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Lot 171
Chinese Art A Blanc de Chine figure of Li Tieguai ImmortalChina, Qing dynasty, 19th century . . Cm 27,50. A white porcelain sculpture depicting one of the eight Immortals, Li Tieguai, standing on a cloud. Impressed mark at the back.White porcelain of this sort, known in the West by their French name "Blanc de Chine", were produced in the kilns of Dehua, in the Fujian province.
Lot 172
Chinese Art A rare blue and white porcelain armorial dish decorated with the Ginori Family coat of armsChina, Qing dynasty, Kangxi mark and period, late 17th century . . Cm 32,60 x 7,00. Resting on a disc, the interior delicately painted in underglaze blue with a double band containing floral and vegetal motifs that prelude the central circle with the Ginori family coat of arms: a shield with three stars surmounted by a helmet without a crown. Kangxi leaf mark within double circle on the base.The dish is part of a set commissioned by the noble Florentine family and reported in documentary sources as "Nagasaki set", a name that was probably associated with it by reconstructing the path that the porcelain, commissioned to the factories of Jingdezhen, made to reach Europe through Portuguese trades. which usually stopped by in Nagasaki and Imari and then left for Goa, hence Europe.As a matter of fact, from Ginori documentation we learn that:... an unspecified number of cases (perhaps 6) and the payment for the expenses incurred by the "friends of Goa" will be made on 16 May 1701 (Lucini-Perotto in, Il servito Ginori, uno studio ed un'esposizione, Perotto, Milano, 1988, p.24).Corbellier (China trade porcelain, patterns of exchange. New York, 1974) reconstructs the history of "armorial" pottery produced in China for noble European families, in the period between 1690 and 1710. Among these there is a set with decoration very similar to that of Ginori, but with the blazon of the Coelho family. It is therefore reasonable to assume that the commission of armorial pottery was recurrent among the noble families of the time and that there was a figurative repertoire to some extent shared.A plate of the same service, with a decorative variant, but always bearing the Ginori coat of arms is at the MET in New York Acc. 62.188 and published in CORBEILLER, FRELINGHUYSEN, Chinese Export Porcelain, The Metropolitan Museum of Art Bullettin, 2003, Volume LX , Number3, cat. 16, p. 19;Another was sold by Christie's, lot 219 in 2003A third was sold by Bonhams, Lot 21 in 2004Finally, recently, a dish was at Wannenes, lot 21, Asian Art auction, 2 December 2021.
Lot 181
Himalayan Art A gilt bronze stupa Tibet, 19th century . . Cm 5,50 x 11,00 x 5,50. A gilt bronze model of a stupa, decorated with engraved vegetable spirals. On the square multilevel base rests the dome with a niche containing a silver image of the seated Buddha, surmounted by the classic 13-section spire.
Lot 186
Chinese Art A poychrome wooden figure of GuanyinChina, late Ming-early Qing dynasty, 17th century . . Cm 26,50 x 41,50. An important wooden sculpture with conspicuous traces of polychrome lacquer with a prevalence of red pigment, depicting the Bodhisattva of compassion Guanyin.The finely carved figure in semi-soft wood is shown here in a rare posture.In spite of the canonical iconography, the deity is represented seated in paryanka on a mobile base with a single lotus flower. The right hand in varadamudra and the left one in jnanamudra.The whole figure is embellished with soft draperies that cover both shoulders and legs, furthermore the face, with soft and hieratic features, is surmounted by a high and complex hairstyle and a crown in the center of which the Buddha Amitabha is represented in a standing posture.Provenance: Private Collection Central Italy.
Lot 187
Himalayan Art A polychrome scupture depicting a LamaTibet, 15th-16th century . . Cm 10,50 x 17,50. Rare black stone sculpture with polychrome lacquer depicting an unidentified Master. The character is dressed in bright monastic robes with complex red and gold decorations that suggest his high lineage. He carries an offering bowl in his left hand while the right hand is in the Bhumisparsamudra gesture. He is seated on a single lotus base which, in turn, rests on a throne embellished with two elephants and a Kalasa. Behind the master there is also an intricate, finely carved prabha, decorated with Makara, lions and a small miniature of Amitayus at its peak.
