A group of Chinese ceramics, 20th century, comprising: a porcelain famille rose teapot, late Qing dynasty, painted to the body with domestic figural scenes, iron red mark to underside, 11cm high, 10cm diameter; a blue ground yixing teapot, with moulded fish, frogs and flowers to the body, the lid modelled as a frog on a lillypad, 7cm high; a blue and white porcelain brush pot decorated with a mountainous landscape, partially damaged red seal mark to underside, 11.5cm high; and a celadon plate decorated with birds, butterflies and flowers, 18.5cm diameter; together with an agate lotus shaped bowl, 20cm diameter; and a red lacquered and enamel baluster vase decorated with foliage, 38.4cm high (6)Please refer to department for condition report
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A group of miniature Chinese blue and white porcelain, 20th century, to include a baluster vase decorated with flowers, 9.5cm high, a globular panelled bowl decorated with branching flowers, 3.8cm diameter, and two trinket boxes, each decorated to the lid with an exotic bird perched in a tree branch, each 5.6cm diameter (4)A repaired loss to the rim of the vase. All pieces with crazing and light cracks to the underside.
Two Chinese Dehua 'Blanc-de-Chine' figures of Guanyin, 18th century, each similarly modelled seated on lotus base wearing flowing robe with a bird and vase behind the body, right hand holding a pearl, 13cm and 21cm high. (2) 十八世紀 德化窯坐蓮觀音像兩尊品項報告 Condition report Various firing flaws throughout. Loss of some part of the porcelain to hair dress, hands, and one lotus leaf. General ware commensurate with age.
Pair of Imari style tibors; China, late 19th - early 20th century.Hand-painted porcelain.Signed on the base.Measurements: 50 x 25 cm.Pair of Chinese tibors made in porcelain decorated in the Imari style, whose main characteristic is the use of underglaze cobalt blue enamel, combined with other enamels on the glaze, mainly iron red and gilding. When it also includes gilding, as seen here, it is called Imari Nishiki. Imari-style wares were produced from the third quarter of the 17th century to 1730-35, although there was a revival of the style during the 19th century. More modern pieces will be somewhat more stereotypical, with a predominance of red, blue and gold rather than the broader palette of earlier periods, although the richness of the motifs remains.At the decorative level, Imari is very free, with highly ornamental compositions that occupy the entire space of the piece, combining different motifs and cartouches of different shapes, as seen here. There is no fixed scheme; different geometric patterns are mixed and combined with motifs inspired by nature. The background we see here, with different geometric patterns (inspired by Japanese printed fabrics, which are highly prized in Japanese artistic production) overlapping and intertwining, will be characteristic of this style.
Dairy. China, Qing Dynasty, 1664-1911.Porcelain.With a silver lid.It has restorations on the wood base.Measurements: 18 x 17 cm; 27 x 17 cm (base).A blue and white porcelain milk jug or pitcher with a wooden base. The piece has an intricate ornamental pattern based on a profusion of vegetal motifs arranged around the body, a dragon-shaped handle and a silver lid. Porcelain known for its chromaticism as "cobalt blue" or "blue on white" was highly appreciated in Europe from its early importation. In fact, it was so much appreciated by other cultures such as Islam that it was very often works destined for this market that ended up influencing European ceramic production, which aspired to resemble as closely as possible this export production created in large quantities in China. It was not until around the middle of the 17th century that production began in this Eastern country, blue and white porcelain being among the first to arrive directly in Europe in large quantities.The Ching or Qing Dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in what is now northeastern China by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, all the while maintaining the capital at Beijing. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry for books, pamphlets, etc., truly prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were often outstanding artists (especially in painting), the best work was done by scholars and the urban elite in calligraphy and painting, both areas of great interest to the court. Even cuisine was elevated as a source of cultural pride in this period, taking elements from the past and working on them to reach new heights.
