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Click here to subscribeCollection of auction catalogues on Chinese Artto include Sotheby's, Bonhams and Phillips, to include 'Important Chinese Export Porcelain and Chinese Works of Art from the collection of the late Mildred R. and Rafi Y. Mottahedeh' (17) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Collection of publications on Asian Artto include guides, handbooks, reports, journals and exhibition cataloguesto include a paperback issue by The Museum of Far Eastern Antiquities (Ostasiatiska Museet) Stockholm 'Bulletin No. 46 Stockholm 1974: A Japanese Illustrated paper backed Exhibition catalogue of Eastern Art celebrating the opening of the Gallery of the Eastern Antiquities Tokyo National Museum 1968 with Japanese and English descriptions, a Japanese paper backed folio sized issue of an exhibition of Japanese and Chinese ceramics under Yamanaka & Co text and inscriptions in Japanese, two issues by The Oriental Ceramic Society Chinese Blue and White porcelain 14th to 19th Century, 16th December 1953 to 23rd January 1954 and The Victoria and Albert Museum, in association with The Oriental Ceramic Society, Chinese translations, No. 1, Important finds of ancient Chinese ceramics since 1949, by Feng Hsien-Ming in Wen Mu 1965 No. 9, pp. 26-56, translated by Mrs Hin-Cheung Lovell, M.A. and six various mixed sized paper backed issues on Oriental Art (12) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Collection of books and a report on Chinese Artto include two hardback folio-sized issues with Chinese and English text, Chinese Antiquities from The Brian S. McEleney collection, well illustrated with 174 plates in monochrome and colour, organised by The Hong Kong Museum of Art 1987,and An Anthology of Chinese Ceramics, with similar text and illustrations, jointly presented by the Min Chin Society, and the Urban Council, Hong Kong, Hong Kong Museum of Art 21.10.80 - 21.12.80,a paperbound book compiled by P. Hughes Stanton and Rose Kerr, Kiln Sites of Ancient China, covering recent finds of pottery and Porcelain, an exhibition lent by the Peoples Republic of China, organised in association with The Oriental Ceramic Society, printed and bound in Great Britain by Baldin + Mansell London and Wisbech with monochrome and coloured illustrations;and a book on Chinese ceramics from datable tombs, with mainly monochrome illustrations., by J.M Addis, first published in 1978 for Sotheby Parke Bernet publications, by Philip Wilson publishers, illustrated,together with a titled and coloured illustrated paper-covered folio issued book of 291 pages on Oriental Art, well illustrated in colour, by Maurizio Scapari, 'Splenders of Ancient China', published by Thames and Hudson,Chinese cardboard cased hard backed folio two-volume issue book in Chinese and English script and in excellent condition, on Chinese porcelain from the S.C.KO Tianminlou collection by John Ayres, published by Hong Kong Museum of Art, presented by the Urban Council, Hong Kong, Part 1 illustrated in colour with (blue and white ware 1-65) - (polychrome are 66-119) - (monochrome ware 120-1610, Part 2, covering each illustration with descriptions of their decoration and periods, a paper-backed issue, Freer Gallery of Art, Chinese Art of the Warring States Period Change and Continuity, 480-222 B.C., by Thomas Lawson Freer Gallery of Art, Smithsonian Institution Washington. D. C. 1982,A Bluett & Sons Gallery Exhibition paper-backed illustrated catalogue of Ancient Chinese Bronzes of The Late Warring States - early Western Han Periods:and a notebook-size issue, An Examination of Chinese Bronzes by John C. Ferguson from The Smithsonian Report for 1914, pages 587-592 and 14 plates,a folio issue hardback illustrated catalogue of The Malcolm Macdonald Collection of Chinese Ceramics in the Gulbenkian Museum of Oriental Art and Archaeology, School of Oriental Studies, University of Durham, by Ireneus Laszlo Legeza, deputy curator with a foreword by the Rt. Hon. Malcolm Macdonald, printed by London University Press, New York, Toronto, 1972,a hardback issue covering various aspects of Chinese Art with one hundred plates in colour introduced by an outline sketch of Chinese by R.L. Hobson, Keeper of the Department of Ceramics and Ethnography at the British Museum, published by Earnest Benn Ltd London MCMXXVII (12) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Collection of books/catalogues on Asian Art and Furniture to include Friends of the House, Furniture from China's Towns and Villages, by Nancy Berliner and Sarah Handler, published by Peabody Essex Museum, vol 131, dated 1995, illustrated in monochrome and colour;Journal of the Classical