Lot 188
South-Est Asian Art A large bronze sculpture of Bussha Thailand, Lan Na Kingdom, 16th-17th century . . Cm 44,00 x 63,00. Important and rare bronze cast figure of the historical Buddha Shakyamuni portrayed in his canonical iconography; with the left hand softly placed in the lap in the Avakasamudra gesture and the right hand touching the ground in bhumisparsamudra. He is also seated cross-legged on a base with a wide plinth.The figure is wrapped in a light vest that adheres to the body and shows traces of lacquer which can be observed in particular between the curls of the hairstyle and in the corneas of the eyes. Note the refined and delicate rendering of face, hands and feet.Provenance: private collection, Milan, Italy
Lot 189
Himalayan Art A bronze figure of AkshobhyaWestern Tibet, possibly 13th-14th century . . Cm 30,00 x 39,00. Important large cast bronze figure of one of the Cosmic Buddhas, Akshobhya. Sitting in Padmasana, his left hand in Avakasamudra, his right hand in bhumisparsamudra. The figure is portrayed in the typical style of western Tibet of the XIII-XIV century with a complex and high crown with arched apexes and a fluttering stole to form a semicircle behind his shoulders.The character is also embellished all over the body with jewels inlaid with silver and copper.Provenance: private collection, Milan, Italy
Lot 19
Chinese Art A pair of porcelain chargers China, Qing dynasty, 18th century . . Cm 28,50 x 21,00. Two porcelain chargers with underglaze blue landscape decoration. Pottery of this type -based on Western prototypes and decorated with genre scenes, landscapes, buildings, trees and people - were produced in large quantities throughout the 18th and 19th centuries to be exported in Europe.
Lot 190
Himalayan Art A rare and important polychrome wooden figure of Padmapani Napal, Malla dynasty, 15th-16th century . . Cm 33,00 x 116,00. Rare and important wooden sculpture depicting the Bodhisattva of compassion Avalokitesvara, who in this particular standing depiction takes the name of Padmapani.The figure rests on a single lotus base with a slightly hinted at tribhanga posture. The right arm ends with the hand, with the red palm, in Varadamudra, while the left is brought close to the chest with the hand in the Vitarkamudra posture.The strong polychromy still well preserved. One should pay attention to the white skin, the red doti with circular decorations and all the jewels that adorn the sculpture: necklaces, bracelets, earrings and pendant belt.The unusual and important crown finely carved with phytomorphic motifs and painted with golden pigment which, given its shape, could lead to a wrong identification of the Bodhisattva as Indra. However, the presence in the center of a small representation of Buddha Amitabha, of which Avalokitesvara is a direct emanation, should be considered. Furthermore, this crown refers, although in a mannerist style, to an ancient Tibetan representation of the Bodhisattva of compassion called Pagpa Lokeshvara.Provenance: private collection Milan.
Lot 191
Indian Art A bronze figure of Vamana Southern India, 17th century . . Cm 5,00 x 12,00. A cast bronze figure of the dwarf Vamana, 5th avatar of the god Vishnu, portrayed in the act of trampling with his right foot the evil king of the Asura, Bali. Gilded areas coating jewels and crown.Provenance: private collection, Milan, Italy
Lot 192
Indian Art An ivory carving depicting Lord Krishna India, Goa, 18th-19th century . . Cm 7,00 x 30,50. An elephant tusk tip, finely carved with Krishna playing the flute, named Venugopala. The main figure is also surrounded by seven undressed gopies, each one resting on a lotus flower. Traces of polychromy throughout the carving.Provenance: private collection, Milan, Italy
Lot 193
Indian Art A bronze Shiva Nataraja devotional figure India, Tamil Nadu, Chola Period, 13th-14th century . . Cm 7,00 x 10,00. Cast bronze figure from the Chola era or early Vijayanagara empire depicting the god Shiva performing his cosmic dance, thus the name Nataraja.It is characterized by four moving arms and an elegant posture of his right foot crushing the dwarf of spiritual ignorance Apasmara who is in turn flanked by two prayers. The main figure is also embellished with a rear halo decorated with small stylized flames. Provenance: private collection, Milan, Italy.
