Y A MATCHED PAIR OF CHINESE EXPORT BLACK LACQUER AND CHINOISERIE DECORATED CABINETS ON STANDS EARLY 19TH CENTURY The doors opening to an arrangement of pigeon holes and drawers around a mirror central cupboard door, the removable hinged compartment opening to further divided lidded and open storage some variance in size and design, the taller example 145cm high, 65cm wide, 64cm deep Provenance: Nanteos Mansion, Ceredigion, Wales Please note, Dreweatts have applied for a de minimis exemption licence for the ivory in this lot (Ref: PE7P6M9Y) Condition Report: Overall there are scratches, marks, chips, cracks, abrasions, wear to the paintwork and finish, some losses and repairs consistent with age and use.One cabinet with a later scroll carved crest cornice and a replaced back leg.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer
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A BRONZE MIRROR Chinese, circular with various animals and insects, has traces of silver 13.5cm diameter Condition: Condition Report Has verdigris and encrustations. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A PAIR OF QIANJIANG CAI BEAKER VASES, GU, JIANGXI PORCELAIN COMPANY 一對淺絳彩花觚Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, Jingdezhen, first half of the 20th century. Each well decorated in mirror image with Shoulao surrounded by boy attendants holding objects including a book, a lingzhi fungus, and a ruyi scepter under a gnarled pine tree amid colorful shrubbery, above the slightly bulbous mid-section with a bird perched on a branch amid leafy floral sprays, the lower section with four spotted deer in a meadow with a pine tree and rockwork. The vases with several inscriptions as well as an artist signature and dating, the bases with iron-red six-character studio marks. (2)Inscriptions: Each vase, to the top section, signed and dated ‘Xu Shanqin on a summer day in the Year of Gengzi’, and inscribed ‘collect books to educate the descendants’, one seal. To the mid-section, ‘in the eighth year of the period, painted in Zhushan’, one seal. To the lower section, ‘to repay a debt’, one seal. To the base, ‘Jiangxi Ciye Gongsi’.Provenance: French trade.Condition: Very good condition with minor wear and firing irregularities, occasional light scratches, little rubbing to enamels.Weight: 3,217 g and 3,263 gDimensions: Height 41.8 cm and 41.9 cm Xu Shanqin was a Chinese porcelain artist who was active during the late 19th and early 20th century and specialized in qianjiang painting.The Jiangxi Porcelain Company (or Jiangxi Ciye Gongsi) is the most well-known Chinese porcelain studio of the first half of the 20th century, located in Jingdezhen. It was established in circa 1910 as a large semi-government company funded by private owners and the five provinces of Hebei, Hubei, Jiangsu, Anhui, and Jiangxi. It is located near the Zhushan – the Pearl Hill – adjacent to the former Imperial porcelain workshops. It is often said that the Jiangxi Porcelain Company of the early 20th century replaced the Imperial kilns, making porcelains for the court in the last years of the Qing Dynasty.Qianjiang is a term used to describe a type of over-glaze enameled ware that was very popular during the Late Qing/Early Republican Period. The term Qianjiang cai (enamels) or Qianjiang porcelain was only coined in the 1950s. Prior to that, annals or commentaries in the late Qing and Republican periods did not classify it as a new distinctive type of over-glaze enamel decorative technique on porcelain. The term was initially used to describe a distinct style of landscape painting by the Yuan master Huang Gongwang. It is typified by the use of a particular color scheme: varying ink tones for outlines and reddish-brown for other aspects such as foliage, flowing water, mountain shades etc. The term was subsequently used to describe a porcelain painting style that used similar techniques but with additional colors such as aquamarine, moss green, pale blue, red and light pink.The relationship between qianjiang and fencai painting has caused quite a bit of confusion. In terms of the decorating medium, qianjiang utilizes fencai enamels. The main difference is actually the source of inspiration for the painting because the Qianjiang school draws its inspiration from the Chinese literati style, whereas the typical fencai work is more akin to gongbi painting. For fencai painting, the areas within the outlines of the motif are first applied with an arsenic-based opaque white pigment. The deeper and lighter tones are then obtained by mixing the enamels with different amounts of this opaque substance. For Qianjiang, the enamels are applied directly without the opaque white pigment. Hence, the enamels are thin and lack tonal gradations, especially on the early qianjiang works.