Chinese Furniture Society, volume two, number three, Summer Quarter 1992;a notebook-size book, 'Images of Asia', Chinese Classical Furniture by Grace Wu Bruce, Hong Kong, Oxford University Press, 1995, illustrated in colour and monochrome, 1st published 1995;a notebook paper back issue, The Chair in China by Louise Hawley Stone, published by Royal Ontario Museum Toronto 1952,a paper covered hard-backed issues, dated Chinese Antiquities 600-1650, 195 illustrations alongside descriptions, by Sheila Riddell, 1979, in Memory of His Majesty King Gustaf VI Adolf of Sweden 1882 - 1973, first published in 1979 by Faber and Faber,a paper covered issue Selection of Master Works in The Collection of The National Palace Museum, with a preface by Chiang Fu-tsung, 1972, illustrated in colour and monochrome and inscriptions in Chinese and English,Chinese Ceramics from the Museum Yamato Bunkakan Collection, an illustrated catalogue series No. 7 - 1977,a hardback book by Margaret Jourdain and R. Soame Jenyns, Chinese Export Art in the 18th Century, published in 1967, with 144 illustrations, first issued in 1950 by Country Life Ltd,a similar issue, catalogue of the Memorial Exhibition 'Eastern Ceramics and Other Works of Art from the Collection of Gerald Reitlinger', first published in 1981 by the Ashmolean Museum and Sotheby Parke Bernet Publications by Philip Wilson Publishers Ltd.,a jacket paper covered hardback folio size issue with 80 pages and 60 coloured illustrations 'Masterpieces of Chinese Export Porcelain from the Mottahedeh Collection in the Virginia Museum by David Howard and John Ayres, published by Philip Wilson for Sotheby Park Bernet publications,a hardback folio issue The Arts of The Ching Dynasty, An Exhibition Organised by The Arts Council of Great Britain and The Oriental Ceramic Society from May 26th to July 1964, covering some ten materials with 144 illustrations,a paper-backed issue, Masterworks in Wood in China and Japan by Donald Jenkins assisted by Robin Sribnick, Portland Art Museum and Asia House Art Gallery,a paper-backed issue, Chinese Art Under the Mongols: The Yüan Dynasty (1279-1368) by Sherman E Lee and Wai Kam-Ho, published by The Cleaveland Museum of Art, copyright 1968 (13) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Collection of books/catalogues on Chinese and Japanese Art to include two hardbound books, well illustrated on specialised Japanese subjects, Bone Culture of Ancient Chine, around 12th Century BC, by William Charles White, Professor of Chinese Studies at the University of Toronto, published by The University of Toronto Press, Toronto 1945,Hunting Magic In The Animal Style by J. G. Andersson and presented to Sir Percival David,a paper-bound issue on Chinese Mortuary Pillows in the Royal Ontario Museum of Archaeology by Helen E. Fernald,an extremely useful book for Chinese painting collectors, Seals of Chinese Painters and Collectors of the Ming and Ching Periods, reproduced in Facsimile size and deciphered by Victoria Contag and Wang Chi-Chen with introduction by James Cahill, revised edition with supplement, Hong Kong University Press, printed March 1988, 1500 copies,Symbols of Eternity, The Art of Painting in China by Michael Sullivan, well illustrated, published by Stanford University Press, Stanford, California, 1979 by Michael Sullivan,Chinese Ceramics in the Carl Kempe Collection by Bo Gyllensvard, illustrated with small square photographs with descriptions beside a preface by Carl Kempe dated 1964; Masahiko Sato Chinese Ceramics 'A Short History published by Weatherhill/Heibonsha New York and Tokyo, first English edition 1981,a hard-bound catalogue, An Exhibition of Blue Decorated Porcelain of The Ming Dynasty,to include hardbacked cloth titled covered folio issue in Japanese on Karatsu Ceramics, by Wasaburo Mizumachi and Nabeshima, with a separate twelve-page introduction in English by Harry Packard, covering 28 plates and 136 monochrome, with black cloth hinged storage box, published by Jakuosha Tokyo, Japan 1963,a paper-backed folio issue by Martha Boyer, Japanese Export Lacquers, from the 17th Century In The National Museum of Denmark, with descriptions and 58 monochrome plates and details, printed in Denmark, 1959 (10) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.
Group of four piecesChinese and Japaneseincluding an Hirado gourd vase with pine tree and blossom decoration, 22cm high, a Chinese blue and white porcelain jar, painted with dragons, 8cm high, a blue and white vase, with figures and Kangxi mark, 17cm high and a Fukagawa yellow ground tapering brush pot in green and red enamels with dragons, 10.5cm (4) The figural vase is chipped and with a loss. The yellow vase is worn at the rim.
