Auktionskalender

Ancient, Modern, and Contemporary Art - Session II

Ancient, Modern, and Contemporary Art - Session II

Live

am Dienstag, 17. November | 02:00 PM

Gonnelli Casa d'Aste

+39 055 268279 aste@gonnelli.it

Via Fra Giovanni Angelico, 49 50121, Firenze

140 Ergebnisse

Luigi Tortori [attributed to], Part of the dispute

247 - Luigi Tortori [attributed to], Part of the dispute that arose between the nobleman Cav. Felice, son of the late Mr. Jacopo Griffoli of Lucignano, on the one hand, and Messrs. Don Domenico and Orazio, brothers and sons of the late Mr. Giulio Matteo Donnini of Villa del Pozzo in Fojano, on the other. c. 1786. Pen and brown ink, brush and watercolor. 530x744 mm. (1) The sheet is missing part of the left margin. Traces of folding on the sheet. Signs of wear.

Schätzung

480 - 960 €

Pieter Van der Keere (Petrus Kaerius), The Surroun

248 - Pieter Van der Keere (Petrus Kaerius), The Surrounding Countryside of Siena / Siena. [Amsterdam]: Christoffle Guyot, 1602. Hand-colored copper engraving. 85x123 mm. Sheet size: 110x158 mm. On the plate, lower left: “PK Sculp.” Small map of the Sienese territory taken from Barent Langenes, Thresor De Chartes, Contenant Les Tableaux De Tous Les Pays Du Monde, [Amsterdam or Leiden], 1602, with text in French. The map is a reduced-scale replica of the one Ortelius included in his Theatrum of

Schätzung

100 - 200 €

Nicolaes Jansz Visscher and Johannes Janssonius, D

249 - Nicolaes Jansz Visscher and Johannes Janssonius, Duchy or Territory of Milan. Amsterdam. Published by Nicolaum Visscher under the general privilege of the United Provinces of the Netherlands. 1690. Colored copper engraving. 375x490 mm. Sheet: 488 x 575 mm. Latin text on the reverse. From Atlas minor sive totius orbis terrarum contracta delinea ex conatibus Nico. Visscher. Amst: Bat: Ger: de Lairesse, drawn and engraved. Amsterdam. Published by Nicolaum Visscher with the general privilege of t

Schätzung

140 - 280 €

Attilio Zuccagni Orlandini, View of Piazza Maggior

250 - Attilio Zuccagni Orlandini, View of Piazza Maggiore in Siena / View of the Lizza in Siena. Florence: 1845. Copper engraving. 295x380 mm. Two plates from Illustrated Atlas, or Collection of the Principal Ancient, Medieval, and Modern Italian Monuments and Some Picturesque Views: To Accompany the Physical, Historical, and Statistical Chorography of Italy..., Florence, 1845. ALSO INCLUDED: John Cousen (Bradford, 1804–London, 1880), Siena. London: Duncan & Malcolm; Glasgow: Blackie & Son

Schätzung

140 - 280 €

In the style of a Tang Dynasty artist, Emperor Min

251 - In the style of a Tang Dynasty artist, Emperor Ming (Tang Xuan Zong) tames a horse at the imperial horse training grounds. 19th century (?). Colored painting on paper. 1040 x 400 mm. Mounted on a scroll with a visible area within the frame measuring 1230 x 540 mm. The work reproduces an identical subject depicted in an ancient Tang Dynasty painting housed at the National Palace Museum in Taipei. The museum holds various scroll paintings depicting imperial horses and hunting scenes, including wor

Schätzung

480 - 960 €

Tibet, 19th century, thangka depicting Tsongkhapa’

252 - Tibet, 19th century, thangka depicting Tsongkhapa’s apparition to Kedrup. Tempera on canvas. 1360x750 mm. Kedrup, Tsongkhapa’s favorite disciple, is depicted in the lower left corner, outside the Ganden Monastery. He is making a ritual offering following the death of his master, at which moment the latter suddenly appears to him on a cloud. Maitreya’s paradise is depicted in the upper right, while the realm of the gods is in the upper left. (1) Some areas of abrasion on the painting, trac

