A Chinese white and russet jade snuff bottle, 19th century,carved in the form of a ribbon-tied double gourd, with a bat to the shoulder and a dragonfly to the opposing side, the carver skilfully using the russet inclusion in the stone for the insects wings,4.9 cm high excluding stopperNatural veining and inclusions to the stone, otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 4.9 cm high excluding stopper
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A Chinese pale celadon jade ‘cats and butterfly’ group, 18th/19th century,the cat and kitten recumbent on a giant leaf, the stone of good even tone with some paler inclusions underneath,6cm longNatural inclusions in the stone, good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 6cm long
A Chinese white jade plaque, 19th century,carved as an archaistic mythical beast,4.9cm, splinter chip, wood stand,Natural inclusions and veining to the stone. There is a 4mm x 2mm splinter chip to the top edge, otherwise in good condition. The wood stand is missing one end and has been broken and glued.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 4.9cm, splinter chip, wood stand,
A Chinese pale celadon jade box and cover, 18th century, remnants of gilt lacquer decoration,of oblong form, the base with worn Qianlong Nianzhi mark,6cm wideNatural inclusions to the stone, remnants of gilding mostly worn off. Otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 6cm wide
A Chinese pale celadon jade ‘Sanqing’ boulder carving, 18th century,carved in high relief with the figures of the ‘Sanqing’ (Three Pure Ones) on a mountainside by a pine tree, the stone with some occasional small russet inclusions,9.5cm high, 12 with wood standNatural veining and inclusions to the stone, in good condition. The wood stand has shrunk a little so the carving does not fit perfectly.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 9.5cm high, 12 with wood stand
A Chinese pale grey and black jade oval plaque, Yuan dynasty or later,carved and reticulated with two egrets amid lotus,11cm wideNatural veining and inclusions to the stone, some slight loss is to the underside edge otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 11cm wide
A Chinese pale celadon jade ‘dragon’ belt hook, 18th/19th century,the stone of good even tone with some occasional paler inclusions,14.3cmNatural inclusions and veining to the stone, of impressive size for this type of felt hook. good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 14.3cm
Chinese Art A jade Pi disc China, Qing dynasty, 19th century (?). . Cm 14,00 x 21,00. A large calcified jade carving with the grain of millet archaic style relief decoration and an openwork carved top cusp with dragons, qilong and taotiè. This object, known as "Pi", is one of the most iconic ritual objects of the Chinese tradition. The oldest historical evidence related to this particular type of artifacts dates back to the Neolithic period and can be detected Liangzhu culture, the last of the great Chinese Neolithic cultures, which flourished on the Yangtze delta around the fourth millennium BC. According to scholars, the particular shape of a disc perforated in the center would be attributable to a hyperstization of the universe, linked to metaphysical symbols that signify the central hole as a celestial axis on which the whole firmament is hinged. This interpretation, widely acknowledged nowadays, seems to have not yet been formulated in the eighteenth century, considering that emperor Qianlong, an avid collector of archaeological objects himself, had a poem been inscribed on the most beautiful of his jade discs stating that it was “a cup holder from the Song era”.
Chinese Art A marbled jade Bixie carving China, Qing dynasty, 19th century . . Cm 23,50 x 8,50. A marbled jade carving depicting a Bixie, a mythical beast belonging to the Taoist pantheon, drawned as a winged dragon with lion features. This subject, still highly appreciated in China, began its popularity during the Han period (206 BC-220 BC), becoming one of the favorite themes on jade carvings for palatial kits.
Chinese Art Jade calligrapher seal China, Qing dynasty, 19th century . . Cm 11,50 x 7,00. White jade carving with reddish inclusions depicting lying smiling Budai holding the Yuan Bao in his right hand. The carving, finely made, shows an inscription on the back and a large seal at the bottom. The Budai iconography, often referred to as the "smiling Buddha" is highly appreciated in China and refers to a Chinese monk who, according to tradition, lived in the 10th century, and is often associated with Maitreia, the Buddha of the future. Budai is depicted as a fat, smiling character, sometimes surrounded by children, often represented with a bag full of coins or, as in this case, with a precious gold bar in his hand.
Chinese Art A lingzhi jade carving China, Qing dynasty, 19th century . . Cm 6,50 x 19,00. A gray/green marbled brown jade carving depicting a group of stylized lingzhi mushrooms. The subject is believed to bring good wishes thus is one of the favorite themes in Chinese iconography. The lingzhi, known in the West as "ganoderma", is associated with health and long life and occupies a prominent place in the traditional Oriental medicine.
Chinese Art A jade Armilla China, Han dynasty (206 b.C.-220 a.D.) . . Cm 8,50. A round, thick bracelet in marbled jade, carved in relief with qilong. Jade objects, invested with powerful symbolic values, have been found already in Neolithic archaeological sites, usually conceived as jewels to be worn for protective and apotropaic purposes. Among these the smooth or soberly decorated bracelets with geometric or figurative motifs in relief.
Chinese Art A green jade Bixie China, 20th century . . Cm 8,00 x 10,50. A pale green jade carving depicting a Bixie, or a mythical beast of the Taoist Pantheon, represented as a winged dragon with lion features. The theme of the winged chimera is regarded to be a good omen since ancient times because it announces future fabulous riches. Thus, it has been widely reproposed over the centuries, often taking inspiration, as in this case, from the elegant and aggressive examples dating back to the Han period (206 BC - 220 AD) .
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.
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.