A LARGE SAMSON PORCELAIN FISH BOWL ON A CHINESE MARBLE-INSET HARDWOOD STAND the fishbowl, late 19th Century, decorated in the Chinese taste with flowers and birds in a Famille Verte palette, the interior with fish and plant life, applied with red lion-mask handles; the Chinese stand, late 19th Century, with a beaded edge, raised on four mask-carved scroll-form legs terminating in ball and claw feet. (2) 83.5cm high overall, 61.5cm diameter overall
A SAMSON PORCELAIN DESSERT SERVICE IN CHINESE EXPORT ARMORIAL STYLE comprising two pairs of compotes, a pair of serving dishes and twelve plates, each enamel painted with an armorial within gilt-edged rims, pseudo-Chinese marks. (18) Plates 24cm diameterOverall in good condition, each with the same armorial.
TWO CHINESE BLUE AND WHITE PORCELAIN BOTTLE VASES, KANGXI PERIOD each vase of pear-form and raised on a tall, spreading foot, decorated on the body with vertical panels alternately enclosing 'antiques' or fan-shaped designs, and on the neck with leaf tip borders, which also decorate the foot. (2) 25cm highOne with chips to the foot rim. The other with 5cm hairline crack issuing from the rim of the neck. The same vase with a rim chip to the neck rim.
A Collection of Various 18th/19th Century Blue and White Porcelain to Comprise Chinese Shallow Bowl Decorated with Floral Motif (Chip to Rim), Two Further Shallow Bowls (Both with Glued Restoration), a 19th Century Chinese Rectangular Platter Decorated with River Village Scene, A Small Porcelain Dish Decorated with Figures Etc (Condition issues)
A group of five Chinese works of art18th - 20th centuryComprising a Dehua Guanyin, two blue and white snuff bottles with floral design, a jade carved snuff bottle with recessed base, and a bronze incense burner with a bamboo carved cover. 4.7cm - 19.2cm high (5).十八至二十世紀 中國藝術品五件 Condition Report: Significant glued repair to one porcelain snuff bottle. The other with the neck cut down, a couple of surface flakes and a small hairline to the rim. The Guanyin figure with reattached head, missing index fingers, nibbling to the edge and 2 approx. 8cm long hairline cracks. The jade bottle with a few natural fissures to stone. Expected surface wear on all the items.
A group of Chinese snuff bottles and a paste box and cover20th centuryComprising two inside-painted snuff bottles, a lapis lazuli bottle and stopper, two enamelled glass and two monochrome glass bottles, six porcelain snuff bottles. one cloisonné-enamel egg-shaped bottle, a famille rose paste box and cover, and a green glass vase.5.7cm - 10cm high (17).二十世紀 鼻煙壺及印泥蓋盒一組
A Chinese 'Bleu de Hue' blue and white 'dragon roundels' octagonal bowlNguyen/late Qing dynasty, Thiêu Tri niên tao mark and of the period (1841-1847)Finely painted in underglaze blue with a dragon roundel on each face, between cloud borders at the mouth and rim, the mark with one character painted just above the dragon roundel on alternate faces of the bowl, the rim bound in white metal, the base with Cai 才collector's mark incised to the glaze.15.7cm wide.紹治/清晚期 外銷越南皇室青花繪團龍紋八方盌，「紹治年製」、暗刻「才」款'Bleu de Hue' is the name given to the blue and white wares produced in China for the Vietnamese Royal court and exchanged as part of diplomatic missions during the 18th and 19th century. Because of its Royal use, the shapes, patterns and marks were highly codified, with dragon motifs generally reserved for use by the King.The four-character mark on the present bowl, Thiêu Tri niên tao, indicates that it was made for the use of the third Emperor of the Nguyen dynasty, Thiêu Tri (personal name Nguyễn Phúc Miên Tông or Nguyễn Phúc Tuyền), who reigned between 14 February 1841 and 4 November 1847. A fierce conservative and staunch follower of Confucianism, it is said that he favoured octagonal shapes. Many wares with this same pattern and octagonal shape, with his reign mark, have been sold at auction over the years. Cf. a cup of the same decoration, also with white metal-bound rim, was sold in Sotheby's Paris, 8 November 2022, lot 209.Condition Report: Porcelain unexamined under rim. Approx. 5cm long rim hairline and apprx 10mm long hairline to rim.
