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Lot 1142
An Early XX Century Chinese Porcelain Ginger Jar and Cover, of ovoid form decorated with scrolls ad vases of flowers, 21cm high; A Chinese Circular Bowl, painted in panels with floral sprays, 22.5cm diameter (A/f). (3)Lot 1142 - Bowl - 8cm crack running down from top with chip, pitting and some staining. Ginger Jar - cover has 4cm chip and crack running across - glued together. Base - firing cracks and pitting.
Lot 548
Chinese blue and white porcelain vase of shoulder form painted with mountainous landscape within shaped panels reserved on a ground of Ming style flowers, four character mark to base, together with another vase of footed baluster form with pierced handles painted with flowers and foliate scrolls, lozenge mark to base, 26cm high
Lot 155
A collection of Chinese and other blue and white porcelain, to include a bullet shape teapot, cream jug, sparrow beak jug and others - The tea pot has a crack round the handle where it joins the body. The jug with the wicker handle has a small chip to the foot. The sparrow beak jug is missing a cover. One tea bowl is cracked and the rest of the pieces are fine.
Lot 138
A large Chinese famille verte porcelain figure, possibly of Guanyin, modelled in flowing robes, painted in polychrome enamels, 38cm high, probably Republican period, (1); a Chinese porcelain model of a youth holding a fish, picked out in polychrome, 22.5cm long, (1); a famille rose bowl, 25cm diam, (1); a Japanese Imari model of a quail, 13cm long, (1), [4]
Lot 17
Louis XV-Elefanten-KaminuhrHöhe: 42 cm. Breite: 30,5 cm. Tiefe: 18 cm.Signiert „VIGER A PARIS“.Mitte 18. Jahrhundert.Werk: Ankerwerk, Pendel an Seidenfadenaufhängung, Schlossscheiben-Schlagwerk für Halbstunden- und Stundenschlag auf Glocke. Die Werkplatine in Gravur signiert und datiert: „Viger AParis No 665“.Dass Pendulen in dieser und ähnliche Gestaltung mit exotischen Details gerade in Frankreich beliebt wurden, geht vor allem auf das erneute naturwissenschaftliche Interesse zurück. Auch die positiven kolonialen Erfahrungen, die seit der frühen Aufklärung ein neues Bild der exotischen Kontinente schufen, haben dazu beigetragen, auch in der dekorativen Ausstattung des höfischen Ambientes die neue Weltoffenheit zu demonstrieren. Nicht zuletzt hat der Chinoiserie-Stil und der Einfluss der Kenntnisse chinesischer und japanischer Porzellan- Elefanten oder -Nashörner die Schaffung solcher Objekte gefördert. Elefantenuhren gehörten nun zu den beliebten Produkten des Kunsthandwerks. Von führenden Bronziérs unter den Hoflieferanten Louis XV, wie Jean-Joseph de Saint Germain (1719-1791) sind solche Exemplare geschaffen worden, in unterschiedlichsten Detailausführungen.Bei dem vorliegenden Beispiel, einer selteneren Ausführung, wird in alten Verzeichnissen und Inventaren von einer „pendule à l’échassier“ gesprochen. Ein ähnliches Exemplar – etwa mit einem Werk von Baillon – befand sich in der Sammlung Anna Thomson Dodge, Rose Terrace, Grosse Point Farms Michigan (Christie’s, London, Juni 1971), weitere wenige Exemplare gelangten ebenfalls nur auf namhaften Auktionen in den Handel.Der Aufbau folgt einem bewährten Schema: Der Elefant, in brünierter Bronze, steht nach links mit hochgeschwungenem Rüssel auf einem vergoldeten, steinigen, mit exotischen Blättern und Blüten besetzten Terrain-Sockel. Über