Pair of Chinese vases, late 19th century.Enamelled porcelain and bronze.Stamps on the base.Measurements: 60 x 24 x 24 cm.Pair of Chinese vases with cylindrical tank, gently curved towards the foot and shoulders, with neck opening towards the mouth. Richly decorated with warriors in sumptuous attire and divinities interacting in animated scenes. The Immortals are set in landscape settings with peaked mountains rendered in beautiful blue tones. The palette is rich in contrasts: reds, pinks, whites, browns, ceruleans? The enamel painting is combined with bronze friezes worked in relief and serpentine dragons around the shoulders. The landscapes are dominated by the presence of trees with large canopies, a symbol widely used in Chinese art because of its symbolic character, related to longevity. The eroded rocks represent the passage of time.
Three plates. China, 19th century.Enamelled porcelain.One of them is damaged.Measurements: 21 cm (diameter).Three Chinese plates. The cobalt blue on white acquires in this pair of plates (one European, the other Japanese) a rich variety of tonal ranges, in order to represent the plastic qualities of the ornamental motifs with refinement.
Vase; China, 19th century.Enamelled and polychrome porcelain. Green family.Measurements: 56 x 21 x 21 cm.The piece has a polygonal structure with a square base, rectangular body and square mouth. The term Green Family is the Western name for a style of Chinese polychrome porcelain derived from wucai (literally, 'five colours'). Wucai was created during the Ming dynasty, and has been widely used in China ever since. It is characterised by only some of the motifs being executed in cobalt-blue underglaze, while the rest of the decoration is applied already on the glaze. In addition, black glaze is added for the outlines, in the early days covered with a translucent green glaze to fix it. The Green Family style is a type of wucai called yingcai ("solid colours"), which is characterised by the predominance of copper oxide green. The name yingcai refers to the quality of the glazes, which are crystalline because they are mostly applied to the glaze.
Teapot. Green family. China, pps. 20th century.Enamelled porcelain.Measures: 12 x 18 x 11 cm.Chinese enamelled porcelain teapot in the Green Family style. The term Green Family is the Western name for a style of Chinese polychrome porcelain derived from wucai (literally 'five colours'). Wucai was created during the Ming dynasty, and has been widely used in China ever since. It is characterised by only some of the motifs being executed in cobalt-blue underglaze, while the rest of the decoration is applied already on the glaze. In addition, black glaze is added for the outlines, in early times covered with a translucent green glaze to fix it. The Green Family style is a type of wucai called yingcai ("solid colours"), which is characterised by the predominance of copper oxide green.
Perfumer. China, early 20th century.Painted porcelain.With seal on the base.Measurements: 11.3 x 7.5 x 4 cm.Perfume holder with a prismatic tank and cylindrical mouth. Its surface is decorated in the style of the Green Family, a Western term used to designate a style of Chinese polychrome porcelain derived from wucai (literally, 'five colours'). Wucai was created during the Ming dynasty, and has been widely used in China ever since. It is characterised by only some of the motifs being executed in cobalt-blue underglaze, while the rest of the decoration is applied already on the glaze. In addition, black glaze is added for the outlines, in early times covered with a translucent green glaze to fix it. The Green Family style is a type of wucai called yingcai ("solid colours"), which is characterised by the predominance of copper oxide green. The name yingcai refers to the quality of the glazes, which are crystalline because they are mostly applied to the glaze.
Chinese Art A blue and white porcelain trumpet vaseChina, Qing dynasty, 18th century . . Cm 20,50 x 32,50. With cylindrical body and strongly flared mouth, the exterior delicately painted in underglaze blue with historiated decoration including a wandering knight in the upper area and children at leisure in the lower area. The two are separated by a low relief band decorated with vegetal motifs and completed by an anhua engraved decoration band under the upper edge.
Chinese Art A porcelain round box and cover decorated with a dragon. China, Qing dynasty, Qianlong period or later. . . Cm 6,00 x 8,00. Interesting polychrome porcelain lenticular box decorated in relief with waves, clouds, and dragon chasing the flaming pearl. Small container, probably made to hold the calligrapher's ink. Six-character Qianlong seal mark at the bottom. Restored.
Chinese Art A porcelain saucer dish with underglaze red decoration. China, 20th century. . . Cm 5,00 x 2,50. Fine white porcelain dish with blue and red underglaze decoration. This type of bichromy, obtained from copper oxide for the red, is rare because it requires talented craftmanship to avoide the blackening of the colour due to the high temperature. In this case the skillful mixing of the colored oxides, together with copper, made it possible to create pleasing chiaroscuro effects at clouds and tree foliage. Six-character Kangxi mark painted at the back.