Schätzung

480 - 960 €

Tibet, 19th century, Thangka depicting the Pancha

253 - Tibet, 19th century, Thangka depicting the Pancha Raksha. Tempera on canvas. 710 x 445 mm. Thangka depicting the Pancha Raksha. Pancha Raksha, or the Five Protector Goddesses, is a term used to refer to both the sacred texts and the deities of the “five protector goddesses,” figures widely found in the Mahayana-Vajrayana tradition. Each of these five deities performs specific functions and is responsible for promoting well-being and happiness in the world, preventing natural disasters and p

Schätzung

200 - 400 €

China, Qing Dynasty, traditional silk qipao. 1850–

254 - China, Qing Dynasty, traditional silk qipao. 1850–1900. Traditional Qing qipao, a loose-fitting, straight, one-piece women’s tunic that completely concealed the body’s contours, falling straight and softly, sometimes all the way to the feet. Casual women’s garment in purple textured silk, with wide sleeves featuring ivory-colored cuffs embroidered with colorful flowers, birds, and butterflies, and side slits. Border embroidered in three shades of blue and gold thread on a black backgroun

Schätzung

400 - 800 €

Thai artist, Phra Malai (Samut Khoi). Thailand or

255 - Thai artist, Phra Malai (Samut Khoi). Thailand or Cambodia, late 19th–early 20th century. An oblong, accordion-folded samut khoi manuscript. 140 x 675 mm (closed format). A fold-out volume consisting of 47 double-page spreads with text in black ink in Khom Thai (Khmer) script and several illustrations on both sides. On 6 pages per side, there are pairs of color-painted images arranged across two pages and positioned on either side of the text, which is centered. Ivory-colored khoi paper (paper

Schätzung

800 - 1.600 €

China, Qing Dynasty, Three silk garments. ca. 1880

256 - China, Qing Dynasty, Three silk garments. ca. 1880–1910. 1) Women’s sleeveless robe (gualan), in black silk decorated with an all-over floral medallion pattern in gold thread. Border—from the collar to the armholes, and along the hem and side slits—in black satin embroidered with floral motifs in blue and white silk threads and with applied trimmings. Pale pink silk lining. Dimensions: length 143 cm (from collar to hem), width 71 cm (front chest). 2) Xiapei, a beautiful black silk stole

Schätzung

480 - 960 €

China, Qing Dynasty, Pair of kesi panels with ausp

257 - China, Qing Dynasty, Pair of kesi panels with auspicious motifs. 1880–1910. Colored silk thread and gold thread on coral-pink silk fabric. On the reverse, a lining of ecru silk is sewn along all four sides. 160 x 49.5 cm. A pair of tapestries or runners with colorful woven motifs on a coral-red silk background. The decoration is symmetrical: in the lower register, a crane standing on one leg on a small island in the shade of a twisted pine tree (the crane and pine are symbols of longevity); ab

Schätzung

800 - 1.600 €

China, Qing Dynasty, Travel Jewelry Box. 1880–1910

258 - China, Qing Dynasty, Travel Jewelry Box. 1880–1910. Wood and brass. Dimensions: 21.5 x 38 x 27 cm. Jewelry box or chest made of dark wood (rosewood or huanghuali), with wrought brass trim, bat-shaped hinges, ring-shaped side handles, and a large central lock formed by two symmetrically facing fish—one of the most powerful and elegant symbols of good fortune, harmony, and prosperity. An auspicious inscription appears at the top. Once opened, the cabinet features small drawers and a mirror ben

Schätzung

480 - 960 €

China, Qing Dynasty, Five fans and a handbag with

259 - China, Qing Dynasty, Five fans and a handbag with ring handles. 1880–1910. A folding screen or fan with a front panel, made of blackened papier-mâché with gilded decorations depicting flowers and foliage, with a turned wooden handle. One fan with white feathers, two round fans (Tuan Shan) made of silk (one of which is heavily damaged and missing its stem), and a heavy silk handbag with ring handles. (6) Signs of wear and defects.

