A BURLWOOD CARVING OF LIU HAI, LATE MING TO EARLY QING China, 17th-18th century. Carved in a standing position, using the natural shape of the gnarled wood to depict the robe. Supporting a mythical three-legged toad on his right shoulder. Condition: Fine golden-brown patina. Some wear, minor losses, intrinsic age cracks. Scattered tiny wormholes. A superb naturally grown patina with a soft, unctuous finish. Provenance: The Oriental Art Collector. Quek Kiok Lee (1921-2018), acquired from the above on 15 December 1980. Singaporean businessman, banker and investor Quek Kiok Lee was the founder of the Southeast Asian Ceramic Society (SEACS) and Acquisitions Advisor on Chinese Antiquities for the National University of Singapore. Weight: 1,149 g Dimensions: Height 23.7 cm The story of Liu Hai is frequently told as “Liu Hai playing with the Golden Toad”. However, there is a hidden meaning here: The Chinese word for “toad” is chanchu. Sometimes, Chinese will only pronounce the first character chan. In some Chinese dialects, the character chan has a pronunciation very similar to qian which means “coin”. Therefore, a storyteller reciting “Liu Hai playing with the Golden Toad” could also be heard by listeners as “Liu Hai playing with the gold coins”. Later fitted stand. (2) Auction result comparison: Compare with a related burlwood carving of a luohan sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 27 September 2019, lot 101, for €2,000. 癭木雕劉海金蟾擺件，明末清初 中國，十七至十八世紀。立像，利用癭木自然紋理雕刻衣袍，一隻三足蟾蜍立於他的右肩処。 品相：金棕色包漿，一些磨損，輕微缺損，内在年代裂紋。散佈著微小的蟲洞，極好的自然包漿濃厚潤澤。 來源：東方藝術收藏家。郭克禮 (1921-2018)先生于1980年12月15日購於上述收藏。郭克禮先生是新加坡商人，銀行家和投資家。他曾是東南亞陶瓷協會創立人，並擔任新加坡國立大學中國古玩收藏顧問。 重量：1,149 克 尺寸：高23.7 厘米 拍賣結果比較：一件相似癭木雕劉海于2019年9月27日售于本藝廊，拍號101，成交價€2,000。
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A SHAGREEN AND WOOD SADDLE WITH SILVER-INLAID IRON FITTINGS, QING Sino-Tibetan, late 18th to early 19th century. Constructed from hardwood tied together with leather strips and covered with shagreen from ray skin. The stuffed cotton and brocade saddle cover is made from 18th century silk fragments showing a design of flying cranes. Published: Dr. Koos de Jong, Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond, Amsterdam/Hong Kong 2013, ill. 6.03, p. 74, and illustrated on the cover of this book! Condition: Overall in good condition. The wood with age cracks, chips and small losses on the underside. Some losses to the shagreen, particularly on the ledgers. Some loss to the silver, the iron applications with small dents, dings and small areas of copper red patina. The textile with wear, small tears, and creases, possibly a later addition made from period textiles. Provenance: Ashoka Arts, Brighton, England. Collection of Dr. Koos de Jong, acquired from the above in 2011 (no invoice available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era and published an extensive study of saddle rugs in Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was director of the European Ceramic Work Center in Den Bosch. Weight: 3.5 kg Dimensions: Length 45.5 cm With an associated metal stand. (2) 鮫魚皮錯銀鐵木質馬鞍，清代 漢藏，十八世紀末至十九世紀初。硬木和皮革條綁在一起製成，覆蓋著鮫魚皮。填充著棉花錦緞馬鞍蓋由18世紀絲綢碎片製成，可見飛鶴紋樣。 品相：總體狀況良好。 木料因爲時間流逝出現開裂和碎裂，底部小缺損。 鮫魚皮有些缺損。 錯銀鐵初有小凹痕和小面積的銅紅色包漿。錦緞部分帶有磨損，小水漬和摺痕，可能是後期紡織品製成的。 來源：英國佈瑞登Ashoka Arts藝廊。Dr. Koos de Jong收藏，2011年購於上述藝廊(原始發票遺失)。Drs. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。 出版：Dr. Koos de Jong著書《Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond》, 阿姆斯特丹 - 香港，2013年，圖6.03，頁74，同時也展示在本書的封面！ 重量：3.5 公斤 尺寸：長45.5 厘米
A LACQUERED WOOD SADDLE, QING DYNASTY South China, Yunnan Province, 19th century. The wood lacquered black, crimson red and ochre yellow with stylized floral ornaments, various emblems, as well as dotted and linear designs, tied to a leather base. This saddle is from the Yi ethnic minority in Yunnan Province. Condition: The wood with extensive wear, age cracks, chips and small losses. Some losses and wear to the lacquer with weathering in some areas. Some losses and minor cracks to the mother-of-pearl. The leather with extensive wear, creasing, and stains. Provenance: Michel Paciello, Venice. Collection of Dr. Koos de Jong, acquired from the above in 2013. