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Lot 160
BLUE AND WHITE 'BAMBOO' DISH MING DYNASTY, TIANQI PERIOD 明天啓 青花竹紋碟（含一九七七年挪威裝飾藝術與設計博物館《中國瓷器》展覽圖錄） painted freely with bamboo in the interior, with the original catalogue for 'Kinesisk Keramikk' exhibition in 1977 at the Kunstindustrimuseet, OsloDimensions:14.6cm diameterProvenance:Provenance: Private Scottish collection, Stirling.Gifted by Gunborg Apold to the current owner (by repute). Apold held one of the largest collections of Oriental ceramics in Scandinavia. In 1977, a Chinese ceramic exhibition 'Kinesisk Keramikk' was held at the Kunstindustrimuseet (The Museum of Decorative Arts and Design). Apold was the author of the catalogue En norsk samling kinesisk keramikk (A Norwegian collection of Chinese ceramics). In the title page of this catalogue, inscribed upper right 'To Adrienne, with kind regards, from the author'. Back of the dish with a label '118', corresponding to pg. 37, entry 118. Indicates that this dish was part of two wares. Several elements mentioned, ie. the bamboo and moon decoration, grits on the rim, dating, and measurement fit in with the current dish.
Lot 185
GROUP OF FOUR LANDSCAPE CERAMIC WARES 20TH CENTURY 二十世紀 桂英款 青花釉裏紅山水紋尊、粉彩山水紋小瓶 及 粉彩山水紋杯兩件（共四件） comprising: one large blue and white with underglazed red vase signed 'Gui Ying' and inscribed with the year of Xin Wei, corresponding to 1991AD; one famille rose spindle-shaped vase signed 'Gui Ying' and also dated to the year of Xin Wei, the base inscribed with a red mark; a famille rose cylindrical handled cup signed 'Gui Ying' and inscribed the year of Bing Yin, corresponding to 1986AD, the base stamped with a blue mark of Jingdezhen; and one famille rose lidded cup mentioning the commissioner's name 'Hu Jia An' and the year of 1976ADDimensions:largest: 32cm high
Lot 241
GROUP OF ELEVEN FAMILLE ROSE CERAMIC WARES 20TH CENTURY 二十世紀 胡獻雅款等 各式粉彩瓷器 （共十一件） comprising: two vases decorated with birds perching on lotus or bamboo, each inscribed with 1986AD and signed 'Hu Xian Ya', the base inscribed with 'Tao Ci Xue Yuan' mark; one handled cylindrical pot decorated with fish and crabs, signed 'Zhang Hong Wen' and dated to 1953AD; the other handled cylindrical pot adorned with a large bird and the base inscribed with a three-line inscription meaning 'Made in Jingdezhen City, China, the year of 1954AD'; two lidded teapots respectively painted with a rooster and orchid, inscribed on the sides, both with 'Jing De Zhen Zhi' mark on the base; one tall lidded cup and four smaller cups with handles, each decorated with lotus, bamboo or birds, each base inscribed with 'Tao Ci Xue Yuan' markDimensions:largest: 24.5cm high
Lot 243
FAMILLE ROSE 'MAPLE AND PEACOCK' VASE BY ZHAI XIAOXIANG (1944- ) 1995 一九九五 翟筱翔款 景德鎮製底款 粉彩紅霜素羽白孔雀紋燈籠形賞瓶 the lantern-shaped oval body supported on a tall straight foot and terminating to a short inverted mouth rim, the body finely painted with two white peacocks perching on a large maple tree, one side inscribed with the title 'Hong Shuang Su Yu (Red maples with plain feathers)', dated to the Spring of Yi Hai year, corresponding to 1995, signed 'Zhai Xiao Xiang'Dimensions:17.3cm highProvenance:Provenance: Private English collection, London; acquired from Peter Wain, Shropshire during 25th February and 3rd March 1997 at the Olympia Fine Art and Antique Fair, with an original handwritten receipt which states the piece dates to Spring 1995, together with a certification states this vase 'was exhibited at the Olympia London demonstration and exhibition of Master Zhai Xiao Xiang of Jingdezhen, China and is certified an original work by the Master', signed by the artist and the dealer, the base inscribed with 'Jing De Zhen Zhi (Made in Jingdezhen)' mark in double squareNote: Note: Mr Zhai Xiaoxiang is one of eight Senior Masters currently working in Jingdezhen and the only one still painting in the traditional Imperial style. He was born in 1944 in Poyang county, Jiangxi Province. In 1955, he won a scholarship to the Art and Ceramics Training School, attached to the Art Porcelain Factory of Jingdezhen. During his time at the School he quickly earned a reputation for his excellent bird