Schätzung

100 - 200 €

China, Qing Dynasty, Two Ma Mian Qun Skirts. 1880–

260 - China, Qing Dynasty, Two Ma Mian Qun Skirts. 1880–1910. Two yellow silk skirts: one made of textured fabric with a white band and sand-colored borders, featuring a lower panel embroidered with a floral motif and scattered embroidered flowers; the other made of plain fabric with a blue band and light blue borders, featuring a lower section with a floral-patterned embroidered panel and scattered embroidered flowers. The Ma Mian Qun, or “horse-face skirt,” is a traditional Chinese garment tha

Schätzung

400 - 800 €

China, Qing Dynasty, Two Tangzhuang Jackets. 1880–

261 - China, Qing Dynasty, Two Tangzhuang Jackets. 1880–1910. Two traditional men’s Tangzhuang jackets in red satin with gold-threaded tasseled fastenings featuring knotted buttons and a kung collar. Comes with two red satin caps with brims and a central gold button. Dimensions: length 74 cm. Width 147 cm (from cuff to cuff). (4) Signs of wear (age-related stains).

Schätzung

240 - 480 €

China, Qing Dynasty, Jifu court robe. 1880–1910. T

262 - China, Qing Dynasty, Jifu court robe. 1880–1910. The term “jifu” refers to the semi-formal ceremonial robe of the court, also known as the “dragon robe” due to the intricate decorative motifs that typically adorned it.A long robe, likely intended for summer wear, as it is made of dark blue, loosely woven fabric and is unlined. Embroidery in light blue, white, yellow, and gold thread. On the front and back, three five-clawed dragons (typical of high-ranking attire) chase flaming pearls;

Schätzung

480 - 960 €

China, Qing Dynasty, Jifu court robe. 1880–1910. T

263 - China, Qing Dynasty, Jifu court robe. 1880–1910. The term “jifu” refers to the semi-formal ritual robe of the court, also known as the “dragon robe” due to the intricate decorative motifs that typically adorned it.The robe is made of bright blue silk with gold embroidery depicting, on the front and back, three five-clawed dragons (typical of high-ranking attire) chasing flaming pearls. Embroidered in gold on the background are the symbols of the eight precious treasures; at the bottom,

Schätzung

600 - 1.200 €

China, Qing Dynasty, Bamboo undershirt. 1880–1910.

264 - China, Qing Dynasty, Bamboo undershirt. 1880–1910. Garment made with a mesh structure composed of small interwoven bamboo segments, edged with cream-colored cord, with two pale blue laces for fastening at the front. Openings at the armpits. The use of bamboo in undergarments dates back to the Ming Dynasty. It was worn by court officials and promoted air circulation while protecting outer silk garments from stains during the hot season. Dimensions: length 76 cm (from collar to hem), width 160 c

Schätzung

380 - 760 €

China, Qing Dynasty, Jifu court robe. 1880–1910. T

265 - China, Qing Dynasty, Jifu court robe. 1880–1910. The term “jifu” refers to the semi-formal ritual robe of the court, also known as the “dragon robe” due to the intricate decorative motifs that typically adorned it. The robe is made of coral-pink silk with colorful embroidery and gold thread. The embroidery on the front and back depicts three five-clawed dragons (typical of high-ranking attire), rendered almost entirely in gold thread, chasing after fire gems. In the background are the

Schätzung

600 - 1.200 €

China, Qing Dynasty, summer silk qipao. 1880–1910.

266 - China, Qing Dynasty, summer silk qipao. 1880–1910. Traditional Qing qipao, a loose-fitting, straight, one-piece women’s tunic that completely concealed the body’s contours, falling straight and softly, sometimes all the way to the feet. Casual women’s garment in pearl-gray textured silk, with wide sleeves featuring pale blue cuffs embroidered with court scenes depicting ladies in a garden, and side slits. The embroidered border features flowers and butterflies rendered in colored and gol

Schätzung

280 - 560 €

China, Qing Dynasty, Women’s three-quarter-length

267 - China, Qing Dynasty, Women’s three-quarter-length jacket (Ao). 1880–1910. A heavy women’s jacket or overcoat for colder weather, the upper part (Ao) of the traditional garment known as the Aoqun. Coral-pink silk jacket with side slits, featuring traditional auspicious motifs embroidered in blue and white; white silk trim and sleeve cuffs with beautiful embroidery depicting figures and landscapes; black braiding. Heavy green silk lining. A knotted button made of trim and two decorative sphe