An early Chinese blue & white porcelain miniature lobed vase with standing figures & tall flowers, the neck probably reduced, now forming a scent bottle with Dutch silver mounts, 3”; a 19thC clear cut-glass acorn-form vinaigrette with gilt-metal mounts & hinged cover; an 18thC English enamel round patch box, the hinged lid inscribed “Love Me and Happy Be”; a Wm IV silver small snuff box, Bm 1832 by W.P.; & another similar patch-box lid.
CIRCULAR CHINESE CLOISONNE BOWL - 20th century, blue ground and decorated with chrysanthemums on carved and pierced hardwood stand, 26cms H (with box), a set of five small cloisonne vases, 20th century, with wooden stands, 9.5cms H (with box) and a Chinese 'Jade White' porcelain figure, 29cms H, (in plush lined fabric box)
A collection of Chinese porcelaincomprising a Chinese famille rose plate, 20th century, painted with a shou roundel surrounded by ‘wan shou wu jiang’ and precious objects, all against a yellow ground, with a six-character Guangxu mark to base, 25cm diameter, together with a famille rose jar and cover, painted with figures in a garden, 24cm high, and a copper-red cylindrical vase and cover, painted with dragons chasing flaming pearls, the domed cover with a peach knop, with a six-character Qianlong mark to base, 36cm high (5)Condition ReportAll with enamel losses. Yellow plate – frits and restoration to rim. A firing crack to base. Jar – badly damaged to body with repair and losses. Small chip to rim. Chipped to knop. Copper red jar - surface scratches.
A collection of Chinese export porcelain, 18th to 19th century, including five blue and white plates, a famille rose tea bowl and cover, a saucer, a bowl and a teacup, 5 - 24cm diameter (10) Condition ReportTeacup - restored. Famille rose saucer – minute chips and firing cracks to rim. Teacup and cover – both restored. Bowl - hairline cracks to rim, and frits to foot rim. Restored. Blue and white octagonal plate - restored and chipped to rim. Lobbed plate - chipped to rim. Circular plate with a pavilion - hairline crack and frits to rim. Plate with precious objects - frits to rim. Floral dish - restored with hairline cracks and chips to rim. Chips to foot rim.
A Chinese dog of foo porcelain table lamp,20th century, in a blue glaze, on a wood stand, with an associated blue shade,the dog of foo 41cm hightotal 55cm high to the fittingCondition ReportMarks and pulls to the shade. No apparent chips of losses to the dog. The glue has perished and the dog is no longer attached to the stand. Knocks and wear to the stand.PAT passed 26.1.23
A group of three Chinese famille rose porcelain vases,19th century, of baluster form applied with Buddhist lion handles and chilong to the shoulder, painted with figures in shaped panels,tallest 36cm high (3)Condition ReportChips throughout. Two examples are heavily restored with cracked necks and bodies.
A Chinese canton enamel porcelain plate,late 19th century, in a gilt metal mount,36.5cm widetogether with four Chinese famille rose jardinieres,20th century, each with a matched standlargest 17cm wide12cm deep13cm highCondition ReportPlate) Wear and losses to the decoration, with knocks to the frame. Not inspected outside of the mount.Jardinieres) Each with the hole glued at a later date - the excess glue is visible. Wear and losses to the enamel decoration. Two smaller yellow examples with a chip to the corner of the stand, another with a chip to the jardinere.
A large Chinese celadon porcelain vase,20th century, of cylindrical form rising from a circular base, decorated with three large characters fu, lu, shou in relief, covered with a green-crackled glaze, 34cm highCondition ReportChips to foot rim with glaze losses, and cracks to base. Surface scratches to body.
Chinese porcelain blue and white lobed bowl painted with figures in landscapes, six character mark to base, 22.5cms diameter, together with a pair of Chinese blue and white baluster form vases, six character marks to the base, 20cms high and a small quantity of other miscellaneous oriental porcelain potteryPlease see photos for condition
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