A RARE CHINESE GILT BRASS MINIATURE TABLE CLOCK WITH ROCKING FIGURE AUTOMATONUNSIGNED, PROBABLY GUANGZHUO WORKSHOPS, EARLY TO MID 19th CENTURYThe four knopped-pillar twin chain fusee back-winding bell striking movement with plates measuring 4.25 by 3.5 inches, Knife-edge pivoted verge escapement regulated by short disc bob pendulum and fitted with foliate motif engraved backcock apron, the backplate finely engraved with a central oval panel containing Prince-of-Wales feathers issuing from a coronet onto vertically hatched background, within a field of symmetrical Neo-Classical inspired leafy scrollwork bordered a slender wavy band, the 4.25 by 6.25 inch arched gilt brass dial applied with convex fired white enamel hour disc with minute band divided into fifths and Arabic fifteen minutes to outer track, with pierced gilt brass hands and chased gilt rosette-and-scroll pierced spandrels beneath arch painted in tones of red, blue, cream and brown with a figure of Chronos rocking with the motion of the pendulum between two trees within a European inspired lakeland landscape, the arched fire-gilded brass case with lobed orb finial to the ogee-shaped canopy superstructure applied with leafy scroll-chased mounts between beaded borders, the front with bead decorated hinged arched glazed brass door beneath shell-centred crest issuing leafy trails and pendant husks continuing down the front edges to flank the dial aperture, the sides with symmetrical scroll-cast mounts over oval fretwork panels each pierced and chased with blooming foliage within surround of repeating lappet-leaves decorated with further scrolling motifs to upper and lower margins, over swollen base sections applied with delicate pierced and chased fretwork mounts, the rear matching the front and raised on four leaf cast and chased scroll feet onto a fixed brass-topped hardwood plinth base applied with acanthus cast ogee moulding and with squat bracket feet.39cm (15.5ins) high, 22cm (8.625ins) wide, 15,5cm (6.125ins) deep. The Chinese pre-occupation with mechanical timepieces can trace its roots back to the Court of the Wanli emperor who received as a gift two timepieces from the Jesuit priest Matteo Ricci in 1601. During the 18th century (from Kangxi reign onwards) exotic musical automaton timepieces became highly desirable and thus a very important commodity with regards to maintaining healthy trade relations between London and the Chinese Court. By the time of the reign of the Qianlong emperor such examples of the clockmaking art had become so fashionable that they were often traded as gifts to eminent officials and wealthy merchants as well as the Court itself.Mechanical clocks also had a symbolic purpose to the emperor signifying the ability to master the time and the calendar. As such they cemented his position as the Son of Heaven of having divine powers and the ability to control the transcendence of time in the Universe. Clocks were also valued for their practical applications and symbolised the smooth running of the emperor's administration through efficient time management. This significance is perfectly illustrated by a poem composed by the Kangxi emperor entitled 'The Chanting of the Chiming Clock' which translates as: Methods originating from the West taught us with a keen heart.Wheels circle on a quarterly basis, hands move according to minutes.Dawn needs not to ne announced, golden clock reports in advanceWork hard on government affairs in the morning, memorials are never completed in a late manner The Qianlong emperor's interest in the clockmaking art led to the expansion of the imperial workshops employing both Chinese and European clockmakers. These skilled artisans were given unrivalled access to the finest raw materials available at the time including gold, jade, ivory and gemstones. The first references to the imperial workshops making mechanical timepieces can be found during the Yongzheng period from records dating to 1723. Local workshops established in Guangzhou, Yangzhou and Beijing produced timepieces based on European (mostly English) models but with re-worked details to cater for the domestic Chinese market. Testament to the quality of Chinese clocks made in Guangzhou is represented by the fact that the Qainlong Emperor received examples as imperial tribute and went on to amass a huge collection with 3,431 timepieces on display within the imperial palace complex at one time (see Moments of Eternity: Timepieces Collection from the Palace Museum exhibition catalogue, Macao, 2004, pages 448-49).The current lot draws on European models for its form and the engraving to the backplate very closely resembles English work as illustrated in Dzik, Sunny ENGRAVING ON ENGLISH TABLE CLOCKS, Art on a Canvas of Brass 1660-1800 on page 363 (Figure 20.7). The painting to the scene in the arch however is typical of Chinese work with details strongly delineated and executed in a bold palette of colours. The movement winding from the back also reflects Chinese preference for dials not to be interrupted by the presence of winding holes. The mounts show a high degree of hand finishing/chiselling, and the clock is particularly attractive due to its relatively small proportions.
A 19th century carved shell cameo depicting figures, buildings and town scene, in a yellow metal mount, with rope twist border and necklace hoop to the top, two items of Chinese jade-style jewellery to include a heart with fancy necklace bracket, marked 9ct and a chunky Chinese jade-style amulet pendant depicting a man, on a yellow metal necklace mount (3).
A Chinese 18ct gold and spinach jade parure of jewellery, comprising a necklace of seven graduated oval panels, each panel has a carved and pierced floral blossom design and plain back, joined on an 18ct dainty chain united with a barrel clasp, length approx 44cm, a similar 18ct gold bracelet with five carved patterned panels and an oval clasp engraved with fisherman on boat, on lake with building and trees to the foreground and hills to the distance, length approx 17cm, with safety chain, a pair of matching carved jade panel earrings, with screw-back fasteners, an 18ct gold ring with oval carved jade panel, on claw set 18ct gold mount, size L and a brooch with similar carved panel, claw set mount, length approx 2.6cm. CONDITION REPORT No chips, minor scratches
A Chinese pale celadon jade snuff bottle, another three 20th century Chinese snuff bottles, a quantity of miniature Chinese blue and white porcelain, a Japanese blue and white coffee cup and three miniature hardwood stands (one tray)Condition report: Smallest tea bowl with a rim chip and two hair cracks. No other damage throughout.
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34357 item(s)/page