A RARE TURQUOISE-INLAID BRONZE MIRROR, WARRING STATES PERIOD 戰國嵌綠松石銅鏡Please note this Lot is to be sold at No Reserve. 本拍品不設底價China, 475-221 BC. Finely cast, the back of the circular mirror intricately inlaid in turquoise with intertwined stylized dragons arranged in a grid-like structure interspersed by circular recesses and encircled by a band of similarly stylized beasts. The mirror is cast with three loops suspending loose and massive bronze rings.Provenance: A private collection in Northern Thailand. Het Magazijn, Ghent, Belgium, September 2006. The private collection of Mr. and Mrs. S., Ghent, Belgium, acquired from the above and thence by descent in the family. A copy of a signed authentication certificate from Het Magazijn, including two photographs of the present lot, and confirming the provenance and dating above, accompanies this lot.Condition: Good condition, commensurate with age. Extensive wear, signs of weathering and erosion, losses, nicks, scratches. The bronze is covered in a rich, naturally grown patina with fine malachite encrustation. Displaying spectacularly well overall.Weight: 1,926 g Dimensions: Diameter 29.9 cm Expert’s note: Unlike most mirrors of Warring States and Tang Dynasty date, which have a central loop or knob for the attachment of a cord, this mirror - and others like it - have loops at the outer edge, which are thought to have been used for suspending it. Fragments of stone left within one of the eight circular recesses suggest this mirror was once additionally inlaid with precious stones which are now lost. This suggests a high degree of importance surrounding this mirror as all other comparisons have simple bronze knobs cast as one piece rather than gemstone inlays.Literature comparison:Compare a closely related turquoise-inlaid mirror, also with three rings, excavated at Linzi (a city of the Qi state), Shandong province, dated to the Warring States period, in the Shandong Museum, illustrated in Zhongguo Qingtongqi Quanji (‘Complete Collection of Chinese Bronzes’) - 16 - Bronze Mirrors, Beijing, 1998, p. 32, no. 32; and by Thomas Lawton, Chinese Art of the Warring States Period: Change and Continuity, 480-222 BC, Freer Gallery of Art, 1982, p. 81, where it is noted that other mirrors with suspension loops at the rim were excavated from a tomb at Shiertai, Chaoyang county, Liaoning province. A turquoise-inlaid bronze mirror found in 1965 in a Western Han tomb at the Sanlidun site in Lianshui county, Jiangsu province, was unearthed with a bronze figure of a recumbent deer, suggesting that the mirror might have been suspended by two of the rings from the antlers. For illustrations of the deer and mirror see Ancient Bronze Mirrors from the Shanghai Museum, Shanghai, 2005, p. 59, fig. 13.Auction result comparison: Type: Closely related Auction: Christie’s Hong Kong, 4 Oct 2018, lot 73 Price: HKD 175,000 or approx. EUR 24,500 converted and adjusted for inflation at the time of writing Description: A rare small turquoise-inlaid silvery bronze circular mirror with rings, Warring States period (475-221) Expert remark: Compare the identical form with three loose rings and similar decoration with similar turquoise inlays. Note the much smaller size (9 cm).
A TANG DYNASTY BRONZE ‘LION AND GRAPEVINE’ MIRRORPlease note this Lot is to be sold at No Reserve. 本拍品不設底價China, Tang Dynasty (618-907). Of circular form, the back cast in high relief, the center with a crouching beast-form loop surrounded by four lions amid grape bunches and vines, the outer field with birds and fruiting grapevines below a narrow border of florets.Condition: Commensurate with age, extensive wear, some weathering, nicks and small losses, and corrosion. Fine, naturally grown patina with extensive malachite encrustation. Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels ‘RIE.1976.351’ and ‘86’ to the mirror. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.Weight: 194 gDimensions: Diameter 9.2 cmAuction result comparison:Compare a related bronze ‘lion and grapevine’ mirror, Tang dynasty (618-907), sold at Christie’s New York in Fine Chinese Ceramics and Works of Art on 22 March 2013, lot 1154, for USD 15,000.
