Hu-förmige 'Hundred Deer'-Vase aus Porzellan von Huang Yunpeng CHINA, geb. 1942, am Boden signiert H. 48 cm Provenienz: Aus einer europäischen Privatsammlung, vor 2007 erworben - Gut erhalten A FINE HUNDRED DEER HU-SHAPED VASE BY HUANG YUNPENG, China, b. 1942, signed for appreciation by: Huang Yunpeng. He is a Master of Chinese ancient ceramic arts and crafts, national civil engineering researcher, ancient porcelain appraiser. Many important porcelain imitations such in the Palace Museum and the Shanghai Museum have been successfully completed by his hand. In 1997, a master's work was auctioned as a real thing in Japan, and it was a sensation. Later, it was collected by the former Prime Minister of Japan at a high price. Xu Taosheng: Member of China Cultural Relics Society, director of China Cultural Relics Restoration Committee, member of China Ancient Ceramics Research Association. He is currently the deputy director of the Jingdezhen Ceramics Museum. He has carefully studied the ceramic raw materials, shapes, crafts and decorations of Jingdezhen for many years. He is a prestigious ceramic expert in the collection industry. Ye Peilan: Executive director of the Chinese Cultural Relics Society, researcher of the Palace Museum, former ceramics team leader, worked in the Palace Museum from 1956. She recognised countless rare porcelains in the past 40 years and is a famous expert in ceramic identification in the collection industry - Provenance: European private collection, acquired prior to 2007 - Good condition
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Sieben Bücher über chinesisches Kunsthandwerk, u. a. 'Chinese Textile Designs' 7 Bd. SEVEN BOOKS ON CHINESE WORKS OF ART, e.g. Gao Hanyu: 'Chinese Textile Designs', 'Chinese Ceramic Tea Vessels', Annette L. Juliano: 'Bronze, Clay and Stone', Dexel: 'Die Formen chinesischer Keramik', 'Heavens' Embroidered Cloths - One Thousand Years of Chinese Textiles', Jörg & can Campen: 'Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam'
Feiner und seltener Mörser aus Elfenbein mit Drachen-Phönix-Dekor und Hasen CHINA, vermutlich Macao, 17.Jh. H. 11,7 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Vgl. Sir Victor Sassoon Chinese Ivories Trust Collection, T43, publ.'Chinese Ivories From The Shang To The Tang', Oriental Ceramic Society, 1984, S. 161, ill. 202 - Kurze Altersrisse A RARE CARVED IVORY MORTAR, the waisted vessel is carved to the exterior of its upper section with two writhing dragons on a ground of fire and cloud scrolls, a raised central band encircles the waist. The lower section is embellished with two phoenix and rabbits on a foliate ground - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - A comparable carved ivory mortar in the Sir Victor Sassoon Chinese Ivories Trust Collection, T43, is illustrated in Chinese Ivories From The Shang To The Tang, Oriental Ceramic Society, 1984, p. 161, ill.202 - A comparable mortar with pestle sold at Christie's London, 14 June 2001, lot 10 - Few short age cracks
A RARE JAPANESE KO-KUTANI BOWL EDO PERIOD, C.1660 Decorated in purple, yellow, green and blue enamels and overglaze iron-red with four large butterflies fluttering across the well, with smaller red insects flying around them, the underside painted with three further butterflies and red insects, with circular rings encircling a fuku mark to the centre of the base, 15cm dia. Cf. The Complete Catalogue of the Shibata Collection, The Kyushu Ceramic Museum, p.69 no.0490 for a ko-kutani dish decorated with a central butterfly in an ochre ring. Butterflies are rare as a central motif on ko-Kutani dishes. The design originated in the Heian period (794-1185) and was the symbol of the Taira clan.