Three Chinese porcelain snuff bottlesQing dynasty, 19th centuryComprising an iron-red 'dragon' cylindrical bottle; an iron-red 'carps' moulded bottle with original stopper; and a blue and white cylindrical 'animals of the zodiac' snuff bottle, blue and white stopper.Without stoppers, 7.8cm - 6.6cm high (3).清十九世紀 瓷鼻煙壺三件 Condition Report: Nibbling to edges. The blue and white bottle with overpainting along the lower body and foot, with a hairline to foot, and to the sides of the stopper. The carp bottle with old surface wear and some old surface residue which highlights under UV but does not appear to be restoration. Dragon bottle with some rubbing to gilt.
Three Chinese snuff bottlesQing dynasty, 19th century, Gu Yue Xuan mark to oneComprising a flattened Peking glass snuff bottle painted to the front with two goats to each side of a scholar under tall tree within a landscape setting and to the reverse with a boy with an ox, Gu Yue Xuan mark; a blue and white snuff bottle of cylindrical form painted with figures within a courtyard, and a famille rose snuff bottle painted with Chinese historical figures.6cm - 7.5cm. (3)清十九世紀 料粉彩繪鼻煙壺，「古月軒款」，及鼻煙壺另兩隻 Condition Report: Guyue Xuan bottle with line across mouth and expected wear to enamelsBlue and white bottle with chipping to mouth, both porcelain bottles with expected wear and firing imperfections
A fine and rare Chinese blue and white 'bagua' bowlQing dynasty, Kangxi mark and periodThe thinly potted vessel rising from a straight foot to a gently everted rim, finely painted around the exterior in washes of cobalt blue with eight trigrams, bagua, symbolising the eight natural phenomena, above a band of crested waves, the interior with a taijitu symbol to the centre within double rings around the base and to the interior of the rim, the base with a six-character mark also within a double circle.12.1cm diameter.Provenance: the Collection of Frederick Knight, the nephew of Henry Knight (1903-1970)Bluett and Sons (label).清 康熙 八卦海水紋盌來源：Frederick Knight 收藏，Bluett and Sons (標籤)。The exterior of the bowl is decorated with the Eight Trigrams (bagua) symbolising the eight Dao/Tao natural forces: Heaven, Earth, Water, Fire, Wind, Thunder, Mountain and Lake. Each consists of three lines, each line either “broken” or “unbroken”. The interior depicts the yin-yang symbol, which is often seen in conjunction with the Eight Trigrams. By the end of the Ming period, this diagram had become a widespread representation of Chinese cosmology, representing the fundamental principles of reality.Cf. Similar examples can be found in Chinese Porcelain, The S.C. Ko Tianminlou Collection, Hong Kong, 1987, pl. 50, where it is noted that bagua are rarely found on Qing Dynasty porcelain.There are a number of examples in notable museum collections, including a bowl in the Palace Museum, Beijing, illustrated in Qing Shunzhi Kangxi chao qinghua ci, Beijing, 2005, no. 118; one in the Percival David Foundation, British Museum, no. PDF C619; and one in the The Smithsonian's National Museum of Asian Art, accession no. F1995.8.For an example offered at auction within the last decade, see Christies, New York, 18 September 2015, lot 2233.Condition Report: Sympathetic overpainting to 3/4 of the foot ring possibly covering three hairlines.
A group of Chinese and Japanese Works of ArtQing dynasty and Meiji periodComprising: three porcelain snuff bottles, two rosary bead bracelets carved of fruit kernels, one with figures, the other with pomegranates; four Japanese wood netsuke, a pair of bronze-lined Japanese kernel pendants in the shape of double-faced heads; and a small Japanese kernel carving of Fukurokuju.The tallest snuff bottle, 7.3cm high (11).清及明治時期 雜項一組Condition Report: The celadon snuff bottle: fritting, surface wear, chips to the foot, nibbles to the extremities.The blue glazed snuff bottle: surface wear with nibbles to the extremities.Blue and white snuff bottle: firing imperfections including pitting, iron spots, and fritting, nibbling to the foot.Four netsukes: indentation, surface wear, cracks and scratches, all commensurate with age.Kernel carving: good condition.Rosary bead bracelets: the shorter one with minor staining and tiny chips to the carvings; the longer one with a chipped area to the larges bead, and cracks to other beads commensurate with age.A pair of kernel beads: general surface wear with indentation.