Lot 194
Indian Art A bronze figure of Ganesh Himalaya/Northern India, 10th-12th century . . Cm 7,00 x 14,50. A cast bronze figure of the elephant-headed deity Ganesh, softly seated in lilasana on a high base with a single lotus flower. He is portrayed with four arms bearing attributes, among which an ax and a trident. It also has a circular halo behind it. Highly worn areas due to devotional use.Provenance: private collection, Milan, Italy
Lot 2
Chinese Art A small celadon pourer China, Yuan dynasty (1271-1368) . . Cm 8,00 x 4,50. An interesting calligrapher item made of celadon porcelain in the form of a small teapot. This object -meant to contain the water to dissolve the ink- is part of the typical kit of the Chinese scholar. Furthermore, this pourer was most possibly manufactured in the Longquan kilns during the Yuan period, as its peculiar sober moulded relief decoration under the pale green glaze suggests.
Lot 20
Chinese Art Three celadon glazed pottery containers China, Song dynasty (960-1279) . . Cm 10,00 x 6,50. A group of three celadon glazed porcelain water containers. Rounded in shape, the three calligrapher accessories are characterized by slight variations in the shape and type of enamel used, which suggests a different place of production. The specimen equipped with two small circular handles, identified by an olive-colored glazing that reveals the relief underglaze decoration, is an example of the so-called Yaozhou production, or the "Northern Celadons" produced during the Northern Song dynasty, especially in the Henan province. The other two containers, on the other hand, could be attributable to the production of Longquan, also from the Song era in Southern China.
Lot 21
Chinese Art A sang de boef pottery vase China, Qing dynasty, 19th century . . Cm 12,50 x 20,00. Bottle vase with globular body and tall thin slightly splayed neck, covered with thick dark red monochrome glaze. This type of objects, which spread in China during the 18th century - and successfully reproposed the following century - were also very popular in Europe where they were traded under the name of "sang de boef" due to the particular color of the glaze.
Lot 22
Chinese Art A polylobed porcelain cupChina, Qing dynasty, 18th century. . Cm 21,00 x 10,00. A lobed edges cup painted with underglaze blue on a white background with vegetal motifs and central medallion with Qilin admist waves and clouds. This cup is inspired by Ming blue and white pottery both in the decoration and in the six-character Xuande (1426-1435) mark at the base.The qilin is a mythological creature regarded as the noblest of the living beings that walk the earth, according to the Chinese tradition. It is a sort of chimera equipped with a bizarre horn, and its natural dual nature is considered to be able to make coexist the male and female components within the same body. Similarly to the fate of the unicorn in the Western tradition, the Qilin is believed to live a thousand years and to bring peace and well-being to the lands where it resides. It is the true symbol of the Good.The qilin, together with the dragon and the phoenix, is placed at the top of the hierarchical pyramid of living creatures.