A RARE JAPANESE KAKIEMON MODEL OF A 'FLAMING TORTOISE', MINOGAME EDO PERIOD, C.1660-80 The mythical creature decorated in turquoise, cerulean, iron-red, yellow and black, its carapace with a moulded honeycomb pattern and a trailing veil of seaweeds underneath the rim, with five-toed feet and baring its fangs, 18.5cm. Cf. G Lang, The Wrestling Boys, An exhibition of Chinese and Japanese ceramics from the 16th to the 18th century in the collection at Burghley House, p.36 no.93 for a related model of a minogame and Immortal. Also,J Ayers, & O Impey, Porcelain for Palaces: The Fashion for Japan in Europe 1650-1750, p.177, no.158 for a discussion on the example at Burghley House. See Christie's London, 11th May 2011, lot 104 for another related model, formerly in the collection of The Earls of Lauderdale. Also, Christie's London, Courtly Display: the Somlyo Collection of Japanese ceramics, London exhibition 12th-19th December 2015, pp.22-23 no.1, for a discussion on the same piece. Only four other similar models are known: the collection at Burghley House, Lincolnshire, includes one; another can be found in the Kassel Collection in Germany; a third is in a private collection in Japan, and the fourth was formerly owned by The Earls of Lauderdale. The Gardiner Museum in Toronto, Canada, has another example of an early Kakiemon turtle with a slightly different design; the colour scheme is different, and the beast has a shorter neck. A mould used for the hexagonal carapace was excavated in Arita and is now at the Arita Ceramic Museum. The archives of the VOC (Vereenigde Oostindische Compagnie) Dutch East India Company mention "295 small statuettes on tortoises" imported in 1665 on board the Nieuwenhoven. Minogame are a symbol of immortality and the long weeds trailing under their carapaces also convey this idea of longevity. They were misinterpretated as flames when they first arrived in the West however, hence the name 'flaming tortoise'. The immortal turtle became a popular design used on European Kakiemon-style pieces in the 18th century.
Drei römische Keramikgefäße, 1. - 3. Jhdt. Hoher konischer Zweihenkeltopf. Bis auf das untere Drittel mit schwarzer Engobe. Stark versintert. Zwei Haarrisse am Rand. Intakt. Höhe 17 cm. Einhenkelkanne mit breiter Öffnung aus bräunlicher Gebrauchskeramik. Intakt. Höhe 13 cm. Dazu eine fast kugelige Sigillata-Kanne mit Kleeblattmündung. Mit Sinterresten. Intakt. Höhe 11,5 cm. Provenienz: Aus dem Nachlass eines niederrheinischen Sammlers, von diesem erworben in den 1960er und 1970er Jahren. Zustand: II - III Three Roman ceramic vessels, 1st - 3rd century High conical pot with two handles. Except for the lower third with black engobe. Heavily sintered. Two hairline cracks at the rim. Intact. Height 17 cm. Brownish jug with wide opening. Intact. Height 13 cm. Plus an almost spherical Sigillata jug. With remains of sinter. Intact. Height 11.5 cm. Provenance: From a collection in the Lower Rhineland, acquired in the 1960s and 1970s. Condition: II - III
Ein Paar Fayance-Löwen als Kerzenleuchter, wohl Frankreich, 19. Jhdt. Polychrom glasierte Keramik, teils durchbrochen gearbeitet. Als Gegenstücke gearbeitet. Naturalistisch gearbeitete Löwen in aufrecht sitzender Haltung, in den Vorderpfoten eine Tülle haltend. Minimal bestoßen. Höhe 17 cm. Zustand: I - II A pair of probably French Fayance lions as a candle holder, 19th century Polychromely painted ceramic. Minor chippings. Height 17 cm. Condition: I - II
Sieben Keramikgefäße, römisch, 1. - 3. Jhdt. Vier Unguentarien unterschiedlicher Form und Größe. Das kleinste am Rand und am Fuß leicht bestoßen. Sonst intakt. Höhe 12 cm - 24 cm. Eine hellgrundige bauchige Flasche mit Faltendekor. Wohl römisches Köln. Intakt. Höhe 16,5 cm. Ein hellgrundiger Krug. Seitlich bestoßen, sonst intakt. Höhe 16 cm. Dazu ein schmales, hohes Vorratsgefäß mit Deckel. Intakt. Höhe mit Deckel 17 cm. Provenienz: Aus dem Nachlass eines niederrheinischen Sammlers, von diesem erworben in den 1960er Jahren. Zustand: II - Seven Roman ceramic vessels, 1st - 3rd century Four Unguentaria of different shapes and sizes. The smallest one slightly bumped at the rim and foot. Otherwise intact. Height 12 cm - 24 cm. A bulbous bottle, probably from workshops of Roman Cologne. Intact. Height 16.5 cm. A light-ground jug. Laterally bumped, otherwise intact. Height 16 cm. Plus a narrow, tall storage jar with lid. Intact. Height with lid 17 cm. Provenance: From a collection in the Lower Rhineland, acquired in the 1960s. Condition: II -