A fine pair of lemon-yellow enamelled saucer dishes Qing dynasty, Yongzheng marks and period The thinly potted vessels with gently rounded sides rising from short tapering feet and wide bases, the interiors and exteriors covered overall in bright lemon yellow, the white-glazed bases with finely painted six-character marks in cobalt blue within double squares, fitted box.Each 8.8cm diameter (2)Provenance: Sotheby's Hong Kong, October 2018, lot 3648 (labels).清雍正 檸檬黃釉小盤一對，青花雙方框楷書「大清雍正年製」款來源：蘇富比香港，2018年10月拍賣第3648號（標籤）。Further to the introduction of colloidal gold and the development of yancai enamels, known in the West as famille rose, during the reign of his father, the Kangxi emperor, Emperor Yongzheng took a personal and close interest in the further development of porcelain technology, and in the creation of an Imperial aesthetic which favoured delicate designs and shapes that were technically complex to achieve. Chief amongst these were lemon yellow vessels, deceptively simple in form and colour, yet requiring absolute perfection and precision in potting and enamel application and firing, lest they be destroyed.Lemon-yellow is perhaps the most iconic of the many bright-coloured enamels developed by command of Emperor Yongzheng in his quest to further advance the new palette of famille rose enamels; it is achieved when the antimoniate of iron is combined with tin oxide resulting in a dazzling translucent yellow hue. Until then, yellow glazes, despite their irrevocable imperial connection, were reserved exclusively for ritual use; the new, bright enamels provided the court for an alternative for daily use.Cf. See a similar pair of dishes from the Sir Percival David collection and now in the British Museum, London, published in the Illustrated Catalogue of Ming and Ch'ing Monochrome in the Percival David Foundation of Chinese Art, 1989, pl. B543-4.A similar pair was sold by Sotheby's, Hong Kong, 29 April 2022, lot 3509.Condition Report: Good condition.
A Chinese doucai 'marriage' bowl Qing dynasty, Jiaqing mark and period Delicately painted and outlined in underglaze blue and enamelled in translucent green, aubergine, yellow, and finely-shaded iron red, with a border of lanca characters to the interior of the rim and a central circular medallion of a pair of mandarin ducks in a lotus pond, the exterior with a border of dragons chasing pearls beneath the rim, above a continuous scene of pairs of mandarin ducks in a pond of large-headed, leafy lotuses, the base with underglaze blue six-character seal mark.16.5cm diameter.清嘉慶 鬥彩繪蓮池鴛鴦圖紋書梵文盌，青花篆書「大清嘉慶年製」款The highly auspicious motif of mandarin ducks in a lotus pond appears as early as the Tang dynasty. As the word for lotus has several homophones which relate to connection and peace, the lotus flower represents a harmonious union. Ducks signify loyalty due to the belief that they mate for life with a single partner. Symbolic of marital harmony, the depiction is popular on items presented as marriage gifts.Cf. See an almost identical bowl, sold by Roseberys, Tuesday 28 July 2020, lot 86. The present bowl appears to be a direct copy of Chenghua examples. It is rare to see this kind of bowl with a Jiaqing mark. For an example of a Daoguang-period bowl, see Sotheby’s Hong Kong, Important Chinese Art, 5th April 2017, lot 3704. Similar examples can also be found at the National Palace Museum, Taiwan, Special Exhibition of Cheng-hua Porcelain, 1976, no. 87, together with enamelled Qianlong and Jiaqing bowls of the same pattern, nos. 84 and 86, and an enamelled bowl with a Chenghua mark, no. 85. An earlier Jiajing-period doucai dish with a similar pattern can be found in the National Palace Museum, Taipei, and is illustrated in Enamelled Ware of the Ming Dynasty, Book II, Hong Kong, 1966, pl.18.Condition Report: Four shallow flakes to the edge of the foot, the largest approx. 25x3mm, probably corresponding to firing imperfections. A few areas of firing imperfections, which are also highlighted under UV inspection, include a few further minute firing cracks to the edge of the foot, and some inconsistency in texture of the glaze and dark dust in the glaze around the edge of the rim and a few spots to the interior. There is also a fine firing line to the interior highlighted under UV, which does not go through the body.
A Chinese Cizhou slip-decorated pottery pillowSong dynastyDecorated in white and brown slip and incised with a motif of scrolling camellias and panels of large-headed peonies to the sides.24.5cm wide.宋 磁州窯飾堆白花卉圖紋枕A flower native to China, Japan and Korea, Camellia has been cultivated for thousands of years to make tea from its white petals; blooming in the winter, around the time of the Lunar New Year (January-February), it is generally associated with winter and endurance, and is often used to adorn homes for Lunar New Year celebrations.Also native of China and cultivated for centuries, peonies symbolise wealth, honour, peace, royalty, masculinity and also feminine beauty, and have long been beloved by Chinese people. They are known to have been grown in royal gardens since the Tang and Sui dynasties at least, thus becoming known as ‘the King of flowers’. A classic subject in Chinese art, they have been widely depicted, from classical paintings, to decorative arts such as lacquer, textiles and porcelain, from blue and white Imperial wares, to famille rose export art.Condition Report: There are two chipped corners, each of approx. 2cm across. wear and flaking to the glaze along the top edges. An area of flaking to the glaze at 2 O'clock direction probably progressed from a firing flaw that caused an association of cracks in the body. Expected firing imperfections including fritting, and lines in glaze. Expected surface wear and flaking to the glaze commensurate with age.