den Leib zieht vertikal ein vergoldetes Sattelband, auf dem floral gestalteten Sattel das zylindrische Gehäuse, umzogen von Blatt- und Blütenwerk, bekrönt mit einer Tiergruppe: Neben einem bellenden Jagdhündchen erhebt sich ein Kranich, der mit einer Kralle einen Stein hochhält. Dieses ikonografische Bildmotiv ist Symbol für die Wachsamkeit (da das Tier bei Beginn des Einschlafens den Stein fallen lässt und somit wieder geweckt wird). So steht das Figurenmotiv, zusammen mit dem bellenden Hündchen, in sinnvollem Zusammenhang mit der Uhr und dem Glockenschlag.Das Zifferblatt mit gewölbter Glasabdeckung in weißem Email, mit schwarzen römischen- und arabischen Minuten; signiert „VIGER“ – „A PARIS“. Die Zeiger filigran durchbrochen und vergoldet.In sehr guter Erhaltung und lauffähig. A.R. (†)Provenienz:Bedeutende amerikanische Privatsammlung.Literatur:Vgl. Hans Ottomeyer, Peter Pröschel, Vergoldete Bronzen, München 1986, Bd. I, S. 124 mit Abb. (13220123) (11)Louis XV elephant mantle clock Height: 42 cm.Width: 30.5 cm.Depth: 18 cm.Signed “VIGER A PARIS”.Mid-18th century.Lever movement, pendulum on silk suspension, count wheel striking mechanism for half hour and hour strike on bell. Engraved signature and date on clockwork plate: “Viger AParis No 665”.The reason that pendulum clocks in this or similar designs with exotic details became popular in France is primarily due to renewed scientific interest. Positive colonial experiences created a new image of the exotic continents since the early Enlightenment and contributed demonstrating the new cosmopolitanism in the decorative furnishings of courtly interiors. The chinoiserie style and knowledge of Chinese and Japanese porcelain elephants or rhinos encouraged the creation of such objects. Elephant clocks were now popular artisanal products. Such specimens were created by leading bronze makers among the purveyors to the court of Louis XV, such as Jean-Joseph de Saint Germain (1719 Paris - 1791), in the most varied and detailed versions.In the present, rarer example, old directories and inventories speak of a “pendule à l’échassier”. A similar example, such as a work by Baillon was held in the collection of Anna Thomson Dodge, Rose Terrace, Grosse Point Farms Michigan (Christie’s London, June 1971), a few other examples were also only sold at renowned auctions.The structure follows a proven model: the elephant, in burnished bronze, stands to the left with its trunk raised standing on a gilt rocky base decorated with exotic leaves and flowers. A gilt saddle strap runs vertically across its body, the cylindrical case on the florally designed saddle, surrounded by foliage and flowers is surmounted by a group of animals: next to a barking hunting dog, a crane rises, holding up a rock in its talon. This iconographic motif symbolizes vigilance – if the animal starts falling asleep holding the rock will wake it up again. This figural motif, together with the barking dog, is meaningfully connected to the clock and the chiming of the bell.The white enamel dial with black Roman and Arabic minutes with a domed glass cover is signed “VIGER” – “A PARIS”. The gilt hands are in delicate openwork. In very good condition and operational. (†)Provenance:Important American private collection.Literature:cf. Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich 1986, vol. I, p. 124 with ill.
