynasty, having come from North Africa, reigned until Egypt where it founded its capital, Cairo.
The rock crystal ewer found by Christie's comes from that time. Associated Press tells the story of this discovery. In January, a small English auction house proposed a French wine jug of the nineteenth century, estimated one hundred pounds. Fans were excited on the unusual nature of this object, and they spoke quickly into hundreds of thousands of dollars. Here there is divergence between AP saying that the object was sold, which Xinhua saying, quoting Christie's, that it was withdrawn "by mutual agreement".
It is a true treasure: it is comforting to know that there are still some of them circulating on the market. The challenge is to detect them. Christie's offers this item for sale in London on October 7, announcing in its press release that it could exceed £ 3 million.
It is one of seven identified copies of Fatimid rock crystal ewers from the Fatimid royal treasure of Cairo. It was carved in a block of flawless rock crystal, and is decorated with cheetahs in chains. The six other copies belong to museums. Each one is decorated with a different animal in relation to the theme of hunting.
The ewer of our article has been gold mounted in the middle of the nineteenth century by a French goldsmith who once worked for Queen Victoria. That may probably explain the January initial error of description.
Such works are fragile. The one that belonged to the Pitti palace was broken in 1998 beyond repair during a fall. The scarcity is created and strengthened by the disappearance of objects. This one is exceptional.
POST SALE COMMENT
The specialists at Christie's were right in their estimates. The ewer was sold £ 3.1 million including expenses.
The rock crystal ewer found by Christie's comes from that time. Associated Press tells the story of this discovery. In January, a small English auction house proposed a French wine jug of the nineteenth century, estimated one hundred pounds. Fans were excited on the unusual nature of this object, and they spoke quickly into hundreds of thousands of dollars. Here there is divergence between AP saying that the object was sold, which Xinhua saying, quoting Christie's, that it was withdrawn "by mutual agreement".
It is a true treasure: it is comforting to know that there are still some of them circulating on the market. The challenge is to detect them. Christie's offers this item for sale in London on October 7, announcing in its press release that it could exceed £ 3 million.
It is one of seven identified copies of Fatimid rock crystal ewers from the Fatimid royal treasure of Cairo. It was carved in a block of flawless rock crystal, and is decorated with cheetahs in chains. The six other copies belong to museums. Each one is decorated with a different animal in relation to the theme of hunting.
The ewer of our article has been gold mounted in the middle of the nineteenth century by a French goldsmith who once worked for Queen Victoria. That may probably explain the January initial error of description.
Such works are fragile. The one that belonged to the Pitti palace was broken in 1998 beyond repair during a fall. The scarcity is created and strengthened by the disappearance of objects. This one is exceptional.
POST SALE COMMENT
The specialists at Christie's were right in their estimates. The ewer was sold £ 3.1 million including expenses.
A Mamluk Finger Bowl
2009 SOLD 1.55 M£ including premium
Looking for a beautiful object. I found a Mamluk bucket in gilded and enameled glass, estimated 600 K£ by Sotheby's, for sale on April 1 in London, lot 96.
21 cm high, it is conically shaped. Its top diameter is 20 cm. The base diameter is not indicated but as seen in the photos of the catalog, it is 15 cm. It is very nicely decorated, including palmettes and animals in three crowns of similar heights. An inscription in cursive style indicates that it contains cool water and serves as a finger vessel. The colors are bright and contrasting.
The old glasses are very rare. The catalog indicates that there is no more than four other remaining pieces of this type. Such object is difficult to be dated, but by comparison of its decorative motifs with other Mamluk art, it is about 650 years old, which makes its creation in the early eighth century of the Hegira.
POST SALE COMMENT
The object is admirable (it's a word I use rarely) and deserves its price: £ 1.55 million including premium.
Buyers are still there for lots of very high quality. Hopefully the sellers will realize!
21 cm high, it is conically shaped. Its top diameter is 20 cm. The base diameter is not indicated but as seen in the photos of the catalog, it is 15 cm. It is very nicely decorated, including palmettes and animals in three crowns of similar heights. An inscription in cursive style indicates that it contains cool water and serves as a finger vessel. The colors are bright and contrasting.
The old glasses are very rare. The catalog indicates that there is no more than four other remaining pieces of this type. Such object is difficult to be dated, but by comparison of its decorative motifs with other Mamluk art, it is about 650 years old, which makes its creation in the early eighth century of the Hegira.
POST SALE COMMENT
The object is admirable (it's a word I use rarely) and deserves its price: £ 1.55 million including premium.