Lot 24
Chinese Art A celadon glazed dish with foliated rim China, Yuan (1279-1378) . . Cm 26,00 x 6,00. Excellent example of the Longquan celadon pottery, characterized by the baroque and elegant decoration typical of this production. The plate has a short brim with a wavy edge and a deep and rounded bowl decorated with floral cartouches that frames the bottom embellished with a large embossed lotus flower, visible in transparency under the pale green glaze. The celadon family, or green-ware according to the Anglo-Saxon term preferred today, includes several artifacts made in the most disparate locations in Central Asia (China, Japan and Korea) and South East Asia (Thailand and Vietnam). The production of celadon began in China with the Northern Songs as early as 1000 AD, but it was only two centuries later, when the grandiose Longquan kilns were inaugurated, that large-scale production started for the trade routes of all the East. For their extraordinary solidity, pleasantness to the touch and beauty, Longquan celadon were highly appreciated both in China and in the Middle East where they were successfully exported. This dish, closely following the traditional Yuan stylistic features, was probably intended as an artifact to be exported to the Middle East along the silk road.
Lot 25
Chinese Art A Dehua plate with blue decorationChina, Transition (1620-1683). . Cm 26,00 x 3,00. Unusual Blanc de Chine saucer with blue underglaze painted decoration. The blanc the Chine production, made in the kilns of the Dehua district in Fujian, was very much appreciated mostly for its characteristic milk-colored monochromatic glaze, whose production began around the 14th century. This dish is of some interest for the addition of the blue decoration which could have been an attempt to imitate the contemporary blue and white production in the Imperial kilns of Jingdezhen. The rise of another kiln distributing the similar artifacts might have been imposed by the need of providing blue and white pottery in a period in which the imperial kilns were seriously neglected.
Lot 26
Chinese Art A blue and white porcelain vaseChina, Qing dynasty, 18th century. . Cm 19,00 x 15,00. Globular porcelain vessel with large mouth and overlapping bands with stylized clouds, meanders, leaves and plant intertwining. Vessels of this type were usually intended as spittoons, an accessory of practical use widespread in China. The excellent quality of this piece indicates that it must be considered an object intended for the upper classes.
Lot 3
Chinese Art A porcelain headrest China, Song dynasty (960-1279) . . Cm 17,00 x 11,50. A milk glazed white porcelain headrest with quadrangular shape resting on four feet. This kind of accessory was introduced in China during the Tang dynasty (618-907) and then spread rapidly, with an infinite variety of models, in the following centuries. Many of these objects, comonly used in the middle and upper middle social classes, were produced in peripheral kilns of Northern China, linked to the so-called Chizhou production developed under the Tang and Song dynasties.
Lot 30
Chinese Art A celadon glazed cup China, Song dynasty (960-1279) . . Cm 20,00 x 8,50. Hemispherical cup with olive green coating. The external wall marked by the traces of the turning process, while the interior is elegantly decorated with a sgraffiato large stylized flower. This artifact is probably attributable to the so-called Yaozhou production, the best known within the great family of Northern Song celadon, made in various locations in Northern China, especially in the Shaanxi province. As in this case, the Yaozhou celadons are easily recognizable by the olive color of the glaze and the scratch decoration visible in transparency under the light layer of the glaze.
Lot 31
Chinese Art A Celadon dish with short brim China, Yuan dynasty (1279-1368) . . Cm 7,00 x 27,50. Plate made of heavy-bodied ceramic covered with an elegant pale green glaze in imitation of jade produced in the Longquan kilns. The plate, characterized by a short, smooth and unadorned rim, has the wall of the bowl decorated with an engraved leaf motif. Objects of this type, known in the West by the generic name of Celadon porcelain, were made of stoneware coated with a layer of translucent green or blue-green enamel, produced with iron oxide in a reducing atmosphere. The Celadon family, also cataloged with the Anglo-Saxon term of green-ware, is wide and includes various artifacts made in the most disparate locations in Central Asia (China, Japan and Korea) and South East Asia (Thailand and Vietnam). Under the Song rulers, around the 12th century, the grandiose Longquan kilns were inaugurated in China and this event gave rise to a large-scale production meant for trade routes throughout the East. For their extraordinary solidity, pleasantness to the touch and beauty, the Longquan celadon were highly appreciated both in China and in the Middle East, where they were successfully exported.