and flower painting. In 1975, he was invited by the Palace Museum, Beijing, to reproduce a copy, a porcelain, of a famous Kangxi Imperial cloisonne vase. The perfect work earned him not only the admiration of the museum and the industry in Jingdezhen but also a gold medal award from the President of the Chinese Republic. He is now a Consultant at the Jingdezhen Art College and the Deputy Director of the Jingdezhen Ceramic Research Institute, and his works are passionately collected in Taiwan, Hong Kong and Japan with a waiting list for his latest masterpieces.A comparable vase with overglaze decoration of birds on a rock was painted by Zhia Xiaoxiang himself and given to V&A during the Olympia Fine Art and Antique Fair in February 1997, accession number FE.66-1997
Lot 323
AN UNUSUAL MALLOW-FORM LACQUER DISH17th/18th century or earlierRising from a short tapering foot to elegantly curving sides in the form of an unfurling flower with eight undulating petals bound with a thin metal band, applied overall with brown lacquer of dark-chocolate tone, except for two petals in shades of black and brown-red, the base with an apocryphal four-character Kangxi mark. 23cm (9in) diam. Footnotes:十七/十八世紀或更早 烏漆葵式盤「康熙年造」楷書款The form of the present lot is typical to dishes dating to the Southern Song dynasty, and therefore the appearance of a Kangxi mark is unusual as are the two differently coloured petals. See a similar brown lacquer flower-form dish, Southern Song dynasty, with collector seal mark on the base, illustrated in Art of China: Highlights from the Philadelphia Museum of Art, New Haven and London, 2018, pp.70-71, no.18. Another similarly-shaped dish, from the Florence and Herbert Irving collection, in the Metropolitan Museum of Art, New York, is illustrated in East Asian Lacquer, New York, 1991, no.2. A further brown lacquered mallow-shaped dish, Song dynasty, is illustrated in The Monochrome Principle: Lacquerware and Ceramics of the Song and Qing Dynasties, Munster, 2008, pl.7.With its distinctively shaped and slightly overlapping petals, the mallow flower was amongst the most popular forms for lacquerware produced between the tenth and the fourteenth centuries. The flower underscores auspicious symbolism relating to longevity and fulfilling life and was frequently also reproduced in metal wares, as well as Ding, Ru and Guan ceramic wares. The close dialogue between monochrome lacquer and ceramics is evident in the sheen of the surface and the delicate form of the bodies, and the present dish is very similar to that of fine Ding ware; see a persimmon-glazed mallow-shaped dish, Song dynasty, attributed to the Ding kilns, illustrated in The Colors and Forms of Song and Yuan China: Featuring Lacquerwares, Ceramics, and Metalwares, Tokyo, 2004, no.24.Compare with a related red-lacquer mallow-form dish, Song dynasty, which was sold at Christie's Hong Kong, 28 November 2012, lot 2080, and another black-lacquered mallow-form dish, Song dynasty, which was sold at Christie's Hong Kong, 3 December 2008, lot 2103.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 1212
PROMETHEUS (2012) - Ceramic Engineer AmpuleA ceramic Engineer ampule from Ridley Scott's sci-fi prequel Prometheus. Ampules were used by the Engineers to store their terraforming biochemicals, which were unstable at room temperature. The crew of the Prometheus found cavernous rooms filled with ampules of different sizes.Designed by raku pottery specialist Rob Sollis, this version of the deadly bioweapon is ceramic. It has alien text vertically etched into its curving body and is finished with metallic paint. The ampule comprises two separate parts - a lid and base - which have been intentionally distressed to appear ancient. There is a small chip on one side of the base opening. Dimensions: 17.5 cm x 17.5 cm x 42.5 cm (7" x 7" x 16 3/4") Estimate: £2,000 - 3,000 MThis lot will be auctioned on Sunday, November 6th. The auction will begin at 3:00PM GMT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast at propstore.com on auction day to follow the pace. Note other lots in the auction may close on Thursday, November 3rd; Friday, November 4th; or Saturday, November 5th.
