A few examples of appraisal values for
HIGH ROCK
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- EARLY SARATOGA SCENE(American, 19th
EARLY SARATOGA SCENE(American, 19th century)
Sir William Johnson at High Rock Saratoga Springs in 1767, unsigned, oil on canvas, 17-3/4 x 30-1/4 in.; period carved gilt wood and composition frame liner, 21-1/2 x 33-1/2 in.
Note: This early scene depicts High Rock, at Saratoga Springs, with Sir William Johnson in the distance being carried on a litter by his Mohawk friends. The brought Johnson to the ?great medicine spring? in 1771 for healing, after being wounded in the French and Indian war.
Condition:
lined, crackle, surface dirt layer, retouch, area of possible repair sky right side; frame with wear and losses
- GILT BRONZE 'DOUBLE PHOENIXES' CANDLE
GILT BRONZE 'DOUBLE PHOENIXES' CANDLE HOLDER
QIANLONG MARK BUT LATER ??? ???????????cast as a pair of phoenixes on a high rock enclosing a hollowed tree trunk, the feathers and lingzhi featuring various inlaid gemstones, the base with a four-character Qianlong mark(1)19cm high
- GILT-BRONZE 'DOUBLE PHOENIXES' CANDLE
GILT-BRONZE 'DOUBLE PHOENIXES' CANDLE HOLDER
QIANLONG MARK, 20TH CENTURY ???? ??? ???????????cast as a pair of phoenixes on a high rock enclosing a hollowed tree trunk, the feathers and lingzhi featuring various inlaid gemstones, the base with a four-character apocryphal Qianlong mark, with a fitted lacquer box(1)19cm high; 1993g
- A Fine Louis Philippe Gilt and Patinated
A Fine Louis Philippe Gilt and Patinated Bronze Three-Piece Clock Garniture in the Chinese Taste mid-19th c. the pagoda-form clock with silk-thread movement striking bell in tower four paired columnar supports with dragons and birds court figures holding a phoenix and lute the rocaille base mounted with chrysanthemums reticulated gallery inset with alternating snakes and bees on dragon feet the conforming garniture urns with dragon handles and chrysanthemum basket mounts clock height 24 in. width 9 3/4 in. depth 6 1/2 in. urn height 17 1/2 in. Note: This superb Chinoiserie garniture is in the form of a central clock conceived as a temple pagoda with paired corner columns displaying harpy capitals supporting an ornate superstructure in the form of an open columned lantern with a fixed bell (which is struck by a moving hammer) with four stages of conical roofs tapering pyramidally all picked out with embossed bells and flowers lavishly gilded. The platform at the base of the columns-which are set on dragon-decorated piers-is bordered by a geometric balustrade and occupied by a wonderful pair of exquisitely detailed three-dimensional figures of a princess playing a lute and a ruler launching a phoenix from his arm. The whole is set on a high rockery exhibiting foliate appliqués bounded by a gilded fence with insect and serpentine motifs and terminating in gilt dragon-form feet. The flanking urns or covered vases have conforming pagoda-like tops and handles in the shape of large winged dragons with upturned tails: the shoulders between them are embossed and gilded and the patinated bodies display peonies and chrysanthemums in large gilt appliqués; the elaborate socles are cast and gilded with geometric motifs. These flanking urns are set on tall prismatic plinths (also embellished with foliate appliqués) surrounded with conforming fences and terminate with somewhat more restrained dragon-embossed feet. Such very lavish ornamentation bespeaks the height of the "Aesthetic Movement " and indeed exactly such mantel clocks in the fictive forms of Chinese temples-though rarely as exuberantly elaborate as this-were in fact purveyed by the most fashionable retail houses in Paris London and New York.
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