Lot 32
Chinese Art A pottery jar Cambodia, Khmer dynasty (802-1431), 13th century . . Cm 21,00 x 25,00. Ovoid-shaped container covered by a worn brown-greenish monochrome glaze. The elongated body has four suspension loops close to the neck. This type of artifact is attributable to the Cambodian pottery production of the XII-XIII century characterized by the smooth leather-colored cover that leaves part of the ceramic body uncovered.
Lot 33
Chinese Art A blackware ding censer China Song. . Cm 12,00 x 8,00. Small tripod of heavy-bodied porcelain covered by thick, bright black glazing with violet reflections and brown pigmented areas at the zoomorphic handles, the feet and the everted upper edge. The specimen of its shape roots in the ancient Shang period.
Lot 34
Chinese Art A blue and white porcelain cachepot China, Qing dynasty, 19th century . . Cm 27,50 x 20,50. Porcelain cachepot with blue and white painted decoration of foliate branches and lotus flowers. The vase is a classic example of an interior furnishing item inspired by the white/blue production of the Ming era.
Lot 35
Chinese Art A pair of polychrome porcelain lion shaped incense holdersChina, Qing dynasty, 18th century . . Cm 24,00. Pair of altar accessories shaped as a couple of Shi, the classic guardian lion of the Buddhist tradition. Both made of heavy-bodied porcelain, showing a lively polychrome glaze with large areas in pink enamel, this being a pigment that was introduced to China by the Jesuits in the middle of the 18th century. The two lions, crouched on their legs, lean with their backs on two slightly splayed cannulas designed to contain the incense stick.
Lot 36
Chinese Art A blue and white porcelain dish China, Transitional Period (1620-1683). . Cm 30,00 x 7,00. A blue underglaze painted thin porcelain dish. The white cavetto, framed by the brim decorated with birds and sprays desily interweaved, circumscribes the central circle on which five large flowered corollas arranged in quincunxes stand out. Manufacture mark at the base. This type of pottery, inspired to the Yuan and Ming, was mainly intended for export to Europe and to the Middle East. Its main feature is the cursive style of the decoration on a ceramic body not always matching high quality standards, being it subject to cracking and often affected by cooking defects. Nonetheless, the final product always strikes for its expressiveness, personality and high decorative value, which is exactly why these products have been very popular in the West for centuries.
Lot 37
Chinese Art A blue and white porcelain baluster vase China, Qing dynasty, 17th century . . Cm 12,00 x 25,00. Porcelain vase with underglaze blue floral and geometric decoration within cartouches. Vases of this type were produced in large quantities under the reign of the Emperor Kangxi (1661-1722) and destined to be exported in Europe where they were highly appreciated for their sober chromatic contrast.
Lot 38
Chinese Art A craquelé porcelain censerChina, Qing dynasty, 18th century (?). . Cm 19,00 x 6,50. cylindrical vessel with short brim covered with thick white glaze strewd with large brown craquelure. . This piece, intended as a calligrapher accessory or a censer, replicates one of the typical artifacts of the Song era (960-1279) attributable to the Ge ware group, characterized by a dense network of cracks intentionally made as a decorative element.
Lot 4
Chinese Art A zoomorphic Dehua teapot China, Qing dynasty, 18th century . . Cm 19,00 x 10,50. A white porcelain duck-shaped teapot molded with four suspension holes for the now missing handle that must have been made of woven rush. Artifacts of such type, also known by the Western name of "Blanc de Chine", were produced in the kilns of Dehua in the province of Fujian, specialized in the production of white porcelain, mostly intended for the export market.
Lot 41
Chinese Art A blue and white porcelain water dropper China, Ming dynasty, Wanli period (1572-1620). . Cm 10,00 x 8,50. A round shaped water pot with straight shoulder and short cylindrical neck. The exterior painted in underglaze blue with vertical panels containing deers on stylized plant shoots. Crown of ruyi heads on the shoulder.The porcelains produced in the imperial kilns of Jingdezhen in the Ming period were generally of four types: white and blue, decorated with overglaze enamels, monochrome and, rarely, red and white.