A SILVERY BRONZE ‘MYTHICAL BEAST’ MIRRORPlease note this Lot is to be sold at No Reserve. 本拍品不設底價China, Han Dynasty (206 BC to 220 AD). The circular mirror with a central domed knob surrounded by four bosses interspersed with two kneeling figures and mythical creatures, framed by raised geometric borders.Condition: Fine condition, commensurate with age, extensive wear, weathering, corrosion, nicks, losses. Superb, naturally grown patina with extensive malachite and cuprite encrustations. Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels ‘RIE.1976.259’ and ‘2’ to the mirror. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.Weight: 321 gDimensions: Diameter 13.1 cmWith a padded box. (2)Auction result comparison:Compare a related bronze ‘Tigers and dragons’ mirror, Han dynasty (206 BC- 220 AD), sold at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 30 November 2011, lot 3350, for HKD 87,500.
A SILVERY BRONZE EIGHT-LOBED ‘PHOENIX AND BIRDS’ MIRRORPlease note this Lot is to be sold at No Reserve. 本拍品不設底價China, Tang Dynasty (618-906). Of lobed form, cast at the center with a domed knob encircled by two phoenixes and two birds, the raised rim with butterflies and floral sprays.Condition: Fine condition, commensurate with age, extensive wear, weathering, corrosion, nicks, losses. Superb, naturally grown patina with extensive malachite encrustation. Provenance: Collection of Dr. Walter Rieder (1890-1986), thence by descent. Old inventory labels ‘RIE.1976.311’ and ‘9’ to the mirror. A copy of an old handwritten note by Dr. Rieder, describing the piece as ‘2 Birds, 2 Kilin [sic!] (?) & ornamental pattern’. The padded box inscribed, noting that the piece was a goodbye present from 1938 from the trade commissioner Yamamoto. Dr. Walter Rieder served in the Swiss East Asia Mission (SOAM) in Qingdao, Shandong Province, between October 1930 and December 1951. The mission specialized in educational, literary, and philanthropic work and Dr. Rieder was in fact, not a theologian or missionary, but a teacher of mathematics, physics, and science to high school students attached to the SOAM. His guiding principles were 'Creating understanding between different cultures' and 'Building bridges between East and West'. While in Qingdao, Dr. Rieder collected a wide variety of Chinese art. The objects in the collection thus offer a unique window into the type of antiques that were on the market in Qingdao in the second quarter of the 20th century. As well as demonstrating his passion for Chinese art, his collection also reveals the personal friendships Dr. Rieder forged with local artists, some of whom he knew from his teaching activities. Dr. Rieder had a scholarly approach to studying his collection. Alongside many of his objects, meticulous notes can sometimes be found detailing his art historical commentaries. The collection was hence Dr. Rieder's gateway to the history and culture of China. Objects from the collection were exhibited at the Kunsthaus in Interlaken, Switzerland in 2006 and 2018.Weight: 195 gDimensions: Diameter 9.7 cmWith a padded box bearing a dedication mark of being a present in 1938. (2)Auction result comparison:Compare a related silvery grey bronze eight-lobed mirror, Tang dynasty (618-907), sold at Christie’s New York in Fine Chinese Ceramics and Works of Art Part I and Part II Including Property from the Arthur M. Sackler Collections on 24 March 2011, lot 1268, for USD 8,125.