Drei Keramikgefäße, apulisch und römisch Großer apulischer Skyphos mit Schwarzfirnis-Überzug. Der Rand leicht berieben. Haarriss am Rand. Intakt. Höhe 13 cm. Hellgrundige Zweihenkelschale, am Rand fachmännisch geklebt. Sonst intakt. Höhe 6,5 cm. Und ein großer fußloser Becher mit Rillendekor. Intakt. Höhe 9 cm. Provenienz: Aus dem Nachlass eines niederrheinischen Sammlers, von diesem erworben in den 1960er und 1970er Jahren. Zustand: II - Three Greek and Roman ceramic vessels Large black-glazed Apulian skyphos. The edge slightly rubbed. Hairline crack at the edge. Intact. Height 13 cm. Two-handled bowl, expertly glued at the rim. Otherwise intact. Height 6.5 cm. And a large footless cup with grooved decoration. Intact. Height 9 cm. Provenance: From a private collection in the Lower Rhineland, acquired in the 1960s and 1970s. Condition: II -
Drei Keramikgefäße, China, um 1900 Kleines, grünlich glasiertes Longquan-Celadon-Dreifuß-Gefäß. Intakt. Durchmesser 13 cm. Höhe 8,4 cm. Weiß-gräulicher Weihrauchbrenner auf Dreifuß, Ge-Typus. Durchmesser 12 cm. Höhe 10 cm. Dazu eine kleine Famille verte-Vase. Darauf ein angelnder Lehrmeister in idealer Landschaft. Durchmesser 10 cm. Höhe 8 cm. Alle Gefäße intakt. Schönes Ensemble. Provenienz: Aus süddeutscher Sammlung. Zustand: II + Three Chinese ceramic vessels, circa 1900 A small greenish Longquan celadon tripod cache-pot. Diameter 13 cm. Height 8.4 cm. Plus a small white Ge-type tripod censer. Diameter 12 cm. Height 10 cm. A small famille verte vase with painted scene with a scholar in landscape. Diameter 10 cm. Height 8 cm. All intact. Beautiful ensemble! Provenance: South German private collection. Condition: II +
Großer "Westerwälder"-Krug mit Zinnmontierung, um 1900 Zylindricher Keramikkorpus mit seitlichem Henkel sowie der Darstellung von sechs Musen mit ihren jeweiligen Attribute im fein modellierten Halbrelief. Standring mit profilierter Zinnmontierung sowie abschließender Deckel ebenfalls in Zinn montiert. Inwandig glasiert. Leichte Alters- und Gebrauchsspuren. Minimal bestoßen. Teilrestauriert. Kleinerer Brandriss im Boden. Höhe 32 cm. Zustand: II - A tin mounted "Westerwald" jug, circa 1900 Ceramic with fine relief depicting six muses with their attributes. Traces due to age and using. Minor chippings. Partly restored. Smaller fire crack to the bottom. Height 32 cm. Condition: II -
Figural verzierte Keramikfliese, Kadschar, Persien, 19. Jhdt. Jagd mit Greifvogel und Pferd. Darstellung eines Reiters in grünem Gewand und manganfarbener Hose, von dessen Arm sich gerade ein Adler erhebt. Die Konturen in Schwarz, der Hintergrund blau. Glasierte Fliese. Quer gebrochen und geklebt. Mit leicht bestoßener Oberfläche rechts unten. Maße 22 x 16 cm. Provenienz: Deutsche Privatsammlung, übernommen aus dem Besitz der Eltern, die die Objekte in den späten 1960er und 1970er Jahren im Kunsthandel erwarben. Zustand: III + A Persian figural decorated ceramic tile, Kajar period, 19th century Jagd mit Greifvogel und Pferd. Darstellung eines Reiters in grünem Gewand und manganfarbener Hose, von dessen Arm sich gerade ein Adler erhebt. Die Konturen in Schwarz, der Hintergrund blau. Glasierte Fliese. Quer gebrochen und geklebt. Mit leicht bestoßener Oberfläche rechts unten. Maße 22 x 16 cm. Provenance: Deutsche Privatsammlung, übernommen aus dem Besitz der Eltern, die die Objekte in den späten 1960er und 1970er Jahren im Kunsthandel erwarben. Condition: III +