Buyers are still there for lots of very high quality. Hopefully the sellers will realize!
ca 1600 Made in Milan
2009 SOLD 530 K€ including premium
Here is a small vase in rock crystal 16 cm high, from the collection of Yves Saint-Laurent. It is remarkable for its age: it was produced in Milan at the end of the sixteenth century or early seventeenth century.
It consists of an almost spherical body topped with a flared mouth and mounted on a cylindrical foot. It is also equipped with two dragon head handles and two spouts. Heavily carved with arabesques and foliage, it shows a style that few copies have survived.
Such a luxury item was designed for princely courts, and this one had entered the French royal collections in the eighteenth century.
The sale at Christie's, in association with Pierre Bergé, takes place in Paris from 23 to 25 February. This vase is estimated 100 K €.
POST SALE COMMENT
Another great result. It is no coincidence, it is one of the few lots that had been presented in the first press releases. Of course I had noticed it for this reason.
The result is exceptional: 530 K € premium included.
It consists of an almost spherical body topped with a flared mouth and mounted on a cylindrical foot. It is also equipped with two dragon head handles and two spouts. Heavily carved with arabesques and foliage, it shows a style that few copies have survived.
Such a luxury item was designed for princely courts, and this one had entered the French royal collections in the eighteenth century.
The sale at Christie's, in association with Pierre Bergé, takes place in Paris from 23 to 25 February. This vase is estimated 100 K €.
POST SALE COMMENT
Another great result. It is no coincidence, it is one of the few lots that had been presented in the first press releases. Of course I had noticed it for this reason.
The result is exceptional: 530 K € premium included.
1736-1780 Qianlong Snuff Bottle
2008 SOLD 420 K$ including premium
Fully narrated below.
The Part V of the J & J collection, auctioned by Christie's in New York on September 17, 2008, includes 88 lots.
The top lots are a rose enameled glass double gourd made in the Qianlong imperial workshops in Beijing (4.7 cm, 350 K$, lot 87) and a snuff bottle decorated with a woman and a child and bearing the mark of Qianlong (4.1 cm, 220 K$, lot 86).
POST SALE COMMENT
The most important piece, which was that miniature double gourd at lot 87, was very well sold, 420 K$ including premium.
The lot 86 was sold for 180 K$ including premium, remained far below its estimate.
The Part V of the J & J collection, auctioned by Christie's in New York on September 17, 2008, includes 88 lots.
The top lots are a rose enameled glass double gourd made in the Qianlong imperial workshops in Beijing (4.7 cm, 350 K$, lot 87) and a snuff bottle decorated with a woman and a child and bearing the mark of Qianlong (4.1 cm, 220 K$, lot 86).
POST SALE COMMENT
The most important piece, which was that miniature double gourd at lot 87, was very well sold, 420 K$ including premium.
The lot 86 was sold for 180 K$ including premium, remained far below its estimate.
1737 Falangcai on Glass
2019 SOLD for HK$ 207M including premium
In the transfer of the European technology of enamel painting, the Kangxi emperor creates a workshop in 1693 CE in the Forbidden City. The new technique will be used on several supports : copper, silver, porcelain. Three years later, Kangxi opens a glass workshop in the same place.
Enamel on glass is the most difficult technique. Each color demands a different baking to be lively, and a little overheating above the enamel melting point damages the glass. The term used is falangcai as for porcelain. The imperial archives do not mention any glass falangcai before 1705. The surviving pieces from the reigns of Kangxi and Yongzheng are incredibly rare.
When he succeeds his father, Qianlong is overflowing with enthusiasm for all forms of art. He expects from his workshops unprecedented technical achievements along with decorations of utmost finesse and originality.
On the 22nd day of the 1st month of the 3rd year of his reign, in 1737 CE, the archives record the presentation to the emperor by three eunuchs of a glass vase shaped like a pouch. This blue vase is immediately returned to the workshops for being copied. It did not survive.
Two glass falangcai with a bright yellow enamel background certainly correspond to this commission. Slightly different in shape and completely different in the decor, they were not scheduled as pendants. All other glass falangcai of this form were failed or broken.
These two pieces are of the largest dimension for this technique, 18 cm high. The pleated ovoid shape imitating the silk is knotted by a ribbon in high relief which very elegantly clasps the upper part of the purse. The imperial mark appears within a flower.
Both objects belonged in the nineteenth century to an imperial prince. They were sold separately by Sotheby's in 1988. One of them, with a dense set of twelve dragons, is now to the collection of the Hong Kong Museum of Art.
The other piece is the best achievement. Its colors are brighter. The picture with two phoenix twirling amidst flowers is very pleasant with flamboyant plumages. The rim is crenellated. Nicholas Chow, chairman of Sotheby's Asia, considers that it is the most important Qing artwork in private hands.
