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Lot 233
PAIR OF 19TH CENTURY CHINESE FAMILLE ROSE PORCELAIN, BARREL SHAPED, GARDEN SEATS, of baluster form, hexagonal section with pierced tops, overall decorated with bands of figures in landscapes between typical bands of butterflies and birds amongst flowers. (2) CONDITION REPORT: One has a significant crack running around the top, general surface wear, particularly notable to gilding, other wear and marks commensurate with age.
Lot 234
CHINESE PORCELAIN GU FORM BALUSTER VASE with everted neck, overall decorated in Wucai pallet with enamel birds, dragons and stylised floral and flower head decoration. Six character underglaze blue Wanli Nianhao mark within double concentric circle to base. 22.5cm high. Provenance: From the London estate of an eminent Chinese collector. CONDITION REPORT: Rather grubby but no obvious damage or restoration.
Lot 354
A modern Chinese glass snuff bottle with hand-painted decoration to interior depicting peacocks, signed, boxed; a soapstone seal with Chinese inscriptions; a jadeite Buddha necklace; a pair of porcelain opera facial masks; a bottle of Chinese liqueur 500ml; together with five glass bottles to include califig.
Lot 1182
A Herend porcelain part dinner and tea service decorated in the green Chinese bouquet pattern, comprising; an oval two handled tureen and cover (39cm across the handles), a circular tureen and cover of shallow form, another (lacking base), two graduated oval platters, six dinner plates (25.5cm diameter), eight smaller plates (23cm diameter), eight side plates, eight soup bowls, eight crescent shaped dishes, two sauce boats and oval stands, a twin division salt, a triangular dish, a circular dish (25.5cm diameter), a circular butter dish and cover, a teapot and cover (14cm high), a sucrier and cover, a milk jug, eight teacups and eight saucers.
Lot 1405
A Chinese porcelain snuff bottle, iron-red Daoguang seal mark, painted in a famille-verte palette, on one side with two figures in a landscape, the reverse with a figure crossing a bridge and two figures in a boat, 6.5cm. high; and a famille-rose porcelain snuff bottle, painted with children flying kites, iron-red four character mark, 5.5cm.high.
Lot 1417
A group of Chinese export porcelain, Qianlong, comprising, an ovoid tea canister, a cover and a milk jug, painted with initials beneath a coronet beneath grisaille and gilt borders: an arched rectangular tea canister and cover painted with flowers; a pear shaped milk jug and cover painted with flowers and insects.
Lot 1427
A group of Chinese famille-rose porcelain, Yongzheng/early Qianlong, comprising; a square sander painted with sprays of peony,4.5cm. high; a shaped circular spoon tray painted with a bird, scroll and flowers, (a.f), 13cm. diameter; a small pink ground teabowl and saucer reserved with figure and flower panels.
Lot 1464
A group of Chinese blue and white porcelain, late 19th/early 20th century, each piece painted with figure subjects, comprising; a jardiniere, 19cm. high; a baluster vase,(a.f), 27cm. high; a small bottle vase and two plates; also a blue and white bowl painted with prunus, 23cm. diameter, with wood stand; and a Japanese porcelain blue and white milk jug.
Lot 1475
A Chinese polychrome porcelain rectangular plaque, Guangxu, painted with three dragons amongst clouds, around a central tablet with an inscription translated as `England, by Imperial order, Jiujiang prefecture of Jiangxi province foreign affairs consul Wo, printed by Ren Ting, virtuous government', 39cm. by 25.5cm.
Lot 1498
A group of Chinese and Japanese porcelain, 18th century and later, comprising; a Chinese blue and white cache-pot, Kangxi, painted with panels of birds and flowers, 16cm.high; a Chinese Imari bowl painted with flower panels, 30cm.diameter; a crackle glazed bowl,26cm. diameter; a Japanese koro and cover and a small double-gourd vase, (a.f),
Lot 498
A good 12 piece antique Spode Tea Service, 6 cups and 6 saucers, a matching Cream Jug decorated in the Oriental style; an antique Chinese porcelain Teapot; two small Toby Jugs; a Beswick porcelain figure of 'Samuel Whiskers' after Beatrix Potter; and a 19th Century carved ivory Elephant. A lot. (1)
Lot 1222
GROUP OF PORCELAIN3 eighteenth-century Chinese cups, 2 Royal Worcester loving cups, 2 German porcelain cornucopia shaped vases, a Royal Vienna cup, a Worcester cup and saucer, French parcel gilt bowlProvenance: Property of the late Elizabeth O_Kelly, formerly of The Dower House, Emo Court10 cm. high and smaller (11)
Lot 579
GEORGE III PERIOD MAHOGANY CHIPPENDALE SILVER TABLE, CIRCA 1780 the rectangular shaped top, below a pierced fretwork gallery rail, above a blind fretwork carved frieze, raised on pierced fretwork bracket headed square chamfered legs, terminating on block feet, with inset brass castors 74 cm. high; 86 cm. wide; 54 cm. deepThe importance of the silver table in the late eighteenth-century is stemmed from the prevailing social hierarchy, and as a focal point in the tea-making ritual of the period. Evolved from a tray for silver on a stand, they originated in England where they were popular amongst the elite.Silver tables were used to display the ceramic tea set and as a tea table when it was time to take tea. Tea drinking was a signifier of wealth and of good taste. Because of this, well-to-do families proudly displayed the trappings associated with the ritual. Like tea, ceramics imported from China (the only country to give its name to a product) were expensive, indeed, very expensive. In a classic example of form following function, the precious china was protected from falling off the edge by a fence-like gallery rail that ran around the rim of the tabletop: the swishing of ladies’ petticoats being a particularly high risk factor. Chinoiserie was a style that developed on foot of the influence of exotic porcelain, lacquerware, bronzes and other forms of applied and decorative arts imported from China and Japan. Such was the fascination that Europeans began to create their own fanciful interpretations of oriental styles and motifs. This new style, derived from the French word chinois (Chinese), became known as Chinoiserie.Thomas Chippendale, 1718 – 1779, interpreted oriental motifs and transformed them into fretwork and carved decoration in his Chinoiserie designs. In 1754 he published a book of his designs, titled The Gentleman and Cabinet Maker’s Director, for which he gained fame and renown. He was one of England’s finest furniture makers. Harewood House, near Leeds, in his native Yorkshire represented his biggest commission. He is buried beneath the National Gallery in London.
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