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Lot 292
A Samson of Paris porcelain armorial vase and cover, late 19th century, painted in the famille rose palette, the armorial with legend 'Frangas non Flectes' (Break, not Bend - The Virtue of Honesty), within a white tube lined cartouche, surrounded by sprays of flowers, pseaudo Chinese seal mark, 32cm, with wood stand
Lot 45
Charles Napier Hemy, RA RWS (British, 1841-1917)The Riverside, Limehouse signed and dated 'C.N.H. 1914' (lower right)oil on canvas122.5 x 182.9cm (48 1/4 x 72in).Footnotes:ProvenanceWith the Fine Art Society.Anon. sale, Christie's, 17th May 1923, lot 155 for £157.10.0 (F.A.S vendor), acquired by Gooden and Fox.William Hesketh Lever, 1st Viscount Leverhulme (1851-1925), Lancashire.The Bungalow and Rivington Hall, Horwich, Lancashire sale, Knight, Frank & Rutley, London, 9-17 November 1925, lot 1105, p.68.Bolton Museum and Art Gallery (acquired from the above sale).Sale, Bonhams, 25th January 2012, lot 165, where acquired by the current owner. ExhibitedLondon, Royal Academy, Summer Exhibition, 1914, no. 369.London, Royal Academy, Winter Exhibition, 1922. LiteratureRoyal Academy Pictures and Sculpture 1914, illustrated p 82.The name Limehouse comes from the lime kilns established there in the 14th Century and was used to produce quick lime for building mortar. In 1660, Samuel Pepys visited a porcelain factory in Duke's Shore, Narrow Street, whilst the Limehouse Pottery, on the site of today's Limekiln Wharf, was established in the 1740s as England's first soft paste porcelain factory.Limehouse became a significant port in late medieval times, with extensive docks and industries such as shipbuilding (which was established in the 16th century and thrived well into the 19th century), ship chandlering and rope making. By the Elizabethan era many sailors had homes there and by early in the reign of James I about half of the population of 2000 were mariners. Limehouse Basin opened in 1820 as the Regent's Canal Dock. This was an important connection between the Thames and the canal system, where cargoes could be transferred from larger ships to the shallow-draught canal boats. As the age of steam led to bigger ships, the facilities at Limehouse became inadequate. However, local ingenuity found a highly successful alternative: many of the Royal National Lifeboat Institution's lifeboats were built in Limehouse between 1852 and 1890. Though no longer a working dock, Limehouse Basin with its marina remains a working facility. The wharf buildings that have survived, are now highly desirable residential properties. Taylor Walker began brewing at the site of today's 'Barley Mow' pub in 1830. This stretch of the Thames was known as Brewery Wharf, whilst from a little further along the embankment, the first voluntary passengers left for Australia.From the Tudor era until the 20th century, ships crews were employed on a casual basis and would be paid off at the end of their voyages. Inevitably, permanent communities of foreign sailors became established, including colonies of Lascars and Africans from the Guinea Coast. From about 1890 onwards, large Chinese communities at both Limehouse and Shadwell developed, established by the crews of merchantmen in the opium and tea trades, particularly Han Chinese, creating London's first and original Chinatown. The resulting opium and gambling dens soon attracted a wider clientele than visiting Chinese sailors, luridly described by, amongst others, Sir Arthur Conan Doyle and Oscar Wilde. Like much of the East End it remained a focus for immigration, but after the devastation of the Second World War many of the Chinese community relocated to Soho.The Hemy family set sail for Australia when he was 10 years old and, as he later recalled, 'I can remember it (the open sea) entered my soul, it was imprinted on my mind, and I never forgot it'. Hemy sketched and painted at locations on Narrow Street's river front and other notable artists who used Limehouse as a backdrop for their paintings included James McNeill Whistler (1834-1903) and James Jacques Joseph Tissot (1863-1902). Whistler was living near the docks in Wapping between 1859-1863 and produced a series of etchings known as 'The Thames Set', which must have been a great influence on Hemy. These concentrated on the picturesque wooden buildings of the lower Thames, the barges, wharfs, warehouses and inns of Wapping, Rotherhithe and Limehouse, together