Lot 154
A RARE BLUE AND WHITE 'DRAGON' EWERQianlong, the Persian metal cover and mounts 19th centuryElegantly potted of flattened pear-shape rising from a short spreading foot, moulded and painted in a vibrant cobalt blue on either side with a tear-drop-shaped panel depicting a writhing five-clawed dragon amidst clouds and flames, reserved on a dense floral meander between key-fret pattern and lappets around the neck and a classic scroll around the foot, the tapered spout with florets and cloud scrolls, and connected to the neck with a ruyi-cloud strut, the metal mount forming the arched handle, the flaring neck and the high domed cover engraved with Arabic calligraphic roundels alternating with rabbits and birds between scrolling arabesques, the finial inset with green glass. 36.9cm (14 1/2in) high.Footnotes:清乾隆 青花雲龍紋執壺 配鑲十九世紀波斯壺柄及蓋Provenance: Christie's London, 12 July 2005, lot 169來源：倫敦佳士得，2005年7月12日，拍品編號169The roundels on the upper and lower parts of the mount are invocations: ya ghafran (O Forgiving One)ya sultan (O Sovereignty)ya Hanan (O Compassionate One)ya musta'an (O Requiter)ya 'azum (O Mightly One)The inscribed band on the rim is the basmallah (invocation in the name of Allah) followed by the Qur'anic text of Surah 68, verse 51:Bismillah al-rahman al-rahim wa an yakad al-din kafaru al-yuzliqunak bi-basrihim lama sami'ua al-dhikaru wa yaqulun innhu lamajnun - 'When they hear Our revelations, the unbelievers almost devour you with their eyes. 'He is surely possessed', they say. (Translation from The Koran by N.J.Dawood, Harmondsworth, revised edition, 1979, p.63.)The present lot is extremely rare, and there are only two known blue and white ewers of this type with decoration of dragons and Qianlong mark published. One is in the collection of the Topkapi Saray, Istanbul, illustrated by J.Ayers and R.Krahl, Chinese Ceramics in the Topkapi Saray Museum Istanbul, vol.3, London, 1986, pp.1106-1107, no.2566. See also a ewer from the Roemer-Museum in Hildesheim illustrated by U.Wiesner, Chinesisches Porzellan: Die Ohlmer'sche Sammlung im Roemer-Museum, Mainz am Rhein, 1981, no.70. Pear-shaped ewers, such as the present example, appear to be based on an earlier round sectioned prototype produced during the Yuan and early Ming dynasties, which in turn were inspired by Central Asian and Middle Eastern metal vessels. See, for example, a blue and white ewer, Yongle, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red, vol.1, Hong Kong, 2000, p.43, no.41. Similarities can also be drawn with a group of tianbai ewers, Yongle, excavated from the Imperial kilns at Jingdezhen despite these specimens display a wider neck and a square spout; see Imperial Porcelain of the Yongle and Xuande periods Excavated from the Site of the Ming Imperial Factory at Jingdezhen, Hong Kong, 1989, pp.96-97, no.7. Although the shape of this ewer does not appear to have been made in the following reign periods, it was revived in the Jiajing reign on both monochrome white and with underglaze blue wares; see for example, a blue and white ewer with a design of children playing, Jiajing, in the Percival David collection in the British Museum, illustrated by R.Scott and R.Kerr, Ceramic Evolution in the Middle Ming Period, London, 1994, p.30, no.51. The Western Asian metal mounts on the present ewer vessel suggest that the ewer was previously in a Western Asian collection. The chased decoration on the mounts is Qajar Persian dating to the 19th century. Compare with a blue and white ewer, Kangxi, which displays a similar mount and cover, from the Victoria and Albert Museum, London (acc.no.476.18-6). See also a 15th century blue and white ewer from the Topkapi Saray museum, Instanbul, fitted with a related but lesser rounded metal cover; see ibid., p.519, no.618. A pair of similar ewers with handles and covers, Qianlong, was sold at Sotheby's, Hong Kong, 1 May 2001, lot 537.For further information on this lot please visit Bonhams.com
Lot 200
HODODAA Pair of Satsuma Baluster Vases Meiji era (1868-1912), late 19th/early 20th centuryDecorated in enamels and predominantly gilt with a full repertoire of rakan and their attributes; some of the rakan applied in ceramic high relief, each vase signed on the base Dai Nihon Satsumayaki Hododa tsukuru beneath the Satsuma crest. Each vase: 37.5cm (14¾in) high. (2).For further information on this lot please visit Bonhams.com