Lot 42
Chinese Art A craquelé glazed porcelain bottle China, Song dynasty (960-1279) . . Cm 8,00 x 14,50. Interesting bottle made of heavy porcelain covered by a thick gray-green glaze with darker dots and affected by an extensive craquelure. The particular shape of this bottle-shaped vase, is common to other artifacts attributable to the production of the Hebei province whose peculiar green was most possibly an imitation of the jade.
Lot 43
Chinese Art A tripod Dehua porcelain censer China, Qing dynasty, Kangxi period (1661-1722) . . Cm 13,50 x 8,00. A white glazed heavy-bodied porcelain censer attributable to the vast production of artifacts made in Dehua in Fujian province. The shape of this object is inspired by the ancient bronze “ding” food containers of the Shang period to which the Chinese tradition attributes symbolic values.
Lot 44
Chinese Art A Jun bottle vaseChina, Qing dynasty, 19th century . . Cm 25,50. Large heavy-bodied porcelain vase with high splayed neck covered by a brilliant blued glaze with large carmine colored central splash. This type of glaze was developed in China during the Song dynasty and it is known as Jun porcelain. This bottle strikes for its perfect chromatic balance and it is attributable to the Song pottery revival fashion which had a big success in Jingdezhen during the 19th century.
Lot 45
Chinese Art A famille rose brush washer painted with landscape China, Qing dynasty, Guangxu mark and period (1874-1908) . . Cm 10,50 x 10,00. A white porcelain globular vase decorated with landscape, blossoming trees and shrubs. This type of decoration, based on the elegant chromatic combination of the Falangcai palette on the white background of the porcelain, was introduced in China at the beginning of the 18th century, then reaching its apex during the reigns of Yongzheng and Qianlong. This vase is a classic example of late production with a six-character imperial mark in underglaze blue.
Lot 46
Chinese Art A squared faceted blue and white porcelain bottle China, late Ming dynasty, late 16th century . . Cm 10,00 x 24,50 x 9,00. Beautiful square section bottle with flared neck. The exterior is delicately painted, on each side, with blue underglaze flowers on a white background; the shoulder is decorated with ruyi heads and rhombuses in reserve on a blue fretwork background with geometric motifs grouped in auspicious swastikas.The peculiar shape of this bottle derives from European glass prototypes used for the storage of alcoholic products on ships. As a matter of fact, the faceted shape was an expedient that allowed bottles to be stored side by side with little waste, thus allowing the transport of much more goods comparing to the classic cylindrical shape.
Lot 47
Chinese Art A celadon bullet shaped jar China, Yuan dynasty (1279-1378) . . Cm 20,00 x 20,00. A pottery biconical container characterized by a short neck with everted edge, covered with blue-green glaze that leaves part of the foot uncovered. The exterior is marked by signs of the lathe, as a decorative motif.
Lot 5
Chinese Art A Dehua porcelain bowl China, Qing dynasty, 17th century. . Cm 15,00 x 5,00. A white porcelain flaring cup with jagged edge. It has an unglazed bottom that leaves the white ceramic body uncovered and hidden anhua decoration engraved on the inner walls.This type of pottery, known in the West by the French term of “Blanc de Chine”, was made in Dehua in the Fujian province as early as the Ming era. The characteristic white color, often associated with molded ceramic bodies, is the key note of this production, highly appreciated also in the West, where many of these artifacts were addressed.
Lot 50
Chinese Art A monochrome Kendi China, possibly Song dynasty (960-1279), 13th century . . Cm 18,00 x 21,00. A pumpkin-shaped pourer characterized by a high splayed neck and a rounded body covered with an ivory white glaze with dark flecks. This type of vase, introduced in China in the Song era, was very popular and widely exported to the Middle East where it was employed as a water pipe.