Schätzung

600 - 1.200 €

China, Qing Dynasty, Jifu court robe. 1880–1910. T

268 - China, Qing Dynasty, Jifu court robe. 1880–1910. The term “jifu” refers to the semi-formal ceremonial robe of the court, also known as the “dragon robe” due to the intricate decorative motifs that typically adorned it. A coral-pink ceremonial robe with elaborate embroidery in colored silk and gold thread: on the front and back, three five-clawed dragons (typical of high-ranking attire), rendered almost entirely in gold thread, chase after flaming pearls, a symbol of power and good fort

Schätzung

800 - 1.600 €

China, Qing Dynasty, Menglian and Jiandai Curtain.

269 - China, Qing Dynasty, Menglian and Jiandai Curtain. 1880–1910. 1) Traditional door curtain (known as Menglian) or ornamental drape/valance for entrances, used both as an interior divider and as ceremonial decoration. Made with appliqué embroidery. The upper part features a square yellow panel with an intertwined design in the center reminiscent of the infinity knot, and at the four corners, a coin motif symbolizing good fortune, prosperity, and wealth. The coral-colored lower section features

Schätzung

280 - 560 €

China, Qing Dynasty, Set of five embroidered silk

270 - China, Qing Dynasty, Set of five embroidered silk fabrics and drapes. 1880–1910. Various sizes. Embroidered yoke for a silk robe or cloak, dark blue silk, satin stitch and Beijing knot embroidery in pink, light blue, and white. Decorative motifs featuring peonies, chrysanthemums, and butterflies, with a light blue border applied all around. / Blue silk curtain with gold motifs and an ivory-colored ruffle with gold motifs. / Blue satin panel with embroidered decoration featuring pink, blue, and

Schätzung

280 - 560 €

China, Qing Dynasty, Document Chest. ca. 1900–1912

271 - China, Qing Dynasty, Document Chest. ca. 1900–1912. Rectangular wooden chest with a mortise-and-tenon lid. The exterior is covered in thick leather and decorated with genre scenes in gold; on the front is a brass latch plate concealing a lock with a key. Inside is a small storage tray. The interior is lined with thin beige leather and features a padded surface for the contents. Manufacturer’s seal on the inside of the lid. Dimensions: 60 x 15 x 15 cm. (1) Slight signs of wear.

Schätzung

180 - 360 €

20th-century Chinese art, Daruma (Bodhidharma) in

272 - 20th-century Chinese art, Daruma (Bodhidharma) in meditation. ca. 1900–1930. Color-printed scroll on paper (2110 x 515 mm). A widely popular devotional image likely depicting Daruma or Bodhidharma, the legendary founder of Zen—the wise old man who came from India to bring the teachings of the Zen school to China. In Chinese and Japanese popular culture, Bodhidharma is the archetype of the elderly hermit master who advocates a rigorous and constant meditation practice. He is often depicted in

Schätzung

80 - 160 €

Republic of China, Two plates depicting Lunar New

273 - Republic of China, Two plates depicting Lunar New Year celebrations (Lantern Festival). Shanghai: Kelly and Walsh, 1930. Color photogravure (630x305 mm). Pair of color illustrations from Juliet Bredon’s volume, Chinese New Year Festivals: A Picturesque Monograph of the Rites, Ceremonies, and Observances Thereof. Six color photogravure illustrations based on selected Chinese paintings, Shanghai: Kelly and Walsh, 1930. A pair of traditional Chinese illustrations depicting a family celebrating

Schätzung

100 - 200 €

Java, first half of the 20th century, Three batik

274 - Java, first half of the 20th century, Three batik pieces and two painted Wayang Kulit panels. ca. 1940. Painting on cotton. Three batik panels (hand-painted and block-printed on cotton): 51.5 x 203 cm, 104 x 104 cm, 106 x 142, and two painted panels on cotton, 71.5 x 129 cm, 34 x 117.5 cm, featuring scenes from Wayang Kulit, the traditional Javanese shadow puppet theater. Wayang kulit is performed using figures carved from thin buffalo hide (ranging from 5 mm to 1.5 cm in thickness on average)

Schätzung

140 - 280 €

Java, 20th century, Three batik pieces. ca. 1950.