Lot 33
A very rare Meissen beaker and saucer, circa 1728Painted with blue monochrome chinoiserie scenes, each depicting a single figure flanked by flowering plants and fences, within a gilt quatrelobe scrollwork cartouches filled with Böttger lustre and edged with purple and iron-red scrolls, gilt scrollwork borders to the rims, three branches of indianische Blumen to the reverse of the saucer, similar sprigs to the sides of the beaker, the beaker: 7.5cm high, crossed swords marks in underglaze-blue (minor rubbing to saucer) (2)Footnotes:A teabowl and saucer with similar rare blue monochrome chinoiserie scenes from a different service is in the Wark Collection, see U. Pietsch, Early Meissen Porcelain The Wark Collection (2011), no. 111; another teabowl and saucer from the same service was in the Darmstädter Collection, sold by Lepke's Berlin 24-26 March 1925, lot 129.The figure on the saucer appears to be holding a Chinese puzzleball which serves as an incense burner, possibly a European interpretation of an Asian flaming pearl, seen frequently on Asian porcelain. It is likely that the shape was also in some way based on an ivory turned Contrefait Kugel, of which there were many examples kept in the Grünes Gewölbe in Dresden.The earliest written reference to a concentric ivory sphere appears in the late-fourteenth-century connoisseur Cao Zhao's 曹昭 Essential Criteria of Antiquities (Gegu yaolun 格古要論), parts of which were first published in 1388. In his text, Cao recalls seeing 'a hollow-centered ivory ball, which had two concentric balls inside it, both of which can revolve. It is a 'demon's ball' (guigongqiu 鬼功球), or one made by someone in the Inner Court of the Song dynasty' (original quote: 尝有象牙圆球一个，中直通一窍，内车二（数）重，皆可转动，故谓之鬼功球，或云宋内院中作者). Bonhams would like to thank Joyce Yusi Zhou for her kind assistance in providing this quote and its translation.For further information on this lot please visit Bonhams.com
Lot 89
An extremely rare pair of Meissen red-ground bottle vases, circa 1735Each of globular form with a long, slightly flared neck, the body reserved with three shaped quatrelobe cartocuches framed in brown and painted with elaborate chinoiserie landscape scenes, one vase with a bird in flight and flowering branch reserved on the red ground, the lower body and shoulder reserved with a broad band edged with brown lines and painted with a few scattered leaves and flowers and flowering branches of indianische Blumen, respectively, the rims with gilt bands, 37.5cm high, AR monograms in underglaze-blue, incised x (for Johann Daniel Rehschuh), inventory nos. B.n. 17 and B.n. 18 in black, one with paper label numbered in pencil 749 (some scattered minor scratches) (2)Footnotes:Provenance:Catalina von Pannwitz Collection, 'De Hartekamp', Heemstede, The Netherlands (purchased from Alfons Heilbronner, Berlin, in 1924)This form of bottle vase appears to have been made exclusively for the Dresden court (all are marked with the AR monogram for Augustus Rex). The form was made in several sizes (the present lot is the largest), most commonly with a sea-green or turquoise ground colour for the Japanese Palace in Dresden. Bottle vases of this large size, painted in imitation of a Chinese original in the collection of Augustus the Strong, were delivered to the Palace by July 1734, and another five of the same size with a turquoise or celadon ground colour were delivered in 1737. A similarly large bottle in the Rijksmuseum is decorated with the only known example of a marbled green ground. Walter von Pannwitz also owned two slightly smaller pairs of bottle vases with a similar decorative scheme as the present lot: the first with a seeded yellow ground reserved with indianische Blumen, and the second with a similar blue ground (sold by Galerie Helbing in Munich, 24-25 October 1905, lots 388-89 and 390-91; the first pair is now in the Rijksmuseum (A.L. den Blaauwen, Meissen Porcelain in the Rijksmuseum (2000), no. 193) and the second pair was sold by Christie's Geneva, 9 November 1987, lots 148-9).Numerous ground colours were developed by J.G. Höroldt for the Meissen manufactory in the late 1720s: a 1731 list of porcelain painted by Höroldt as samples or models for his painters includes examples of twelve different