Lot 5
FIVE WOOD FIGURE NETSUKEEdo period (1615-1868) to Meiji era (1868-1912), 19th to early 20th centuryThe first a man seated on a large square fan, shown on the underside, holding a large ceramic tokkuri (bottle) in one hand and drinking sake from a sakazuki (sake cup) held in the other, a squid protruding from the bamboo leaf wrapper lying at his feet, signed on the underside Gyokuso with a seal, 3.7cm (1 7/16in) long; the second a seated oni (demon) with a parasol strapped to his back, the eyes and horns inlaid, unsigned, 3.9cm (1 9/16in); the third a man sleeping, resting his face on his crossed hands on an oversized leaf, unsigned, 4.2cm (1 5/8in) long; the fourth Daruma, seated with his arms characteristically hidden within his robes, signed Shumin, 3.8cm (1 7/16in); the fifth probably Benkei blowing a conch, signed in a shell-inlaid rectangular reserve Rakumin with a kao, 3.6cm (1 3/8in). (5).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 318
Early 20th Century Parnall & Sons, Bristol ceramic grocers slab, 36cm x 36cmLight scratches and crazing are present on the top of the piece. There is a tri-hairline crack in the bottom left corner around 15cm long from point to point at its longest. There is a chip/crack on the bottom edge of the rim around 1cm long. There is a patch on the bottom right corner where the glaze hasn’t taken to the piece and there are pockmarks in a few places from production.
Lot 354
Blood Swept Lands and Seas of Red' - Two ceramic poppies by Paul Cummins made for the art installation at the Tower of London between 5th August and 11th November 2014 to commemorate the centenary of the start of the First World War, one in a glazed case (24cm x 24cm), the other with its stem and base (49cm high), both with certificates of authenticity, information books and wooden 'In Remembrance' cross
Lot 1
A BLUE AND WHITE CIRCULAR BRUSH AND INK STANDChang ming fu gui mark, late 16th centuryThe drum shaped stand with three circular and one rectangular opening around a smaller central circular opening on a raised knob, the top surface painted with wave-pattern, the straight sides with a wide band of egrets among lotus between slightly raised borders of coins, the recessed base with maker's mark translated as 'long life, riches and honour'. 13cm (5 1/8in) diam. Footnotes:明十六世紀晚期 青花五孔筆插「長命富貴」款Provenance: S.Marchant & Son, London, 24 May 1966John Burke da Silva (1918-2003)Sotheby's London, 10 November 2004, lot 591Exhibited: Oriental Ceramic Society, The Chinese Scholars Desk, 17th to 18th Century, Ashmolean Museum, Oxford, 1979, no.46. Oriental Ceramic Society, Research Display of Chinese Sixteenth Century Ceramics, British Museum, London, 1994, no.44 (illustrated p.6)Published: John da Silva, 'Three Types of Chinese Brush Stand', Oriental Art, vol.XXIV, no.3, Autumn 1978, p.326, fig.2. S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.22-24, figs.2-3 來源：倫敦古董商 S.Marchant & Son，1966年5月24日John Burke da Silva (1918-2003)蘇富比倫敦，2004年11月10日，拍品591號展覽：東方瓷器協會，《The Chinese Scholars Desk, 17th to 18th Century》，阿什莫林博物館，牛津，1979年，編號46東方瓷器協會， 《Brushpots: A collector's view》，大英博物館，倫敦，1994年，編號44（圖版頁6）錄著： John da Silva, 'Three Types of Chinese Brush Stand'，《Oriental Art》，第24卷，編號3號，1978年秋季，頁326，插圖2號S.Marsh, 《Brushpots: A collector's view》，香港，2020，頁22-24，插圖2-3號John da Silva was born in the United States of a Portuguese father and American mother, whose parents had come to America from France in the middle of the 19th century and founded a chocolate factory in San Francisco. After the Second World War he joined the Foreign and Commonwealth Office. The job took him to many parts of the world. His love of Chinese porcelain stemmed from a posting to the Embassy in Rome in 1954, where he happened to stay in a rented flat that housed a large collection of Chinese and Japanese works of art. He regularly purchased Chinese works of art from auction houses in London in the 1960's. He Joined the Oriental Ceramics Society in 1960, serving on the Council from 1977-1980 and from 1984-1987 and as Honorary Treasurer from 1992-1994.The use of this vessel is clarified by a painting of the famous philosopher Wang Yangming (1472-1529) seated at his writing desk which illustrates a handscroll of his letters and other related material. The piece is shown on his desk with three brushes placed, tips upwards, in it, together with a small