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era and published an extensive study of saddle rugs in Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was director of the European Ceramic Work Center in Den Bosch. Weight: 1.8 kg Dimensions: Length 41 cm The Yi or Nuosuo people (historically known as Lolo) are an ethnic group in China, Vietnam, and Thailand. Numbering nine million people, they are the seventh largest of the 55 ethnic minority groups officially recognized by the People’s Republic of China. They live primarily in rural areas of Sichuan, Yunnan, Guizhou, and Guangxi, usually in mountainous regions. With an associated metal stand. (2) 彩繪漆木馬鞍，清代 雲南，十九世紀。木胎黑漆底上用深红色和黄色彩繪花卉紋飾装饰品，配件均绑在皮革底座上。 這只馬鞍來自云南省的彝族。 品相：木胎廣泛磨損，老化裂紋，碎片和小缺損。在某些區域由於風化，漆面有所損失和磨損。螺鈿有一些損失和輕微裂縫。皮革大量磨損，有壓痕和污漬。 來源：威尼斯Michel Paciello藝廊。Drs. Koos de Jong收藏，2013年購於上述藝廊（發票已遺失）。Drs. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。 重量：1.8 公斤 尺寸：長41 厘米
A WOOD SADDLE WITH GILT IRON FITTINGS AND SILK BROCADE COVER, 17TH-18TH CENTURY Sino-Tibetan, late Ming to early Qing dynasty. Constructed from wood tied together with strips of leather, the pommel and cantle plates made of chiseled iron highlighted in gilt to form the design of dragons chasing the flaming pearl against a pierced scrolled ground on a layer of crimson red cloth. Published: Dr. Koos de Jong, Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond, Amsterdam - Hong Kong 2013, illustrated on the back cover. Condition: Overall in good, original condition. The wood with age cracks and some small chips as well as a fine dark patina. Some loss to the gilt, the iron applications with small dents, dings and small areas of malachite green and copper red patina. The silk with faded colors, stains, small tears, and creases. Provenance: Theresa Coleman, Tibetan Gallery, Hong Kong. Collection of Dr. Koos de Jong, acquired from the above in 2013 (no invoice available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch. Weight: 5.0 kg Dimensions: Length 60 cm The saddle cover, which like the saddle itself represents dragons chasing the flaming pearl, is made of brocaded silk fragments, the originally red (now faded into peach) silk dates to the Kangxi period (1661-1722) and is secured with pierced circular gilt-iron fittings in the form of flowers. With an associated metal stand. (2) Literature comparison: The technique used to decorate the pommel and cantle plates on this saddle are similar to a saddle in the Metropolitan Museum of Art, dated to the 17th or 18th century, accession number 1997.214.1. Auction result comparison: Compare with a similar but considerably larger saddle without a cover, dated to the 18th or 19th century, sold by Sotheby’s New York in Important Chinese Works of Art on 17-18 March 2015, lot 364, for USD $60,000 incl. buyer’s premium. 鐵鎏金鏤空木胎馬鞍，十七至十八世紀 漢藏，明末清初。馬鞍木胎以皮帶綁緊。前後鞍橋用錾铁鎏金镂空制成雙龍戲珠紋飾，鞍板上覆蓋刺綉鞍布。 品相：總體而言處於良好的原始狀態。木胎有年代裂縫和一些小碎屑以及細膩的深色包漿。鍍金有些損失，鐵的部分有小凹痕和局部有孔雀石綠和銅紅色包漿。織物有褪色、污漬、小水痕和摺痕。 來源：香港Theresa Coleman西藏文物藝廊。Drs. Koos de Jong收藏，2013年購于上述藝廊（發票已遺失）。Drs. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。 2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。 出版：Dr. Koos de Jong著書《Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond》, 阿姆斯特丹 - 香港，2013年，書背圖。 重量：5.0 公斤 尺寸：長60 厘米 文獻比較：相似技術和紋飾的馬鞍可見Metropolitan Museum of Art，時間爲十七或十八世紀，編號 1997.214.1. 拍賣結果比較：一件相似但大些卻沒有鞍佈的十八至十九世紀馬鞍2015年3月17-18日于紐約蘇富比《重要中國工藝品》拍號364，成交價USD $60,000含買家佣金。
A YIXING TEAPOT INSIDE A LARGE SILVER BOWL, C.1900 The Yixing ceramic teapot: China, c. 1900. The silver bowl: Tibet, c. 1900. The Yixing-ceramic teapot with a metal handled and a finely mottled glaze. Marked underneath. The teapot is placed inside a silver bowl with a removable brocade felting to keep it warm. The exterior of the silver bowl is decorated with zodiac animals. Condition: Good condition. The bowl with some expected surface wear. Some wear and tear to the brocade felting. Provenance: Austrian private collection. Weight: Total 1268 g Dimensions: Height bowl 12 cm, Diameter bowl 32.5 cm
*** Niall to elaborate *** WITHDRAWN ROYAL CROWN DERBY; five paperweights to include 'The Crown Inn', no.131/500, 'Linnet', etc (5).Additional InformationThree examples complete with certificate, each fitted in original card box. The box for the Ram is in poor condition. The Duckling with a silver base button, the remaining for with gold base buttons or ceramic stoppers.