with the barge men and labourers who worked there. Whistler also produced a major oil painting titled Wapping, exhibited at the Royal Academy in 1864, no. 585, (collection National Gallery of Art, Washington). In 1869, Hemy was living in Fulham, not far from Whistler's studio in Chelsea. He may have been introduced to Whistler by his friend Tissot, whose work in the 1870s had a more direct influence on Hemy. Tissot painted scenes of beautiful ladies and sea captains on board ships and in interiors with the Thames and the black masts of ships seen through the windows in the background, e.g. An Interesting Story of c. 1872 (collection National Gallery of Victoria, Melbourne). An interested spectator of Hemy at work was a young Frank Brangwyn. As a boy in the 1870s, Brangwyn often wandered down among the old buildings of the Thames where he would watch 'a magnificent looking man in a velvet coat painting a big picture. I would sneak up and admire him.'The Thames estuary continued to draw Hemy and he painted a series of pictures of the busy mouth of the Thames i.e. The Shore at Limehouse (exh. R.A. 1871, no. 435), Blackwall (exh. R.A. 1872, no. 198), London River - the Limehouse barge-builders (exh. R.A. 1875, no. 108), The harbour master's home, Limehouse (exh. R.A. 1901, no. 1039), 1901, Home at last, 1909, Limehouse Hole, (exh. R.A. 1910, no. 862) and The barge, Limehouse, (exh. R.A. 1918, no. 356). London River, his 1904 R. A. exhibit (no. 236), an evocation of Hemy's favourite stretch of the Thames with Hawksmoor's famous St. Anne's church prominent on the skyline, was bought by the Chantrey Bequest for £1,000 and now hangs in Tate Britain.The old buildings on the banks of the river at Limehouse and Wapping provided excellent subjects and Hemy used the boatmen as models; his knowledge of the sea enabling him to establish an easy rapport with them. Of his RA exhibit Limehouse barge builders of 1875 (collection South Shields Museum and Art Gallery), Hemy wrote, 'I painted the picture altogether from nature sitting in a barge and talking with the workmen.'Hemy's memorial exhibition took place at the Fine Art Society in 1918 where 101 of his works were shown.For further information on this lot please visit Bonhams.com
Lot 14
SIX CHINESE BLUE AND WHITE NANKING CARGO TEABOWLS AND SIX SAUCERS, QIANLONG PERIOD, CIRCA 1750 each painted in rich cobalt-blue tones with a pine tree issuing from rockwork, saucer 10.3cm diameterProvenance: Property of a European Collector (see lot 8 for further details); Christie’s, ‘The Nanking Cargo’, Amsterdam, 28 April - 2 May 1986; Jim Williams, Mercer House, Savannah GA, sold Sotheby’s, ‘Mercer House, Savannah’, New York, 20 October 2000, lot 27 (part)When the Dutch East India Company vessel the ‘Geldermalsen’ (built in 1746) crashed into a reef and sank in the South China Sea on 3rd January 1752, it went down claiming eighty crew members and a huge and precious cargo of tea, textiles, gold, silk, lacquer and porcelain. The ‘VOC’ (as the Dutch East India Company is often known) spent weeks interrogating the few survivors who had made it to Batavia (Jakarta), in the hope of recovering something from the huge loss. Eventually only the cargo’s gold and porcelain made it back to the original destination, Amsterdam, 234 years late, following its salvage by Michael Hatcher. The meticulous contemporary notes of the VOC, instrumental in locating the wreck, also reveal that over 100,000 pieces of porcelain accounted for only 5% of the cargo’s original value; the tea in which it was packed as ballast represented the cargo’s real treasure for the VOC. In the mid 18th century, Chinese blue and white porcelain was advertised as Nanking China, hence Christie’s title for the sale: ‘The Nanking Cargo’. The size of the haul and its extraordinary story really caught the public imagination; the record breaking auction in Amsterdam was held over five days of frenzied bidding, raising a staggering total of $20 million.Jim Williams (1930-1990) ran a successful antiques business from his mansion Mercer House in the midst of Savannah’s Historic District. He was pre-eminent in the movement to preserve the district, but is perhaps better known for his acquittal, after four trials, of a murder which had occurred in his house. Williams was the subject of John Berendt’s book ‘Midnight in the Garden of Good and Evil’, subsequently made into a film of the same name, directed and produced by Clint Eastwood.