vase of flowers, an inkstone and a water dropper or paper weight. The natural assumption is that the rectangular section is to hold an inkstick, which is confirmed by the late Ming scholar Wen Zhenheng, who in Zhang wu zhi ('A Treatise on Superfluous Things') under the heading of brushpots wrote:'...there are also drum-shaped ones with holes in them for inserting brushes and ink.' See a similar blue and white brush and ink stand, Jiajing, illustrated by G.Tsang and H.Moss, Arts from the Scholar's Studio, Hong Kong, 1986, pp.226-227, no.212. See also another similar blue and white brush and ink stand, 16th century, in the Percival David collection in the British Museum (acc.no.PDF,B.605). Compare also with a similar blue and white vessel, but decorated with fish, Jiajing, illustrated in Blue and White Porcelain with Underglazed Red (II): The Complete Collection of Treasures of the Palace Museum, Hong Kong, 2000, no.114.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 13
AN EXCEPTIONALLY RARE BLUE AND WHITE '384 SHOU' BRUSHPOT, BITONGKangxi six-character mark and of the periodThe cylindrical vessel rising from a grooved foot ring, painted around the exterior of the straight walls in vibrant tones of cobalt-blue with 384 Shou ('longevity') characters in various calligraphic styles of seal script. 17cm (6 3/4in) diam. Footnotes:清康熙 青花寿字笔筒青花「大清康熙年製」楷書款Provenance: J.J. Lally & Co. Oriental Art, New York, 10 December 1990Exhibited: Oriental Ceramic Society, China Without Dragons, Rare Pieces from Oriental Ceramic Society Members, London, 2016, no.149Published and Illustrated: Oriental Ceramic Society, China Without Dragons, London, 2018, p.248, no.149 S.Marsh, Brushpots: A Collector's View, Hong Kong, 2020, pp.11 (fig.6), 118-121來源：紐約古董商 J.J. Lally & Co. Oriental Art，1990年12月10日展覽：東方瓷器協會，《China Without Dragons, Rare Pieces from Oriental Ceramic Society Members》，倫敦，2016年，149號錄著：東方瓷器協會，《China Without Dragons, Rare Pieces from Oriental Ceramic Society Members》，倫敦，2016年，149號S.Marsh，《Brushpots: A Collector's View》，香港，2020年，頁11（插圖 6），頁118-121The present brushpot with continuous rows of 384 Shou ('longevity') characters in different forms of seal script, channelled foot ring and Imperial reign mark, is extremely rare. There is a closely related brushpot with Shou characters in underglaze copper-red, Kangxi, but supported on three short feet and with no mark on the base, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red, Shanghai, 2000, p.182, no.166, where the authors note that it was made in the late Kangxi period. Another related blue and white brushpot decorated with Shou characters, Chenghua six-character mark, Kangxi, with flat and slightly recessed 'button' base, is in the Art Museum, The Chinese University of Hong Kong (acc.no.2000.0081). Stylistically, the present brushpot with numerous Shou characters is also related to a large blue and white 'ten thousand Shou character' zun vase, Kangxi, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red, Shanghai, 2000, pp.8-9, no.5. Another similar blue and white zun vase with Shou characters, Kangxi, is in the Nanjing Museum, and illustrated in Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, 1995, no.12. See also a blue and white baluster vase, Kangxi, decorated with Shou characters in various seal script, illustrated in Qing Shunzhi Kangxi chao qinghuaci, Beijing, 2005, p.436.With regards to the date of the present lot, the channelled foot ring suggests that it was made in the early Kangxi period. The channelled foot ring is a feature that appeared in the Shunzhi reign. A blue and white brushpot with channelled foot, cyclically dated to 1667, serves to demonstrate that by this year, the potters were still producing pieces with an unglazed channel foot ring. Extant pieces bearing cyclical dates show that by 1671, fully developed unglazed channel foot rings were commonly used. This channelled foot ring however, virtually disappeared by the late Kangxi reign; see T.Canepa and K.Butler, Leaping the Dragon Gate: The Sir Michael Butler Collection of 17th-Century Chinese Porcelain, London, 2021, p.374. Therefore, it is very likely that the present brushpot was made circa 1670's. Another clue that the present lot could have been made in the 1670's, is the close stylistic relationship between the style of the Shou characters and a dictionary re-published in 1670. The