This glass pouch was sold for HK $ 24M including premium by Sotheby's on October 29, 2000, worth US $ 3.1M at that time. The post sale press release announced it as the record for both a falangcai and a Chinese glass. It will be sold by Sotheby's in Hong Kong on October 8, lot 1. The press release of August 28 announces an expected price in excess of HK $ 200M. It is narrated by Nicholas Chow in the video shared by The Value.
Enamel on glass is the most difficult technique. Each color demands a different baking to be lively, and a little overheating above the enamel melting point damages the glass. The term used is falangcai as for porcelain. The imperial archives do not mention any glass falangcai before 1705. The surviving pieces from the reigns of Kangxi and Yongzheng are incredibly rare.
When he succeeds his father, Qianlong is overflowing with enthusiasm for all forms of art. He expects from his workshops unprecedented technical achievements along with decorations of utmost finesse and originality.
On the 22nd day of the 1st month of the 3rd year of his reign, in 1737 CE, the archives record the presentation to the emperor by three eunuchs of a glass vase shaped like a pouch. This blue vase is immediately returned to the workshops for being copied. It did not survive.
Two glass falangcai with a bright yellow enamel background certainly correspond to this commission. Slightly different in shape and completely different in the decor, they were not scheduled as pendants. All other glass falangcai of this form were failed or broken.
These two pieces are of the largest dimension for this technique, 18 cm high. The pleated ovoid shape imitating the silk is knotted by a ribbon in high relief which very elegantly clasps the upper part of the purse. The imperial mark appears within a flower.
Both objects belonged in the nineteenth century to an imperial prince. They were sold separately by Sotheby's in 1988. One of them, with a dense set of twelve dragons, is now to the collection of the Hong Kong Museum of Art.
The other piece is the best achievement. Its colors are brighter. The picture with two phoenix twirling amidst flowers is very pleasant with flamboyant plumages. The rim is crenellated. Nicholas Chow, chairman of Sotheby's Asia, considers that it is the most important Qing artwork in private hands.
This glass pouch was sold for HK $ 24M including premium by Sotheby's on October 29, 2000, worth US $ 3.1M at that time. The post sale press release announced it as the record for both a falangcai and a Chinese glass. It will be sold by Sotheby's in Hong Kong on October 8, lot 1. The press release of August 28 announces an expected price in excess of HK $ 200M. It is narrated by Nicholas Chow in the video shared by The Value.
A Sneak Peak into Sotheby’s #HongKong 2019 Autumn Sales (3 – 8 Oct)https://t.co/OUQo8uwmhu
— Sotheby's (@Sothebys) August 21, 2019
1736-1758 Brushpots in Enamel Glass
2008 SOLD for HK$ 73M including premium by Christie's
narrated in 2020
In the 35th year of his reign corresponding to 1696 CE, the Kangxi emperor devoted a place in the Imperial City to the enamel painting of glass vessels. This workshop was operated by Jesuits. The transparency of the glass offers the possibility of a supreme refinement but the yield is very low. The themes are often European.
The pieces produced without bubble and without crack which deserve to receive the imperial mark are almost nonexistent under Kangxi and Yongzheng. All of the items listed below have the Qianlong imperial mark. The know-how ceases to be maintained after 1758 CE.
Brushpots in enameled glass are extremely rare.
A 8.5 cm high piece with square section and canted corners was sold for HK $ 68M including premium by Christie's in Hong Kong on November 27, 2007, lot 1665. Its buyer, the Taiwanese businessman Robert Tsao, put it back on sale in the same room on May 27, 2008 as a charity lot to help the victims of the Sichuan earthquake. It was sold for HK $ 73M including premium, lot 1525.
A 6.1 cm high cylindrical brushpot was sold for HK $ 49M including premium by Christie's on November 28, 2012 over a lower estimate of HK $ 6M, lot 2124.
An 18 cm high vase in the shape of an ovoid pouch was sold for HK $ 207M including premium by Sotheby's on October 8, 2019. Snuff bottles are less rare. A rectangular piece 8 cm high was sold for HK $ 25.3M including premium by Bonhams on November 28, 2011 over a lower estimate of HK $ 4.9M.
The pieces produced without bubble and without crack which deserve to receive the imperial mark are almost nonexistent under Kangxi and Yongzheng. All of the items listed below have the Qianlong imperial mark. The know-how ceases to be maintained after 1758 CE.
Brushpots in enameled glass are extremely rare.