Lot 32
A CHINESE BLUE AND WHITE NANKING CARGO PLATE, CIRCA 1750 painted to the interior with a peony, encircled at the well by four flower-filled oval panels on a diaper band, the flaring rim with peony sprays, 23cm diameter; together with a certificate of authenticityProvenance: ‘Nanking to Knightsbridge’, Harrods Exhibition of Chinese Export Porcelain; Christie’s, Amsterdam, ‘The Nanking Cargo’, 28 April – 2 May 1986, lot 3670
Lot 8
A CHINESE BLUE AND WHITE ‘KRAAK’ PORCELAIN VASE, WANLI PERIOD (1572-1620) the pear-shaped body rising from a short foot to a tall waisted neck, painted around the exterior with flower-filled moulded rectangular panels, the neck with ruyi bands, 29cm high, chip to rimProvenance: Peter Kemp, London, 12 November 1996Blue and White: Property of a European Collector (Lots 8-31)This collection was begun twenty-five years ago, to decorate the dining room of an 18th century house in Covent Garden (see additional image). A mix of Chinese, Japanese and Delft blue & white, it was arrayed on open shelves and coral brackets over black lacquer and dark grey panelling, designed to reflect and absorb candlelight. Additional purchases of Kangxi porcelain in Islamic style were made around 2010 for the owner’s apartment in Paris.Several of the pieces have historic provenance, notably from the Dukes of Westminster (England), the Earls of Gosford (Ireland), the Earls of Elgin and Kincardine (Scotland) and the Counts Raben (Denmark). A large set of Qianlong cups & saucers, part of the Nanking Cargo dispersed at Christie’s Amsterdam in 1986, later belonged to Jim Williams of ‘Midnight in the Garden of Good and Evil’ fame.Olympia Auctions sold a group of forty Islamic tiles from the same house on 18th November 2020; this sale comprises another part of the collection, including four tiles not previously presented (lots 74-77) and other pieces which were displayed around the collector’s house (lots 44, 52, 56, 58, 84, 104, 175, 233, 244, 246 &277). European works (to include the Delft blue and white) will be offered in these rooms on 24 May and pictures from the collection on 14 June 2023.
Lot 212
Two Delft vases and covers, 18th century, of octagonal baluster form, the smaller painted with Chinese figures and birds beneath trees in a garden setting, within formal leaf borders, marked for de porceleyn Schotel (the Porcelain Dish) manufactory, the other with peacocks and other birds among flowering plants, the domed cover with a lion dog finial, with a CK mark, some damages, 44.2cm max. (4)
Lot 513
Two Italian porcelain teabowls, c.1770-90, one Nove and finely painted with animated Chinese figures, the other possibly Vinovo and painted with a seated Chinese figure and an attendant, a Naples coffee cup painted with flowers, a Copenhagen tea cup with a puce monochrome landscape, an Ansbach cup with panels of children, a Höchst cup painted with flowers, and an English teabowl, minor faults. (7)
Lot 571
A collection of Chinese export porcelain tea and coffee wares, 18th century, some pieces possibly decorated in Europe, including a saucer brightly enamelled with figures after Bernard Picard's Pilgrims of the Island of Cythere, a teabowl and saucer with en grisaille decoration of figures, a coffee cup painted with a harbour scene after Meissen, a coffee cup with Juno, two cups with cockerels, and others with Chinese figures, small damages, 12.1cm max. (11)
Lot 572
A Worcester teapot and cover, c.1760, painted with the Pu Tai or Corpulent Monk pattern, with three Chinese figures seated with varying attributes, the rim and shoulder with a gilt spearhead border, a crack to the spout, 19.2cm across. (2)This pattern was copied directly from Chinese porcelain and was in use roughly between 1757 and 1766. Pu Tai was a Buddhist monk who lived during the Tang dynasty.
Lot 581
A Lowestoft teabowl and saucer and five other English porcelain saucers, c.1753-75, the teabowl and saucer painted in the Imari palette with confronting cockerels, another in polychrome enamels with flowering plants and rockwork, a Chinese saucer with similar Imari decoration, an early Worcester saucer painted with long-tailed pheasants beside peony, another in the Sir Joshua Reynolds pattern, another in the Astley or Harvest Bug pattern, and a Liverpool saucer painted with flowering branches, some faults, 12.8cm max. (8) Provenance: the David Stopher Collection.
Lot 617
A Bow dish, c.1755-58, of shaped oblong form, painted in Imari colours with a pine tree and bamboo stems above flowering peony and rockwork, and a Chinese porcelain plate showing the original design copied at Bow, minor chipping, 29cm max. (2)Provenance: the David Stopher Collection. The Bow dish formerly in the Susi and Ian Sutherland Collection. Paper label for Klaber & Klaber.
Lot 710
Three early Bow blue and white plates, c.1749-52, painted in a bright blue with the Broken Scroll pattern, the scroll depicting flowering peony issuing from rockwork and a fence, the rims with a panelled cash diaper border, together with a Chinese porcelain plate in the same design, some faults, 22.5cm max. (4)Provenance: the Peter Burke Collection.
Lot 420
A Chinese porcelain blue and white bowl, Qianlong (1736-1795), the circular bowl decorated to the exterior with figures in a landscape, the inside decorated with floral motifs, 18.5cm diameter, with a Chinese blue and white prunus pattern ginger jar, 16cm high, a further blue and white ginger jar, 16cm high, a 19th century Chinese blue and white rice bowl, 11cm diameter, a Canton saucer and associated coffee cup, and cloisonné double ended cannister, 7cm high (7) (at fault)Condition report; Tea bowl - chips to the rim and foot rim. Bowl- No obvious signs of restoration or repair. General wear and some pitting but overall good. Prunus ginger jar - Overall appears in good order with some pitting and surface wear. Other ginger jar - X3 stained star cracks to the body and rim descending hairline crack. Saucer - cracked and glued in two places.