ROYAL CROWN DERBY; four paperweights to include 'Old Imari Frog', 'Rockhopper Penguin' and 'Georgian Townhouse', etc (4).Additional InformationThe penguin and frog are complete with original certificates, each fitted in original box. The Imari Frog with silver base button, Townhouse with ceramic button and the remaining two with gold base buttons. Each in good condition with minimal wear.
ROYAL CROWN DERBY; six paperweights to include 'Govier's China Shop', 'Chaffinch Nesting', 'Debenham's Squirrel', etc (6).Additional InformationThe Chaffinch with silver base button, all the other examples with ceramic or gold buttons. In good condition, complete with original boxes, two complete with certificates.
An early 20th century Chinese cloisonné and ceramic ginger jar and cover decorated with floral sprays in panels, with retailer's sticker to the underside, Jackson & Graham Oriental Department, 30, 31, 32 Oxford Street, height 15cm.Additional InformationVery minimal wear, light scratches, very minimal nibble to the top rim.
JOHN COLLARD VICKERY; a large George V hallmarked silver mounted photograph frame, London 1913, aperture 26.6 x 21.6cm (back af), and seven further silver mounted photograph frames, including a shaped Art Nouveau example by Joseph and Richard Griffiths with relief floral decoration, Chester (date marked rubbed), and a landscape Carrs example with easel back, the majority for restoration, and a further group of silver plated brass, ceramic and micro mosaic photograph frames (numerous af) and ten further silver mounted photograph frames.Additional InformationNumerous frames af, back of the first mentioned larger example detatched, some with chips, losses, or broken glass, some with heavy dents, some splits to silver particularly the relief decorated examples, further scratches, nicks, tarnish etc, similar mixed condition to the remaining frames, will need attention and restoration.
A RARE AND EARLY MARINE IVORY NETSUKE OF A BIZEN MODEL OF HOTEI Unsigned Japan, 17th century, Edo period (1615-1868) Faithfully modelled after a Bizen-ceramic figure of Hotei. The pot-bellied lucky god holds an uchiwa fan in one hand and the cord of his sack in the other. The marine ivory is worn and shows a stunning patina in playful combination with the natural inclusions of the material, creating a unique surface. The underside is hollow, as is usual for ceramic figures, and functions as the natural himotoshi, the other being in the backside. HEIGHT 4.4 cm Condition: The surface is worn with some discoloration to the crevices. A small chip to the underside. Generally, in good condition with a stunning patina. Provenance: Old Zagreb private collection.
NAGAMICHI SHUZAN: A POLYCHROME WOOD NETSUKE OF A BIZEN WARE CERAMIC MODEL OF HOTEI By Nagamichi Shuzan, signed Shuzan Japan, Meiji period (1868-1912) Finely carved and painted in imitation of a bizen ceramic model depicting Hotei, wearing an elaborately decorated long flowing robe opening at the chest, revealing his protruding belly, and holding a fan in one hand and his treasure sack in the other, a joyous expression on his face. One single himotoshi to the back. Signed SHUZAN to the sack on the reverse. HEIGHT 4.3 cm Condition: Good condition with minor surface wear, some wear to the paint. Provenance: Ex-collection Jury Kolodotschko.