A 8.5 cm high piece with square section and canted corners was sold for HK $ 68M including premium by Christie's in Hong Kong on November 27, 2007, lot 1665. Its buyer, the Taiwanese businessman Robert Tsao, put it back on sale in the same room on May 27, 2008 as a charity lot to help the victims of the Sichuan earthquake. It was sold for HK $ 73M including premium, lot 1525.
A 6.1 cm high cylindrical brushpot was sold for HK $ 49M including premium by Christie's on November 28, 2012 over a lower estimate of HK $ 6M, lot 2124.
An 18 cm high vase in the shape of an ovoid pouch was sold for HK $ 207M including premium by Sotheby's on October 8, 2019. Snuff bottles are less rare. A rectangular piece 8 cm high was sold for HK $ 25.3M including premium by Bonhams on November 28, 2011 over a lower estimate of HK $ 4.9M.
Qianlong Brushpot
2012 SOLD for HK$ 49M including premium by Christie's
Narrated and linked above.
1736-1758 The Tobacco of the Europeans
2011 SOLD 25.3 MHK$ including premium
Coming from America through Europe, the powdered tobacco was popular under the Qing. The Chinese did not smoke but snuffed it. To protect it from moisture, they kept it in small waterproof bottles, as if it were a medicine.
These small bottles, like the vases, are decorated with an infinite variety. The charming portraits of young white women or children appear as a thank you from China to the Europeans who had exported this new pleasure.
For one year and a half, Bonhams auction the extraordinary Bloch collection, which included over 1700 snuff bottles.
Since the first sale on May 28, 2010, it is successful.
4.22 cm high, a bottle in enamelled copper with European subject and the mark of Qianlong was sold HK $ 9.3 million including premium on an estimate of HK $ 1.8 M. It was in a fantastic state of preservation, as if it had just come out of the imperial kilns.
Estimated HK $ 4.9 million, the star lot of the fourth Bloch sale, on November 28 in HongKong, has great qualities. Also with European subjects, also with the Qianlong mark, this rectangular bottle is very high for its class, 8.07 cm, and includes Chinese landscapes in its lateral panels.
Last but not least, it is made in the most exquisite material, the enamelled glass.
POST SALE COMMENT
I was hoping for a long time to introduce in our discussions a piece in enamelled glass, in order to confirm that it is the finest material of Chinese art. It is done. Despite being only 8 cm high, this snuff bottle reached the remarkable price of HK $ 22M before fees, 25.3 million including premium.
According to the title of this lot in the catalog, it may be dated between 1736 and 1760, corresponding to the first half of the reign of Qianlong.
This lot is illustrated in the post sale release shared by AuctionPublicity.
These small bottles, like the vases, are decorated with an infinite variety. The charming portraits of young white women or children appear as a thank you from China to the Europeans who had exported this new pleasure.
For one year and a half, Bonhams auction the extraordinary Bloch collection, which included over 1700 snuff bottles.
Since the first sale on May 28, 2010, it is successful.
4.22 cm high, a bottle in enamelled copper with European subject and the mark of Qianlong was sold HK $ 9.3 million including premium on an estimate of HK $ 1.8 M. It was in a fantastic state of preservation, as if it had just come out of the imperial kilns.
Estimated HK $ 4.9 million, the star lot of the fourth Bloch sale, on November 28 in HongKong, has great qualities. Also with European subjects, also with the Qianlong mark, this rectangular bottle is very high for its class, 8.07 cm, and includes Chinese landscapes in its lateral panels.
Last but not least, it is made in the most exquisite material, the enamelled glass.
POST SALE COMMENT
I was hoping for a long time to introduce in our discussions a piece in enamelled glass, in order to confirm that it is the finest material of Chinese art. It is done. Despite being only 8 cm high, this snuff bottle reached the remarkable price of HK $ 22M before fees, 25.3 million including premium.
According to the title of this lot in the catalog, it may be dated between 1736 and 1760, corresponding to the first half of the reign of Qianlong.
This lot is illustrated in the post sale release shared by AuctionPublicity.
1736-1750 Qianlong Enameled Glass Snuff Bottle
March 2008 SOLD for $ 825K including premium by Christie's
narrated in 2008 before a further thematic auction by Christie's (see below)
PRE SALE DISCUSSION
A small snuff bottle can achieve a high price if its workmanship is exquisite and precious, but especially if it bears the mark of an emperor or of an imperial workshop. The archives of Christie's show thirty snuff bottles beyond 200 K$.
At the top, an example of the Meriem collection climbed to 825 K$ including premium on March 19, 2008 in New York, lot 308 from a lower estimate of $ 250K. 4.2 cm high, it bears the mark of Qianlong and had the originality to represent on both faces a portrait of a European lady.