characters on the present brushpot include unusual variants of the Shou character including in so-called 'tadpole' script (kedou wen 蝌蚪文) and 'birds and worms' script (niaochong wen 鳥蟲文). The characters on the brushpot appear to be based on the Jinshi yunfu (金石韻府) or 'Treasury of Ancient Characters on Bronze and Stone', an epigraphic dictionary that combines characters from earlier dictionaries and a wide range of sources. It was originally compiled by the Ming scholar Zhu Yun in 1530, but in 1670 another edition was published, from which the present lot may have been based on. The Kangxi reign ushered in a new age for epigraphy with numerous scholars and Imperially sponsored projects compiling new dictionaries; the largest among these was the 'Kangxi Dictionary' published in 1716, the most authoritative dictionary of Chinese characters from the 18th century until the 20th century. The proliferation of dictionaries reflects the Kangxi emperor's personal concern for Confucian culture and to foster the standardisation of the writing system. This paved the way for the height of the 'searching for evidence' movement (kaozheng 考證) in the Qianlong era: a rigorous new philology that sparked closer scrutiny of stone inscriptions and inscriptions on archaic bronze. The fascination for characters can be seen on a screen with Shou characters, used in the background of a painting of a lady; see 'Twelve Beauties at Leisure Painted for Prince Yinzhen', late Kangxi, illustrated in China: The Three Emperors 1662-1795, London, 2005, pp.258-259. Scholars generally accept the large blue and white zun vases with Shou characters mentioned above, were ordered by the Kangxi Emperor for his grandmother, the Empress Dowager Xiaozhuang's (1613-1688) 60th birthday (corresponding to 1673 in the Gregorian calendar). Furthermore, in 1674, the major kilns in Jingdezhen were razed to the ground following the chaos and suppression of the Revolt of the Three Feudatories (1673-1681). The rebuilding of the kilns was not completed until 1684. It therefore seems likely that the present lot was also made for the occasion of an Imperial birthday before 1674. Another opinion, though less likely, is that the present lot was made after 1684, for the occasion of Empress Dowager Xiaozhuang's 75th birthday (1687, by Chinese count), which would correspond to the period when several vessels were written and signed by Gong Yuzi (攻玉子). Gong Yuzi was apparently active for only a three year period between the 26th and 28th years of the Kangxi reign (1687-1689). According to research by Lu Chenglong, 'Jianwei zhizhu - You xin faxian de yi xiao kuai cipian tan Kangxi qinghua wanshou zun' (Recognising the Whole from one Small Part: New Discoveries from a Kangxi Blue and White Ten Thousand Shou Character Zun Vase) in Gugong bowuyuan yuankan, no.6, 2002, pp.114-123, which shows a blue and white brushpot signed by Yu Gonzi; Lu argues tenuously that Yu Gongzi possibly inscribed the calligraphy for the Shou character zun vases. See a blue and white brushpot with the 'Ode to Red Cliff', Wenzhang shandou mark, signed by Gong Yuzi, illustrated in Qing Shunzhi Kangxi chao qinghua ci, Beijing, 2005, no.213. Another blue and white brushpot signed by Gong Yuzi, decorated with Shou characters, is in a private collection in Beijing an... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 16
A RARE BLUE AND WHITE 'MASTER OF THE ROCKS' JARShunzhi/early KangxiOf elegant baluster form, painted around the exterior with a continuous scene of craggy mountains in pencilled line around a lake with fisherman on a sampan, pavilions with scholars dotted throughout, all amidst various trees, the sky with V-shaped flocks of geese, all beneath a border of pine trees on the shoulder, the neck with a border of lotus. 