Lot 422
A selection of Chinese porcelain and works of art, to include a set of four late 19th century celadon plates, each decorated in famille rose colours depicting flora and fauna, 18.5cm diameter, with a cased pair of eggshell porcelain slender vases, 26cm high, and a cased pair of soapstone seals, 10.5cm high (8) (at fault)Condition report; X2 celadon plates - With stained hairline cracks throughout. Chipping to the rims present and surface scratching and wear visible throughout.
Lot 423
A selection of Chinese porcelain and works of art, comprising; a Canton enamelled baluster vase, 19th century, 30.5cm high, an Imari export bowl, 18th century, 23cm diameter, a blue and white temple jar, cover, and stand, 32cm high, and a small carving of a buffalo, 9.5cm long (5) (at fault)
Lot 432
A Chinese porcelain peach bloom vase, 20th century, the tianqiuping shaped globular vase externally decorated with blossoming peach branches and five bats (Wu Fu), all against a craquelure ground, iron-red seal mark to the underside, 31cm highcondition report; Stained crazing throughout the body due to the nature of the firing process required to achieve craquelure. No obvious signs of restoration. Pitting visible. Thickly potted.
Lot 435
A large Chinese porcelain Canton centre bowl, 19th century, the tapered circular bowl extensively decorated in the famille palette depicting reserves of figures, flora and fauna, 35cm diameterCondition report; No obvious signs of restoration or repair. Rings well and clean indicating good structural condition. Decoration appears accomplished but with some surface wear and scratching being visible. Some pitting and fritting. Minor areas of gilt wear. Generally good.
Lot 437
A large pair of Chinese porcelain moon flasks, 19th century (Xianfeng / Tongzhi), each centrally decorated in famille rose with a circular panel depicting pheasants perched on rocky outcrops amongst peony sprays beneath magnolia branches, against a white ground, all encompassed against a vivid orange body elaborately decorated with formal foliate scrolls and sprays, the shoulders mounted with gilt highlighted chilong lugs, unmarked to the underside, each 49cm high (2) (at fault) Condition Report:Moon flask 1 - Loss to head of one chilong lug handle. Varied localised areas of enamel decoration have flaked off from the surface of the body, more so to the green colourway - see images for clarification. White ground of circular panels surface stained and grubby however this does rub off, pitting can also be seen. Some glaze pooling to areas. General further surface staining and grubbiness. Foot rim not glazed. Small firing crack to the underside. Minor pitting and fritting to the interior of the neck and body. Small firing crack to inside of neck. Interior of vase grubby. Some bleeding to the decoration in areas especially around the rim of the neck and borders of the central circular panels. Generally dirty and would benefit from a professional clean.Moon flask 2 - In comparatively similar condition to its pair. Firing crack to the handle and body join to the chilong. Enamel flaking is less apparent to this example but more obvious to the blue colourway. Glaze chip to the underside. No signs of restoration to either example. It is our opinion that these date to the second half of the 19th century.
Lot 440
A Chinese porcelain blue and white lamp base, 20th century, the baluster shaped vase decorated with floral sprays, and zoomorphic lugs flanking the flared neck, with hardwood base and insert, 57cm high including fitting Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.
Lot 445
A Chinese porcelain Cabbage Leaf porcelain charger, 20th century, the circular charger centrally decorated with a circular panel of birds, flora, and fauna surrounded by a cabbage leaf border with butterflies, iron-red Yongzheng six-character mark verso, 41cm diameterCondition report; No obvious signs of repair of restoration. Rings well and clean indicating good structural condition. Decoration appears slightly armature but colours remain vivid and clear. Surface staining to the underside. Some pitting and fritting and wear to the decorated surface.
Lot 7
A rouge de fer / milk and blood Chine de commande porcelain dish, China, 18th century later version. Red and partly gold-heightened decor 'Baptism of Christ', Ø 21.8 cm (baking line). The New Testament biblical reference, in the Gospel of Matthew, chapter 3, verse 16, reads: “And Jesus, being baptized, immediately went out of the water; and behold, the heavens were opened unto him, and he saw the spirit of God descending like a dove, and shining upon him.' (Lit: see D.Howard and J.Ayers, China for the West, Vol.I, no.309; Musee Guimet, see M.Beurdeley, Porcelain of the East India Companies, no.226; C.Jorg, Chinese Export Porcelain - Chine de Commande from the Royal Museums of Art and History in Brussels, pp.162-163, pl.57).
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