Smaller (3.7 cm), another model of comparable description of the collection J & J widely doubled its low estimate to be sold 665 K$ including premium on March 30, 2005.
For Chinese subjects, an enamel snuff bottle from the Meriem collection, earliest, with the mark of Kangxi, slightly larger (6.7 cm), was sold 650 K$ including premium on September 19, 2007.
A miniature double gourd from the imperial workshops was sold for $ 420K including premium by Christie's on September 17, 2008.
A small snuff bottle can achieve a high price if its workmanship is exquisite and precious, but especially if it bears the mark of an emperor or of an imperial workshop. The archives of Christie's show thirty snuff bottles beyond 200 K$.
At the top, an example of the Meriem collection climbed to 825 K$ including premium on March 19, 2008 in New York, lot 308 from a lower estimate of $ 250K. 4.2 cm high, it bears the mark of Qianlong and had the originality to represent on both faces a portrait of a European lady.
Smaller (3.7 cm), another model of comparable description of the collection J & J widely doubled its low estimate to be sold 665 K$ including premium on March 30, 2005.
For Chinese subjects, an enamel snuff bottle from the Meriem collection, earliest, with the mark of Kangxi, slightly larger (6.7 cm), was sold 650 K$ including premium on September 19, 2007.
A miniature double gourd from the imperial workshops was sold for $ 420K including premium by Christie's on September 17, 2008.
1736-1750 Qianlong Enameled Glass Snuff Bottle
2005 SOLD for $ 670K including premium by Christie's
Link to catalogue.
1879 Micro-Mosaic of the Roman Forum
2010 SOLD for £ 337K including premium by Christie's
Narrated below.
1879 Souvenir from Rome
2011 SOLD 380 K$ including premium
PRE SALE DISCUSSION
In all touristic locations, souvenir shops await the visitors. The pieces made of glass beads find there an undeniable commercial outlet.
In their most complex application, glass beads have replaced the traditional mosaics. The advantage is that thecubes (tesserae) can be produced in an infinite variety of colors. Then they are assembled with great patience onrigid structures.
In Rome, the Roccheggiani workshop manufactured remarkably detailed micro-mosaics of large format of the monumental groups, complemented by a nice animation. Thus the view of St. Peter's Square, 100 x 180 cm, dated1879 and signed, was sold £ 480K including premium at Christie's on April 29, 2010.
On December 9, 2010, Christie's sold £ 337K including premium a panoramic view of the Forum, 81 x 161 cm, from the same year and also signed by Roccheggiani.
Another copy made obviously from the same drawing of the Forum is for sale on January 30 by Myers in St.Petersburg, Florida. Neither dated nor signed, but complete and without rework, it is conservatively estimated $ 100K. It is illustrated in the catalog shared by the auction web provider LiveAuctioneers.
The decomposition of large images in very small pieces (playing the role of pixels) is a technical feat. The opaqueand non-reflective glass thus competed with oil painting, but it is likely that the production cost and the weight were prohibitive. This amazing technology did not become a major art.
POST SALE COMMENT
The result, $ 330K before fees, is close to the price obtained earlier by Christie's. For this unusual object, the lack of signature had no influence.
In all touristic locations, souvenir shops await the visitors. The pieces made of glass beads find there an undeniable commercial outlet.
In their most complex application, glass beads have replaced the traditional mosaics. The advantage is that thecubes (tesserae) can be produced in an infinite variety of colors. Then they are assembled with great patience onrigid structures.
In Rome, the Roccheggiani workshop manufactured remarkably detailed micro-mosaics of large format of the monumental groups, complemented by a nice animation. Thus the view of St. Peter's Square, 100 x 180 cm, dated1879 and signed, was sold £ 480K including premium at Christie's on April 29, 2010.
On December 9, 2010, Christie's sold £ 337K including premium a panoramic view of the Forum, 81 x 161 cm, from the same year and also signed by Roccheggiani.
Another copy made obviously from the same drawing of the Forum is for sale on January 30 by Myers in St.Petersburg, Florida. Neither dated nor signed, but complete and without rework, it is conservatively estimated $ 100K. It is illustrated in the catalog shared by the auction web provider LiveAuctioneers.
The decomposition of large images in very small pieces (playing the role of pixels) is a technical feat. The opaqueand non-reflective glass thus competed with oil painting, but it is likely that the production cost and the weight were prohibitive. This amazing technology did not become a major art.
POST SALE COMMENT
The result, $ 330K before fees, is close to the price obtained earlier by Christie's. For this unusual object, the lack of signature had no influence.