27.8cm (11in) high. Footnotes:清順治至康熙早期 青花山水紋罐Provenance: Professor Desmond R. Laurence (1922-2019)S. Marchant & Son, London, 17 October 2003Marchant, London, 6 December 2010Published, Illustrated and Exhibited: Marchant, Selected Chinese Porcelain from the Collection of Professor D.R. Laurence, London, 2010, pp.20-21, no.12來源：Desmond R. Laurence 教授 (1922-2019)倫敦古董商 S. Marchant & Son，2003年10月17日倫敦古董商 Marchant，2010年12月6日展覽及錄著：《Selected Chinese Porcelain from the Collection of Professor D.R. Laurence》，倫敦，2010年，頁20-21，編號12The present jar is decorated with a landscape in the so-called 'Master of the Rocks' style. This style, which seems to have developed towards the mid-17th century in the final years of the Ming dynasty, continued to be popular in the early years of the Kangxi reign, with a very few examples being made as late as the turn of the century. The 'Master of the Rocks' style was by no means limited to the brush of a single artist, and appears in a number of versions on porcelains from about 1640 to 1700. It was used on porcelains decorated in underglaze cobalt blue and also those decorated in underglaze blue and copper red. There are even very rare examples where the style has been combined with famille verte enamels. The style itself is characterised by the use of 'hemp-fibre' strokes to produce rocky landscapes full of movement and drama, often combined with the use of fluid dots to depict scrub and foliage.This development in porcelain painting reflected elements seen in the landscape painting of certain artists working on silk and paper. The use of 'hemp-fibre' brush strokes can be seen in the work of the famous late Ming dynasty literatus Dong Qichang (1555-1636), for example in his hanging scroll 'Autumn Landscape' in the Nü Wa Chai Collection illustrated by J.Cahill, Chinese Painting, Lausanne, n.d., p.150. The dramatic, almost writhing, rock forms as well as the 'hemp-fibre' brush strokes can also be seen in paintings such as 'Returning Home from Gathering Fungus' painted in 1628 by Wang Jianzhang (fl.1628-1644), illustrated by S.Little, Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars' Motifs and Narratives, New York, 1995, p.36, fig.2. The influence of such paintings on the porcelain decorators at Jingdezhen was not necessarily direct. This style of painting was not only well-regarded, it also lent itself to translation into woodblock printing, and it is quite possible that it was through this medium that aspects of style, such as 'hemp-fibre' strokes were transmitted to the ceramic artists of Jingdezhen. See for example 'hemp-fibre' brushstroke mountain landscape in the Mustard Seed Garden Manual of Painting, circa 1679, illustrated by T.Canepa and K.Butler, Leaping the Dragon Gate: The Sir Michael Butler Collection of Seventeenth-Century Chinese Porcelain, London, 2021, p.404.For a blue and white brushpot with this 'master of the rocks' style landscape, Kangxi, see Ibid., p.404; other pieces including a gu vase, and dish, Kangxi, all with related decoration, are in ibid., pp.406-417. Compare with a related large blue and white 'master of the rocks' style landscape vase, 18th century, which was sold at Sotheby's New York, 15 September 2015, lot 107.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 18
A RARE BLUE AND WHITE AND COPPER-RED PEACH-SHAPED DISHKangxiFinely potted in the shape of a peach with gently curving sides and supported on a short foot, deftly painted in the interior with a scholar and attendant on a shore beside a pavilion surrounded by a dense thicket of pine and copper-red wutong trees, a fisherman on a sampan emerging from the right, all beneath prunus dotted with red and bamboo, a calligraphic inscription with seal at the top. 26cm (10 1/2in) wide. Footnotes:清康熙 青花釉裏紅桃形碟Provenance: John R. Berwald, London, circa 1991來源：倫敦古董商 John R. Berwald，約1991年The inscription on the plate reads:倒影踈枝嵐翠，滴穿雲覓浮槎。淡庵。Which may be translated as:The reflection of the branches and emerald green trees,Drops through the clouds to seek a floating raft.Dan An (The Unadorned Hut)The poem makes reference to the reflection of the trees on the river catching a raft. The shape of the dish is in the form of an auspicious peach, which together with a scene of a boatman on river, could be a reference to the story of Peach Blossom Spring (桃花源記), a fable written by Tao Yuanming (365-427). In the tale, a fisherman haphazardly sails up a stream before sailing into a forest entirely of blossoming peach trees. By chance, the fisherman discovers a passage into a secluded utopia, inhabited by people and animals who have not known war or suffering. The villagers treated the fisherman warmly but warned him not to tell others of their location. The fisherman, however, tried to mark his way to remember the path back. But when he tried to find this paradise again, he could not. The subject would be the theme for many painters in Chinese history, to describe an ethereal utopia where the people lead an ideal existence in harmony with nature, unaware of the outside world for centuries.The present lot appears to be very rare, however, the style of the rocks is in the 'Master of the Rocks' style, with hemp-fibre brush strokes, and is related to two circular blue and white dishes with copper-red and calligraphic inscriptions, Kangxi, illustrated in China Without Dragons: Rare Pieces from Oriental Ceramic Society Members, London, 2018, pp.240-241, no.145.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 31