A Chinese famille verte 'ladies' dishQing dynasty, Kangxi periodEnamelled to the centre with a pair of ladies in a fenced garden, one offering a peony to the other, the border with peonies on a brocade-pattern border, with four cartouches of insects, the reverse with iron-red floral sprays, the base with a double-circle in underglaze blue.24.3cm diameter.清康熙 五彩繪仕女園景圖紋盤Known as 'the king of flowers' and the flower of 'wealth and honour', the peony (牡丹 mudan) was known in China since the 9th century BC at least, and known to have been grown in the gardens of the Imperial family since the Tang dynasty ( (618-907). One of the flowers of the four seasons, alongside lotus, chrysanthemum and prunus, peony was often exchanged as a gift to represent love and affection, and was an ever popular motif in porcelain decoration.Condition Report: Two hairlines to rim, light wear to decoration.
A small Chinese blue and white jarletYuan dynastyPainted in cobalt blue to the globular body with a stylised flower spray under the qingbai glaze stopping short of the foot to reveal a pinkish body, fitted box.5cm high.The Property of a Lady. Purchased in Hong Kong throughout the 1980s and 1990s. (Lots 355 - 474)Provenance: Tsu Po Antique Co., Hong Kong, 13 Feb 1988元 青花繪卉圖紋罐連盒女士藏品。二十世紀八十至九十年代間購置於香港。（拍品 355 - 474）來源：香港聚寶古玩行，1988年2月13日The use of underglaze blue cobalt pigment in the decoration of porcelain is arguably one of the most important and influential technological advancement in porcelain technology in the Yuan dynasty. The leather-hard porcelain biscuit was painted in underglaze blue pigment before being covered in either a transparent, or qingbai glaze, before being fired at a high temperature.Cf. Two similar jarlets are in the Nantucket Historical Association, DBC 11109.1, 11110.1. Condition Report: Fritting to rim and a few further expected minor imperfections. some light surface wear. Very shallow flake to the edge of the foot.
A Chinese doucai and famille rose 'sanduo' dishQing dynasty, 19th centuryThe interior outlined in underglaze blue and enamelled in the famille rose palette and iron-red with medallions of fruiting peaches, finger citron and pomegranate, with a bat alighting over the central medallion, the exterior with lingzhi sprays and a later-added iron-red six-character Jiaqing seal mark to the base.26.3cm diameter.清十九世紀 鬥彩、粉彩繪三多圖紋碟，礬紅篆書「大清嘉慶年製」後加款Known as a group as ‘the three abundances’ (sanduo三多), the finger citron, or Buddha’s Hand, peach and pomegranate, when represented together bring a blessing for a prosperous, long life, with many generations to follow.As the fruit taking three thousand years to grow and as much to ripen in the garden of the Queen Mother of the West, the peach is a symbol of longevity. It is also the fruit associated with the God of Long Life Shoulao, who is often depicted holding a ripe fruit. According to legend, whoever eats one of the peaches from the garden of the Queen Mother of the West will acquire immortality.The finger citron, in Chinese foshou 佛手, or Buddha’s hand, is a homophone and visual pun to the phrase, good fortune/wealth and longevity, fu shou 福壽.Lastly, with its myriad seeds, the pomegranate is a clear symbol not only for a numerous family, but one populated by male heirs, zi 子.In addition to the highly auspicious meaning, the group of three also poses technical challenges in their representation, from the richly shaded texture of ripe peaches, to the multitude of seeds of the pomegranate, and the corrugated texture of the finger citron, making it a highly desirable subject matter in carving of wood, lacquer, enamels and porcelain when well-executed.A symbol of great health and longevity, Lingzhi, or ganoderma sichuanense, is a bracket fungus native of East Asia. Known in Chinese culture from time immemorial, its first mention in the combination of the two characters靈芝 together into a single word is found in the poetry of Bangu in the first century CE, in an ode to Lingzhi.The fungus is thought to have been used in Daoist settings for several centuries, where the use of a concentrated decoction was thought to give practitioners the ability to see spirits, or to become spirits, or immortals, themselves. To this date, lingzhi is used in Chinese traditional medicine to treat a number of ailments. Traditionally, it was seen as a symbol of health and longevity, and a talisman for good luck. Because of these associations, it was often grown in imperial gardens, as well as being a popular subject in painting, porcelain and carving.Condition Report: The mark most likely later added, as it is highlighted under UV inspection. Expected light surface wear and a few firing imperfections consistent with type, including a few pits and iron spots.