A LARGE BRONZE MIRROR WITH A 37-CHARACTER INSCRIPTION, HAN DYNASTY, CHINA, 206 BC-220 AD 漢代長樂銘文銅鏡Please note this Lot is to be sold at No Reserve. 本拍品不設底價Inscription: ‘Yelian tonghua qing er ming, yi zhi weijing, yi wenzhang, changsheng yishou qu buxiang, yutian changjiu er riguang, qianwan sui xi leweiyang’ (The bronze mirror we made is clear and shiny. With such a mirror, you will be blessed with a long life, and it will ward off bad luck. We wish you a long life as long as heaven and earth, and eternal joy and happiness).Expert’s note: Inscribed bronze mirrors with bullet proof provenance, such and extensive and detailed inscription, and in such excellent condition overall, must be considered as exceedingly rare.The central knop rising from quatrefoil lotus petals, encircled by an eight-pointed star, surrounded by ancient cult symbols and decorated with an outer band holding the 37-character inscription in high relief, all within a sawtooth border on the rim. The circular bronze with a rich, naturally grown patina with malachite and cuprite encrustations.Provenance: Galerie Themis, Brussels, April 23, 1952 (according to an ancient family ledger inspected by Cabinet Portier, Paris, France, during their appraisal of the complete de Strycker estate; this ledger remains in the possession of the de Strycker family and may not be copied). Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. The obverse with two old labels, one reading ‘MBR no. 174 Epoque Han. 20630. Chine,’ and the accompanying display stand with two inscriptions on the reverse. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Université Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France’s post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven’s museum for an exhibition titled Oude kunst in Leuvens Privébezit (‘Old Art in Private Collections in Leuven’), and in 1967, they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen (‘Japanese Art in Belgian Private Collections’).Condition: Superb condition with only minor old wear and some weathering, encrustations, scratches to the rim, and nicks, all exactly as expected from an ancient bronze mirror. Magnificent, naturally grown patina with fine cuprite and malachite encrustations.Weight: 875.2 (excl. stand)Dimensions: Diameter 18.4 cmWith a fitted wooden display stand wrapped in fabric, dating to around 1952. (2)Literature comparison:Compare a closely related bronze mirror, 14 cm diameter, dated to 2nd-1st century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number S 2012.9.1756. Compare a related bronze mirror, 13 cm diameter, dated 2nd-1st century BC, in the National Museum of Asian Art, Smithsonian Institution, accession number 2012.9.2103. Compare a closely related bronze mirror, 18.8 cm diameter, dated to the Han dynasty, in the British Museum, registration number 1957,1119.1.Auction result comparison:Type: Closely relatedAuction: Christie’s New York, 20 March 2015, lot 718Price: USD 16,250 or approx. EUR 19,500 converted and adjusted for inflation at the time of writingDescription: A bronze circular mirror with inscription, late Western to early Eastern Han DynastyExpert remark: Note the near-identical size (18.9 cm) and design, showing a different inscription.Auction result comparison: Type: RelatedAuction: Christie’s New York, 22 March 2012, lot 1425Price: USD 122,500 or approx. EUR 152,000 converted and adjusted for inflation at the time of writingDescription: A silvery bronze circular mirror with inscription, Western Han dynastyExpert remark: Note the size (19 cm).
A Chinese patinated bronze circular mirror, moulded in relief with a rampaging five-clawed dragon, above an indistinct reign mark, 10 cm diameter, together with another circular bronze mirror and a larger example with points of the zodiac and a pair of fish to the reverse, a Chinese crotal type "Tiger Bell"
A Chinese early Ming Dynasty Yaozhou stoneware glazed meiping baluster celadon vase. The vase decorated with carved decorations of young lady in Song dynasty garments looking at herself in hand mirror, together with foliate lappet designs around the bottleneck and the bottom of the vase. Measures approx. 31cm tall. 北宋 耀州仕女花卉梅瓶， 口細而頸短，豐肩，下收、圈足的立式， 淺雕仕女梳妆和花卉卷葉紋.