A FINE BLUE AND WHITE WATERPOTKangxiOf lotus-bud form rising from a short foot to a narrow lipped mouth rim, painted around the exterior with lappets enclosing lotus sprays, beneath a herring-bone border beneath the mouth rim. 8cm (3 1/8in) high.Footnotes:清康熙 青花花卉紋蓮子洗Provenance: Sir Harry M. Garner, KBE CB FRAeS (1891-1977) and Lady Hilda A. Garner (1897-1994)Bluett & Sons Ltd., London, 14 May 1992Published, Illustrated and Exhibited: The Oriental Ceramic Society, Chinese Blue and White Porcelain 14th to 19th Centuries, London, 16 December 1953 - 23 January 1954, no.279來源：Harry M. Garner 爵士 (1891-1977) 及 Hilda A. Garner 女爵 (1897-1994) 舊藏倫敦古董商 Bluett & Sons Ltd.，1992年5月14日錄著：東方瓷器協會，《Chinese Blue and White Porcelain 14th to 19th Centuries》，倫敦，1952年12月16日至1954年1月23日，編號279Sir Harry Garner was a distinguished mathematician. He joined the Royal Aircraft establishment in 1927; he was Director of Scientific Research, Ministry of Aircraft Production in 1943; and Chief Scientist to Ministry of Supply 1949-1953. He collected oriental art and published extensively, producing key reference works on blue and white ware, lacquer ware and cloisonné enamels. He and Lady Garner donated much of the collection to the British and Victoria and Albert Museums. He was Honorary Secretary of the Oriental Ceramic Society 1951-1967 and President 1967-1971.Compare with a similar waterpot, late 17th to early 18th century, in the Metropolitan Museum of Art, New York (acc.no.79.2.311).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 8
A VERY RARE RU-TYPE VASEYongzheng seal mark and of the periodThe elegant body of low shouldered form rising from a short inward-tapering foot and supporting a tall cylindrical neck flanked by tabbed handles, flaring to a rounded mouth, covered overall with a lustrous sky-blue glaze. 12.8cm (5in) high.Footnotes:清雍正 仿汝小瓶Provenance: Sotheby's London, 8 June 1993, lot 109來源：蘇富比，倫敦，1993年6月8日，拍品109號This rare vase is remarkable for its subtle bluish glaze, the purity of which accentuates the graceful curves of its profile. Created in imitation of the celebrated Ru-wares of the Song period, this vase reflects the Yongzheng Emperor's penchant for these early wares and the remarkable technical developments achieved at the Imperial kilns and made to meet the specific taste of the emperor. While a delicate celadon glaze had already been developed in the Kangxi reign, it was during the Yongzheng period that the production of glazes imitating Song dynasty Ru and Guan wares greatly expanded. According to the 1732 edition of the Jiangxi tongzhi (Jiangxi provincial gazetteer), compiled by Xie Min, governor of Jiangxi Province between 1729 and 1732, two different types of Ru-type glazes were developed, one displaying a subtle network of crackles and the other of even tone; see S.W.Bushell, Oriental Ceramic Art, London, 1981, p.195.See a similar Ru-type vase, Yongzheng seal mark and of the period, which was sold at Christie's Paris, 8 December 2021, lot 184. Another similar vase, Yongzheng seal mark and of the period, was also sold at Christie's Paris, 23 June 2020, lot 128.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 318
Francis HEWLETT (1930-2012) Golden Helmet Ceramic, signed with incised initials and dated '67 height 30cmThere are a number of firing flaws present on this piece. The largest can be found at the back of the piece in the form of a crack. The crack is most visible on the inside of the helmet and can also be seen on the outside of the piece but not as obviously (please see additional image). There is another crack at the front of the helmet, on the rim. Unlike the first crack, this one is more apparent on the outside (please see additional image). There are a few dimple marks present within the gold glaze (these can also be seen seen within the additional images).
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