275 - Java, 20th century, Three batik pieces. ca. 1950. Three batik panels (hand-painted and block-printed on cotton), one featuring a dancer. 133 x 106 cm; another featuring three peacocks, 103 x 184 cm; and another with a decorative motif, 52 x 48 cm.

Schätzung

80 - 160 €

Utagawa Hiroshige I, Odawara. 1840–1842 (Tenpō 11–

276 - Utagawa Hiroshige I, Odawara. 1840–1842 (Tenpō 11–13). Color woodblock print (nishiki-e). Format: horizontal chūban (160x214 mm). Signature: Hiroshige ga. Publisher: Sanoya Kihei (Kikakudō). Date: ca. 1840–1842 (Tenpō 11–13). Censorship: kiwame. Series: Tôkaidô gojûsan tsugi no uchi, also known as Gyôsho Tôkaidô (The Fifty-Three Stations of the Tôkaidô). (1) Copy with narrow margins extending 3/4 mm beyond the framing line and mounted at two points at the top within a modern

Schätzung

240 - 480 €

Utagawa Hiroshige I, Kawasaki: Rokugô no watashi.

277 - Utagawa Hiroshige I, Kawasaki: Rokugô no watashi. 1850–1851 (Kaei 3–4). Color woodblock print (nishiki-e). Format: horizontal chûban (182x257 mm). Signature: Hiroshige ga. Publisher: Tsutaya Kichizō (Kōeidō). Date: 1850–1851 (Kaei 3–4). Censors: Hama, Kinugasa. Series: Tōkaidō Gojūsan Tsugi no Uchi, also known as Gyōshō Tōkaidō (The Fifty-Three Stations of the Tōkaidō). (1) Copy with good margins extending 5/20 mm beyond the framing line and mounted at two points at the top

Schätzung

240 - 480 €

Ueno Kiyoe (Ueno Seiko), *Miyako no Hikari*, Vol.

278 - Ueno Kiyoe (Ueno Seiko), Miyako no Hikari, Vol. 3. Kyoto: Miyata Fuzando, 1899. Ehon album (365 x 225 mm). Color woodblock print (Nishike-e). A volume of kimono design sketches, containing 12 pages with illustrations on both sides, featuring 24 splendid color woodblock prints (with pronounced karazuri effects and silver accents) depicting beautiful motifs of birds, flowers, and landscapes. Third volume (of a three-volume series). The woodblock carver was Kinoshita Yūnosuke, and the printer wa

Schätzung

140 - 280 €

Utagawa Kunisada I (Toyokuni III), Iwai Hanshirō V

279 - Utagawa Kunisada I (Toyokuni III), Iwai Hanshirō VI. ca. 1832. Color woodblock print (nishiki-e). Format: ôban tate-e (356x245 mm). Signature: Kōchōrō Kunisada ga. Publisher: Takenouchi Magohachi. Date: ca. 1832. Censorship: kiwame. (1) Trimmed a few mm at the bottom. Fresh colors.

Schätzung

120 - 240 €

Utagawa Kunisada I (Toyokuni III), Kanagawa no eki

280 - Utagawa Kunisada I (Toyokuni III), Kanagawa no eki, Urashima-zuka (Kanagawa Station: Urashima’s Tomb). 1845–46 (Kōka 2–3). Color woodblock print (nishiki-e). Format: ôban tate-e (355x250 mm). Signature: Ōju Toyokuni ga. Publisher: Enshūya Matabei. Date: 1845–46 (Kōka 2–3). Censorship seal: Mura. Series: Tōkaidō gojūsan tsui (Fifty-Three Scenes of the Tōkaidō). Station No. 4, from a series conceived jointly by Hiroshige, Kunisada, and Kuniyoshi. (1) Trimmed a few mm at the bot