Lot 53
Chinese Art A Longquan celadon glazed ding tripod censer China, Yuan/Ming dynasty. . Cm 18,00 x 34,00. Tripod censer with typical ding archaic shape, originally used as a food vessel, in heavy pottery engraved with rhomboid lattice and covered with thick olive colour celadon glaze. The Celadon family, also cataloged with the Anglo-Saxon term of green-ware, is wide and includes various artifacts made in the most disparate locations in Central Asia (China, Japan and Korea) and South East Asia (Thailand and Vietnam). Under the Song rulers, around the 12th century, the grandiose Longquan kilns were inaugurated in China and this event gave rise to a large-scale production meant for trade routes throughout the East. For their extraordinary solidity, pleasantness to the touch and beauty, the Longquan celadon were highly appreciated both in China and in the Middle East, where they were successfully exported.
Lot 55
Chinese Art An Yixing teapot with marbled decorationChina, 20th century . . Cm 15,00 x 10,00. Teapot with hexagonal section decorated with marbled effect. Unusual model due to the presence of two different colors of the clay, creating a pleasant marbled effect. Mark at the bottom.The famous Yixing teapots count an infinite and kaleidoscopic variety of models, using the prestigious clay extracted in the homonymous city, along the shores of Lake Tai. Yixing clay, renowned since ancient times, for its fineness and variety of color, is eligible to be left unglazed, in order to reveal the intrinsic beauty of the material used.
Lot 58
Chinese Art A blue and white porcelain bowl with floral decoration China, Qing dynasty, 17th century . . Cm 7,50 x 19,00. Short-brimmed cup with gilded edge, made of white porcelain with underglaze blue floral motifs. This typically Chinese shape, gave rise to a vast production largely destined for export. The type of decoration, rarefied and elegant, is influenced by the Japanese aesthetic of the same period and it is possible that this object was properly conceived for that market.
Lot 60
Chinese Art A blue and white porcelain charger China, Qing dyansty, Kangxi mark and period (1661-1722). . Cm 38,00 x 5,00. .An important blue and white porcelain export charger painted with flowered reserves. This splendid serving dish draws inspiration from the late Ming and Transition models meant to be exported to Europe through the trade of the East India Company. This particular type of pottery was known in the West by the Dutch term of “kraakporselein” after the name of the fast ships imployed by the VOC for intercontinental trades (Kraak). Characterized by dense interweaving decoration within lobed radial reserves, the kraak porcelain was very much appreciated for sumptuous European furnishings of the Baroque era. This charger stands out for the excellent quality of the ceramic body and the decoration made in a luminous shade of blue, typical of the production of the Kangxi period to which this piece is attributable as indicated by the mark at the bottom.
Lot 61
Chinese Art A celadon charger with lobed edge China, Yuan dynasty (1279-1378) . . Cm 34,00 x 7,50. A Longquan celadon charger characterized by a sober moulded wavy decoratation. The celadon family, or green-ware according to the Anglo-Saxon term preferred today, includes several artifacts made in the most disparate locations in Central Asia (China, Japan and Korea) and South East Asia (Thailand and Vietnam). This production began in China with the Northern Songs as early as 1000 AD, but it was only two centuries later, when the grandiose Longquan kilns were inaugurated, that large-scale production started for the trade routes throughout the Orient.
Lot 64
Chinese Art A porcelain lion shaped sculptureChina, Qing dynasty, Kangxi period (1661-1722). . Cm 16,50 x 24,00. polychrome porcelain sculpture depicting a crouching feline, possibly a lion. The beautiful “aubergine” glaze, skillfully distributed to imitate the thick fur of the beast, frames its hairless and lumpy head, which looks up with a friendly and vaguely human expression. The subject depicted, perhaps a “free” reinterpretation of the classic Buddhist lion Shi, is part of a large production of similar artifacts, made in China under the reign of Kangxi (1661-1722) and often destined for export to Europe.
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