A CHINESE BRONZE MIRROR ON WOODEN STAND, TANG DYNASTY (618–907). Circular form with animal form finial to the centre. On a later carved and pierced wooden display stand. Mirror 7.3cm diam.All in good overall condition with no signs of damages or repairs. Provenance: Property of Dennis Young, son to Sir Mark Aitchison Young GCMG (1886-1974) who served as Governor of Hong Kong between 1941 and 1947, thence by descent.
A CHINESE HARDWOOD TRAVELLING VANITY CASE, 19/20TH CENTURY. Of rectangular form with metal handles and floral hinges. With folding mirror at the top above two drawer compartments and separate mirrored panel. 30cm x 23cm x 17cm (af)Rear left metal hinged almost detached due to lost pins. Front section all loose, attention needed to restore.
Untertasse mit Chinoiseriemalerei. Meissen. Ungemarkt, Goldmalerziffer "31.", um 1730/40. Polychrom bemalt, goldstaffiert. Ø 12,5 cm. Untertasse mit Goldspitzenbordüre, im Spiegel eine Kartusche mit der Darstellung eines auf einem Sockel lehnenden, in die Landschaft schauenden Chinesen. Aufrufzeit 23. | Feb 2024 | voraussichtlich 11:50 Uhr (CET)Saucer with chinoiserie painting. Meissen. Unmarked, gold painted number "31.", around 1730/40. Polychrome painted, decorated in gold. Ø 12.5 cm. Saucer with gold lace border, in the mirror a cartouche depicting a Chinese man leaning on a plinth and looking into the landscape. Call time 23 | Feb 2024 | presumably 11:50 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.
ASSORTED ASIAN COLLECTABLES including FOUR LADIES FANS, comprising Chinese blue silk fan (boxed), Chinese mother of pearl and painted ivory silk fan (boxed), smaller Chinese bone brise fan (2 sticks damaged), and a European Etruscan-style wood and printed cotton fan, PAIR CHINESE FAMILLE ROSE SAUCER DISHES, Qianlong, of lobed form, centre painted with basket and vase full of flowers, amid scattered insects and sprigs, 24.2cms diam., CHINESE 'SQUIRREL & VINE' SANCAI BRUSHPOT, BITONG, Qing Dynasty, applied to one side in high relief with three squirrels eating vine fruit, 11.5cms high, JAPANESE SILVER DRAGON VASE & TWO ANCESTOR SHRINES, the small stem vase tapering circular with cherry blossom handles, tripod base, a gilt black lacquer inscribed tablet and a box container with inscribed bamboo tablet within, visible through pierced cover, ASSORTED ASIAN METALWARE, including Chinese portable hand warmer, archaistic bronze mirror, tea canister, tea box, six provincial blue and white soup spoonsProvenance: private collection CardiffComments: brise fan damaged, both dishes with multiple small rim chips, brushpot with crack, vase one leg repaired, gilt tablet with chipped lacquer
Ca. 18th century AD.A Chinese hand held mirror, with carved jade and bejeweled mount. The back of the mirror shows a scene of an immortal under a tree and surrounded by rocky mountains, supported on a bejeweled metal frame. The handle depicts a mythical creature.一面玉雕镶珠手持镜。镜子的背面是仙人在树下和假山环绕的场景，由镶满珠宝的金属框架支撑。手柄描绘了一个神兽。 Size: 235mm x 110mm; Weight: 290g
A Chinese Patinated Bronze Circular Mirror with Plain Face, of Early Archaic Form, the reverse cast in relief with figures of the Four Spirits - the blue dragon, the red bird, the white tiger and the dark warrior, each figure with raised boss, the central domed suspension boss within double-lined square, 4.75ins (12cm) diameter (Eastern Han Dynasty AD 25 - 20) Provenance: The Sharpe Memorial Collection, East Sussex, with copy of letter from The British Museum suggesting date, with caveat, and interpretation and copy of entry in Shanghai Museum Collection indicating similar examples This mirror has a green patination. The plain face shows a mixed brown/green patination. There are some signs of burial. There is no obvious damage/loss/restoration.