A RARE AND MASSIVE CHINESE GE-TYPE MOONFLASK, BAOYUEPING YONGZHENG 1723-35 The flattened body moulded to each side with a large circular central boss surrounded by nine ruyi-heads, decorated all over with a pale greenish-grey glaze suffused with dark crackles, the short cylindrical neck flanked by two applied scroll handles, all raised on a short gently flared foot, 50cm. Provenance: from the estate of Dikran Ouzounian (d.8th November 2011) and Seta Ouzounian (deceased), 79 Cadogan Square, London, and thence by descent. The glaze on this imposing moonflask is an active tribute to earlier Chinese Ge wares, which were notable for their deliberate irregular crackle. Whilst the exact location of the site remains unknown, the Ge kiln is regarded as one of the Five Great Kilns (Wu Da Ming Yao) of the Song dynasty, along with Ru, Jun, Guan and Ding wares. It is, however, interesting to note that no examples of Ge pieces have been discovered in Song dynasty tombs, and so their dating is still contentious amongst modern scholars. It is in fact possible that Ge pieces were not produced until the Yuan dynasty, perhaps as a copy of Song Imperial Guan wares. Imitations of Ge glazes applied to porcelain bodies first appeared during the Ming dynasty, and Imperial pieces of this type were produced during the reigns of the Xuande (r.1426-35) and Chenghua (r.1465-1487) Emperors. The later Ming saw the creation of only a few exceptional pieces of this type, and it was not until the reign of the Qing dynasty emperor Yongzheng (r.1723-35) that the imitation of Ge pieces was reinvigorated and reached new levels of sophistication. The Yongzheng Emperor is known to have been fascinated with the past and is remembered as a passionate collector of antiques. Under such a keen patron with great enthusiasm for works of art made for the Imperial Court, the potters at the Imperial Kilns in Jingdezhen carried out much research and experimentation during this period. The workers developed an extensive range of fine monochromes including reinventions of early wares, which reflected the Yongzheng Emperor's admiration of antiquity. Tang Ying (1682-1756), one of the most renowned supervisors of the Imperial Kilns, is particularly associated with the production of pieces imitating early wares during this period, and he writes about the production of imitation Ru, Guan and Ge wares in his Records of Ceramic Production (Taocheng jishi). For a more in-depth discussion on Yongzheng period copies of earlier Chinese wares, see Wang Qingzheng, Yongzheng Imitations of Guan, Ge, Ru and Jun Wares, Chinese Ceramics: Selected Articles from Orientations 1982-1998, pp.265-270. Cf. Bonhams Hong Kong, 26th May 2007, lot 220 for a similar vase; see also Sotheby's London, 8th November 2006, lot 173 for a comparable piece moulded with the Eight Trigrams; see also Sotheby's Hong Kong, 28th November 1978, lot 207 for a related Guan-type moonflask with the Eight Trigrams design.清雍正 仿哥窯抱月瓶來源：Dikran Ouzounian（逝於2011年11月8日）及Seta Ouzounian遺產，之後由其家族繼承。哥窯為宋朝五大名窯之一，其主要特征是釉面有大小不同的開裂紋片，是為南宋時期修內司官窯燒製的。早在宣德及成化年間的官窯已經開始在模仿宋代哥窯開片釉，這種技術發展到清代雍正時期可謂攀上新的高峰。這不僅是雍正皇帝憶古之情的體現，更要歸功於兩位著名督窯官年希堯與唐英。此種樣式源於波斯的金屬工藝品形狀，經改造以迎合漢人的審美。創燒於明永樂官窯，因成型時必須分別製作再粘合成器，故成品難度極大。由此件拍品可看出當時以異材器型和古代瓷釉所重新組合而成的仿古創新之作。
AN ARTS AND CRAFTS MAHOGANY BEDSIDE CABINET 39cm wide x 39cm deep x 76cm high together with an Edwardian mahogany cabinet with a gilt metal galleried top, a single bevelled glass door and raised on ogee bracket feet and ceramic casters, 50cm wide x 43cm deep x 86cm high (2) Condition: both with surface marks, scratches and wear, no major damages
A VICTORIAN ROSEWOOD FRAMED UPHOLSTERED LOW CHAIR with scrolling cabriole front legs and ceramic casters, 53cm wide x 52cm deep x 98cm high together with an old wicker hamper, 68cm wide x 47cm deep x 32cm high Condition: the chair upholstery worn with stains and marks, chair frame in good condition with minor marks, scratches and wear, wicker basket with some damaged areas of wicker
TWO VICTORIAN SALT GLAZED CERAMIC HARVEST JUGS the largest 18cm wide x 20cm high together with a small collection of papier mache wares including bellows and four green glass vases Condition: restoration to both the top rims of the jugs, green glass vases in good condition, papier mache bellows leather ripped and badly damaged, one ink well missing, surface scratches and marks
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