KINKOZAN: A SATSUMA CERAMIC DISH WITH SCROLL PAINTINGS OF POETS By Kinkozan, signed Kinkozan with impressed seal Japan, Kyoto, Meiji period (1868-1912) Of circular form with a low ring foot and decorated in polychrome enamels and gilt with three ‘hanging scroll’ reserves depicting female poets, the left panel showing the poet with two children in a winter landscape, the central panel showing her next to a blossoming cherry tree, and the right panel showing the poet at a scholar’s desk with an open book in front of her and a folding screen in the background, looking out towards the rocky landscape. Below the scroll painting is a low table with a basket of chrysanthemums and Buddha’s hand citrus on leafy twigs. All on a midnight blue ground, elaborately and densely decorated in gilt with phoenixes, clouds, nashiji, and circular designs, the interior rimdecorated in gilt with scrolling vines and stylized chrysanthemums, the whole exterior with scattered gilt flowers, the recessed base glazed white. Signed KINKOZAN with an impressed seal to the base. DIAMETER 31.5 cm Condition: Good condition with traces of wear, some minor wear to the glaze, and firing irregularities. Provenance: British collection. Auction comparison: For a considerably smaller Kinkozan dish with ‘hanging scroll’ reserves by Sozan for the Kinkozan workshop, see Bonhams, Fine Japanese and Korean Art, 15 March 2017, New York, lot 6271 (sold for 31,250 USD).
A William IV mahogany framed sofa, circa 1830Having a slightly dished and scroll-carved cresting, and scroll-over leafy and reeded-carved ends, reeded front seat rail, on ring-turned and reeded tapering legs with white ceramic castors, upholstered in Colefax & Fowler cut-velvet stripped fabric, 209cm wide x 64cm deep x 84cm high, (82in wide x 25in deep x 33in high)For further information on this lot please visit Bonhams.com
A William & Mary pine and paint-decorated table, circa 1690 and laterPossibly originally painted and the paint subsequently re-applied, the ovolo-moulded top with faux-marble finish, above a frieze drawer designed with a floral band and a single butterfly, on bold S-scroll shaped legs, joined all round by concave platform stretchers and centred by a circular vase-stand, on bun feet, a modern ceramic coaster glued to the centre of the top, 94.5cm wide x 66.5cm deep x 80cm high, (37in wide x 26in deep x 31in high)For further information on this lot please visit Bonhams.com
λ BOUKE DE VRIES (DUTCH B. 1960) DEAD NATURE 19, 201918th century porcelain basket, dried fruit and leaves, and butterflies, in a Perspex, gilt metal and marble case17.5cm high, 30cm wide, 30cm deep Catalogue Note: Born in Utrecht, The Netherlands, Bouke de Vries studied at the Design Academy, Eindhoven, and at Central St Martin's, London. After working with John Galliano, Stephen Jones and Zandra Rhodes he switched careers and studied ceramics conservation and restoration at West Dean College. Every day in his practice as a private conservator he was faced with issues and contradictions around perfection and worth: 'The Venus de Milo' is venerated despite losing her arms, but when a Meissen muse loses a finger, she is rendered virtually worthless.' Using his skills as a restorer his 'exploded' artworks reclaim broken pots after their accidental trauma. He has called it 'the beauty of destruction'. Instead of reconstructing them, he deconstructs them. Instead of hiding the evidence of this most dramatic episode in the life of a ceramic object, he emphasises their new status, instilling new virtues, new values, and moving their stories forward.Condition Report: A few pieces have become loose otherwise as the artist intended Condition Report Disclaimer
A PAIR OF PAINTED PLASTER MODELS OF SPHINGES TO DESIGNS BY ROBERT ADAM20TH CENTURYThe creatures portrayed recumbent and wearing diadems, on integral rectangular plinths76cm high, 102cm long Catalogue Note: These sphinxes are related to the examples adorning the bridge at Compton Verney and at Osterley Park, which are often associated with the Neoclassical architect Robert Adam. The model was highly popular and widely produced and adapted during the 18th century, including in artificial stone by Coade (examples of which are at Croome court), and in ceramic by Josiah Wedgwood. While its links to Adam are undeniable, the origins of this model may in fact lie with lead sculptor John Cheere, with whom Adam often collaborated. Cheere is known to have supplied a cast of the model to Lord Burlington for his gardens at Chiswick in 1749.Condition Report: Each bears the usual minor marks, knocks and scuffs overall consistent with age.The originals likely had chips and losses so this is reflected in the plasters (including to one of the noses, flanks and one of the tiaras). Some surface dimpling due to casting. Overall in perfectly presentable condition. Condition Report Disclaimer
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