A Chinese Patinated Bronze Circular Mirror of Archaic Form, the plain silvered face with green patination, the verso cast in leaf in registers with an intricate version of the Four Spirits - the blue dragon, the red bird, the white tiger and the dark warrior, each in combat, with domed flower heads, the inner circle cast with twenty-six characters of a poem, within patterned borders, and with central dome suspension loop, 8ins (20.3cm) (Western Han dynasty BC 205 - AD 220) Provenance: The Sharpe Memorial Collection, East Sussex, with copy of letter from The British Museum offering a suggested date and interpretation (with caveats), and copy of entry in catalogue of Shanghai Museum indicating a similar example This mirror has a green patination. The plain mirror face shows pitting. The mirror appears to show extensive signs of burial. There is no obvious damage/loss/restoration.
A SELECTION OF OCCASIONAL FURNITURE, to include an oak rectangular coffee table, a drop leaf table, a small corner cupboard, two table lamps, an oval mirror, a stool and a Chinese rug (condition report: rug in need of a clean, all with imperfections, such as surface marks, scuffs, general wear and tear) (8)
Two Chinese carved boxwood mirrors20th centuryEach with elaborate openwork carved borders featuring figures, dragons, architectural features, and floral motifs, with modern mirror plates, each approx. 56 x 68cm. (2)二十世紀 黃楊木雕鏡框兩件Condition Report: Both with expected scattered nibbles and small losses to extremities and a few reattached chips. Expected areas of age cracks, particularly a large split to the top crest of one mirror. The same mirror with loose joints which have been re glued, causing the mirror to be slightly loose within the frame. the second mirror also with re gluing to joints but overall less loose. Theo same mirror has extensive paper backing to the reverse, presumably to add stability to the carving.
A Chinese jichimu and burrwood dressing tableRepublic periodThe rectangular top with central folding mirror flanked by two flaps enclosing lift-out tray, above three frieze drawers and carved panel raised on cylindrical corner supports united by a reticulated 'cock-pen' latticework under tier to baluster feet, 82cm high x 70cm x 42cm民國 雞翅木及榴木雕梳妝台
A pair of export reverse-glass mirrors,late 18th/early 19th century, Chinese, each painted with a portrait of a court figure, within a rococo giltwood frame49cm wide73cm high (2)Provenance: Maurice 'Dick' Turpin, Barons Keep, London W14.Condition ReportLight mottling to the mirror plates. Some very minor scratches to painted decoration, but overall the details remain in very good order. Some light scratches to the glass. The frames appear later and are re-gilded. Some fine cracks to the foliate carvings, but both appear in good overall structural and cosmetic condition and are ready to hang. Sight size 39.5cm x 34.5cm.
An export reverse-painted glass mirror,18th century, Chinese, depicting a pair of figures in a pagoda,30cm wide34.5cm high Provenance: Maurice 'Dick' Turpin, Barons Keep, London W14.Condition ReportMottling to mirror plate. Minor wear to the painted decoration. Frame crudely re-gilded with some cracks, small losses and wear.
Cartier, an Art Deco nephrite, rock crystal, onyx, enamel and diamond poudrier box, 1920s, of Chinese inspiration, the box of circular cross section, the lid centring on a floral motif in black and red enamel accented with rose-cut diamonds, to a rock crystal ring handle, the underside with a mirror in a gilt silver frame, to a cylindrical box on four cuboid onyx legs, accented with rose-cut diamonds in platinum settings, the gold feet applied with red enamel, measuring 6.7 x 6.7 x 5.6cm, signed Cartier, numbered 0417, French assay marks for gold and silver giltCf.: Olivier Bachet and Alain Cartier, Cartier: Exceptional Objects, Palais Royal, 2019, p. 260 and 271, for a bonbonniere and an inkwell with a similar rock crystal hoop handle, each dated circa 1925, and Sotheby's Geneva, Magnificent Jewels, 8th May 2008, lot 371, for a nephrite vase of similar inspiration by Cartier, circa 1925
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