A large Chinese famille rose 'magpie and prunus' bottle vase, tianqiupingRepublic period, apocryphal Qianlong seal markEnamelled around the pear-shaped body with a pair of magpies alighting over blossoming branches of cherry and peach trees, the base with six-character seal mark in iron-red.56.5cm high.Provenance: from the collection of one of the first diplomats to the People's Republic of China in the early 1950s, and thence by descent.民國 粉彩繪‘喜鵲登梅’圖紋天球瓶，礬紅篆書「大清乾隆年製」寄託款來源：1950年代駐中國大使私人收藏，後傳承至現藏家。Blooming through ice to herald the spring, the plum blossom is one of the most beloved flowers in Chinese art, symbolising the winter, but also inner beauty and humble display in adverse condition. Growing on gnarled old branches, looking fresh and pure, plum blossoms can also symbolise vigour in old age. Prunus is often depicted on its own, or part of other important groups of flowers or rebuses, such as ‘the four gentlemen’, ‘the three friends of winter’, or ‘prunus on ice crackle’.In China, magpies are seen as messengers of joy, in the form of married bliss, and are often shown in pairs. Prunus on the other hand, is homophone for the word ‘eyebrows’, and the two together form the rebus ‘joy up to the tip of the eyebrows’.This is a subject matter that became popular within ‘birds and flowers’ paintings during the Song dynasty, and was first translated to porcelain in the early 15th century. In the Qing dynasty, this subject matter was then revived during the reign of the Yongzheng Emperor, both in underglaze blue and enamelled porcelain, and has remained a much beloved decorative motif ever since.Condition Report: general expected firing imperfections including pitting to the surface and some iron spots, firing imperfection to the mouth rim roughly 3cm.
A Chinese silver-inlaid sleeve vaseQing dynasty, 19th centurySupported on a stand, the tall vase inlaid with silver depicting a peacock besides stylised rock and floral foliage, between two bands of keyfret, the neck decorated with a band of upright banana leaves, inscribed with Chinese characters jia ren ju you yi.29cm high. Provenance: from the collection of one of the first diplomats to the People's Republic of China in the early 1950s, and thence by descent.清十九世紀 銅錯銀孔雀山石紋瓶來源：1950年代駐中國大使私人收藏，後傳承至現藏家。An ubiquitous motif in Chinese art, be it painting, porcelain, lacquer, or carving, the banana plant developed from a background motif to a motif in its own right. In painting, it is generally the tropical variety typically planted in Chinese gardens, Musa basjoo, which was an ornamental favourite of Chinese gardeners, and was the backdrop of choice for the representation of a pensive young woman.Peacocks, the 'kings of birds', were generally regarded as symbol of the Ming dynasty, embodying virtues of divinity, beauty, power and rank. Both the peacock and the banana tree would be exotic features in a well-landscaped luxurious garden.
A Chinese blue and white 'lady and boy' jarQing dynasty, 19th centuryThe jar of globular form rising from a short foot, painted to the body with a ladies with boys beside banana tree within a garden setting between two bands of floral design, a double circle in underglaze blue to base.22.5cm high清十九世紀 青花繪仕女童子圖紋罐An ubiquitous motif in Chinese art, be it painting, porcelain, lacquer, or carving, the banana plant developed from a background motif to a motif in its own right. In painting, it is generally the tropical variety typically planted in Chinese gardens, Musa basjoo, which was an ornamental favourite of Chinese gardeners, and was the backdrop of choice for the representation of a pensive young woman.Condition Report: In good condition. Expected firing faults including pitting, iron spots and a firing crack to the inside of the jar. General surface wear commensurate with age.
A Chinese carved cinnabar lacquer 'bats and peaches' box and cover Qing dynasty, Qianlong period Shaped and carved as a pair of ripe fruits, flanked with a flying bat and leafy tendrils. 12cm wide. 清乾隆 剔彩‘福壽’圖紋蓋盒 The combination of peaches and bats is one that started appearing more often in porcelain designs and other decorative arts from the reigns of Yongzheng and Qianlong onwards. As the fruit taking three thousand years to grow and as much to ripen in the garden of the Queen Mother of the West, the peach is a symbol of longevity. It is also the fruit associated with the God of Long Life Shoulao, who is often depicted holding a ripe fruit. According to legend, whoever eats one of the peaches from the garden of the Queen Mother of the West will acquire immortality. The Chinese word for bats, fu, is homophonous for the word ‘wealth’ or ‘happiness’, also fu, therefore bats act as a visual pun for this word. Together, peaches and bats represent a desire and a wish for a long and happy life. Condition Report: Scattered surface chips and small losses to the edges of the carved design and a few fine rim hairlines - please refer to additional images.