Schätzung

120 - 240 €

Utagawa Kunisada I (Toyokuni III), *Okabe Eki no U

281 - Utagawa Kunisada I (Toyokuni III), Okabe Eki no Ue (Above Okabe Station). The actor Ichikawa Danjûrô VIII in the role of Tadanori. 1852 (Kaei 5), 9th month. Color woodblock print (nishiki-e). Format: ôban tate-e (361x250 mm). Signature: Toyokuni ga, in toshidama. Publisher: Iseya Kanekichi. Engraver: Yokokawa Takejirō (Hori Take). Date: 1852 (Kaei 5), 9th month. Censor: Hama, Magome, Ratto 9. Series: Tôkaidô gojûsan tsugi no uchi (The Fifty-Three Stations of the Tôkaidô). (1) Fresh c

Schätzung

120 - 240 €

Utagawa Kunisada I (Toyokuni III) and Utagawa Hiro

282 - Utagawa Kunisada I (Toyokuni III) and Utagawa Hiroshige I, Yoshiwara. 1854 (8th month). Color woodblock print (nishiki-e). Format: ôban tate-e (365x250 mm). Signature: Toyokuni-ga, Hiroshige-ga. Publisher: Maruya Kyūshirō. Woodcutter: Yokogawa Takejirō. Censorship mark: Aratame, tiger, 8th month. Series: Sōhitsu gojūsan tsugi (The 53 Stations of the Two Brushes). The series was a collaboration between Kunisada and Hiroshige: Hiroshige drew the landscapes and Kunisada the figures. The monk

Schätzung

180 - 360 €

Utagawa Kuniyoshi, Yui (The Fisherwoman). 1845–46

283 - Utagawa Kuniyoshi, Yui (The Fisherwoman). 1845–46 (Kōka 2–3). Color woodblock print (nishiki-e). Format: ôban tate-e (355x245 mm). Signature: Chōōrō Kuniyoshi ga. Publisher: Ebiya Rinnosuke (Kaijudō). Date: 1845–46 (Kōka 2–3). Censorship seal: Mura. Series: Tōkaidō gojūsan tsui (Fifty-Three Views of the Tōkaidō), a series conceived jointly by Hiroshige, Kunisada, and Kuniyoshi. (1) Trimmed a few mm at the bottom. Fresh colors.

Schätzung

120 - 240 €

Inadome Sukenao (also known as Inadome Ichimu or I

284 - Inadome Sukenao (also known as Inadome Ichimu or Inatomi Ichimu) [by], Meate no okite (Rules for Targets). 19th century. Orihon volume (107x250 mm when closed). Provenance: from the collection of a diplomat stationed in the East from 1907 to 1931. Covered in golden-yellow damask silk. Thick, silky, glossy paper. Bamboo pen and India ink, colored pigments, and gold on paper. A fine copy comprising 80 double-page spreads of a hojutsu sho (shooting manual), with color illustrations and caption

Schätzung

400 - 800 €

Jan Tschichold, *Der Holzschneider und Bilddrucker

285 - Jan Tschichold, Der Holzschneider und Bilddrucker Hu Chêng-Yen. Basel: Holbein, 1943. In-4° (280x320 mm). A monograph published by the renowned typographer and calligrapher Jan Tschichold in 1943 and dedicated to Hu Zhengyan (Hu Cheng-yen, 1582?–1672?), a Chinese artist, calligrapher, and government official of the late Ming Dynasty. The book contains descriptive essays on the refined art of Hu Cheng-yen, accompanied by 16 splendid color facsimiles taken from the original sheets of the Ze

Schätzung

60 - 120 €

Tsukioka Yoshitoshi, *Yasurawade, nenamashi mono o

286 - Tsukioka Yoshitoshi, Yasurawade, nenamashi mono o, sayo fukete, katabuku made no, tsuki o mishi kana (I wish I had gone to bed right away, but now the night has passed and I watch the moon as it sets). 1887. Color woodblock print (nishiki-e). Format: ôban tate-e (370x250 mm). Signature: Yoshitoshi. Publisher: Akiyama Buemon (Kokkeido). Woodcutter: Horiko Enkatsu. Seals: Taiso, Choko Enkatsu. Date: 1887. Series: Tsuki no hyakushi (The Hundred Faces of the Moon). The title references a poem by

Schätzung

140 - 280 €

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