A Chinese huanghuali recessed-leg altar table, pingtou'an Qing dynasty, 18th century The well-figured table top terminating in everted flanges on the shorter ends, above sides carved with double reeds, the apron with beaded edges enclosing finely-carved sinuous chilong dragons chasing a lingzhi issuing from a craggy peak, the aprons terminating in reticulated coiled chilong, each pair of the double-reeded legs enclosing further aprons carved in shallow relief with sinuous dragons confronting craggy peaks with further lingzhi. 145cm long x 31.5cm deep x 84cm high. 清十八世紀 黃花梨平頭案 A symbol of great health and longevity, Lingzhi, or ganoderma sichuanense, is a bracket fungus native of East Asia. Known in Chinese culture from time immemorial, its first mention in the combination of the two characters靈芝 together into a single word is found in the poetry of Bangu in the first century CE, in an ode to Lingzhi. The fungus is thought to have been used in Daoist settings for several centuries, where the use of a concentrated decoction was thought to give practitioners the ability to see spirits, or to become spirits, or immortals, themselves. To this date, lingzhi is used in Chinese traditional medicine to treat a number of ailments. Traditionally, it was seen as a symbol of health and longevity, and a talisman for good luck. Because of these associations, it was often grown in imperial gardens, as well as being a popular subject in painting, porcelain and carving. Condition Report: Expected old wear and some damage, including: areas of marks, scuffs, stains and spots of fading consistent with use. Areas of fine age cracks and some splits, particularly to the aprons and feet. Some nibbling and shallow old chips to edges, which have generally patinated over to a rich brown hue with time. One of the feet has several splits and may have portions which broke off and were restuck. The same foot has also two deep splits with some small losses along the bottom edge and visible from the side and underside. The other foot also with one small hole to the underside, some fine age cracks and a few shallow chips along the side. please refer to additional images to illustrate. https://roseberysauctioneers-my.sharepoint.com/:f:/g/personal/rassennato_roseberys_co_uk/ErpiNqaNDwZNlYSqdEEnkPABYX8BdxVo5x6FH6JYRXFGaQ?e=yGuf9P
A Chinese pale jade Mughal-style 'chrysanthemum' bowl Qing dynasty, Qianlong period The bowl thinly carved with gently rounded sides rising to an everted rim, the exterior carved overall as a multitude of narrow lappets rising from concentric rows of petals encircling the disc florets to the interior, mirrored to the exterior to form the foot, the stone of a pale celadon, whitish hue, with some cloudy inclusions.15.5cm diameter.Provenance: Gifted by Stella MacDonald, daughter of Sir Claude MacDonald (1852-1915), to the parents of the present owner in the 1950s. Sir Claude MacDonald led the defence of the foreign legations in 1900 which were under siege during the Boxer Rebellion.清乾隆 青玉雕莫臥兒式菊瓣式盌來源：由Claude MacDonald (1852-1915)爵士之女Stella MacDonald於1950年代贈予現藏家父母。Claude MacDonald曾帶領外國防禦軍抵抗義和團運動。Beautiful and colourful, the chrysanthemum flower generally represents autumn. As it blooms in autumn when all other flowers are fading away, it symbolises the ability to withstand adversity. It is tranquil and harmonious with others, but also dignified and indomitable.The multi-layered nature of its delicate petals make it a particularly technically challenging, yet desirable, form to achieve with jade or porcelain carving. The type of carving on the present lot, with several rows of narrow lappets, can be found on a number of Mughal-style jade carvings.Cf. a large green jade dish (25.4 cm) carved in similar fashion, illustrated in The Complete Collection of Treasures of the Palace Museum - Jadeware III, Hong Kong, 1995, p. 246, no. 201, where it is dated to the Qing dynasty. A slightly smaller example, dated to the Qianlong period, was sold by Christies, London, 5 December 2012, lot 6277.This form of dishes, but without the central disc florets, was also popular in monochrome porcelain during the Yongzheng and Qianlong reigns.Condition Report: A chip to the mouth rim with associated hairline of approx. 3cm. A line in the stone appears to be inclusion of approx. 1cm from rim. Tiny nibbles to the mouth rim. Natural inclusion in the stone.
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