ground colours including red (C. Boltz, Höroldts Malereimodelle von 1731, in Keramos 158 (1997), pp. 3-24). Red is one of the rarer ground colours on Meissen porcelain and known mostly in combination with European landscape scenes dating to the early 1740s. These vases belong to the earliest examples: the only other recorded example with similar chinoiserie decoration is the ovoid Augustus Rex vase and cover that was sold by Paul Graupe, Berlin, 27-29 May 1935, lot 466 (see illustration). Five vases from a garniture painted with flowers, animals and insects reserved on a red ground are published by U. Pietsch, Phantastische Welten (2014), nos. 31-35 (of which two are in the Metropolitan Museum of Art, New York).This style of chinoiserie decoration has been described as 'contour' chinoiseries (to distinguish it from the more common style of chinoiserie decoration associated with J.G. Höroldt, see A.L. den Blaauwen, Meissen Porcelain in the Rijksmuseum (2000), p. 259) and has been associated with the painter A.F. von Löwenfinck, who was active at Meissen until 1736. The style is based on prints by Augsburg publishers, such a Johann Christoph Weigel, but has been most closely associated with the series 'Nieuwe geinventeerde Sineesen published in Amsterdam and Leipzig by Petrus Schenk and his son (A.L. den Blaauwen, Keramik mit Chinoiserien nach Stichen von Petrus Schenk Jun., in Keramos 31 (1966), pp. 3-18). In the case of these vases, only the figure of the monkey appears to be derived from the title page of the Schenk series. Two figures playing blind man's buff and the standing figure with the monkey appear together on a plate in the Rijksmuseum, Amsterdam (Inv. BK-17367). See also J. Weber, Porzellanmalerei nach Pieter Schenk und Johann Christoph Weigel, in C. Bischoff/P. Kuhlmann-Hodick, La Chine Die China-Sammlung des 18. Jahrhunderts im Dresdner Kupferstick-Kabinett (2021), pp. 202f, and five vases from a yellow-ground garniture decorated in similar style in the Porzellansammlung, Dresden (inv. no. PE 1343-1347).For further information on this lot please visit Bonhams.com
Lot 358
AUCTION CATALOGUES: SOTHEBY, WILKINSON, & HODGE AND SOTHEBY AND CO, comprising: Silver, Jewellery, Furniture, China, and Works of Art of F. William Yeates, March 24, 1919; Arms and Armour, Old Military Uniforms, Etc, including the property of Major T Coke Squance and Frank Dadd, January 21, 1920; Armour and Weapons, including Swords from the Collection of Capt. Alfred Hutton, and Gothic and other Armour from the Lord Taunton Heirlooms, June 21, 1920; Armour and Weapons of Dr Ferdinand Forster of Berne, and Capt. Luttrell Byrom of Kilnwick Hall, Cranswick, December 7, 1921, partly priced; Armour and Weapons, the property of Robert Coltman Clephan, and The Viscount Boyne of Brancepeth Castle, Durham, November 22, 1922, priced; Armour and Weapons, Old Oak and Walnut Furniture, Early English Needlework and Tapestries, July 7, 1922; Armour and Weapons including the property of Philip De Paniagua, and Important Indian and Chinese Armour, the property of Col. Sir Henry Knollys, July 20, 1922; Armour and Weapons, including the property of Edgar Bundy, April 7, 1922, partly priced; Armour and Weapons of Captain Herbert Graystone, February 27, 1923; The Very Choice Collection of Antique Pistols and other Firearms, etc of Herbert J. Jackson, March 1, 1923, priced and named; Armour from Wilton House, Salisbury, the property of the Earl of Pembroke & Montgomery, June 14, 1923, partly priced and named; Armour and Weapons including the property of Capt. A M. Vandeleur, 2nd Life Guards, July 26, 1923; Armour and Weapons including the properties of John C. Curtiss, J. Seymour Lucas, and Herbert J. Jackson, December 5, 1923, partly priced; Armour and Weapons including the property of Captain Tudor Owen, April 4, 1924; Armour and Weapons, Early Works of Art, Oak Furniture, June 12, 1924; Porcelain, Glass, Pewter, Antiquities, Armour, Furniture, July 31, 1924; Armour and Weapons of John C. Curtiss, May 21, 1925, partly priced; Armour and Weapons, including a Collection of Spurs, February 25, 1925; Armour and Weapons, including the property of Major C. A. C. Keeson of St. Cuthbert~s, Crediton Hill, July 24, 1925; Armour and Weapons, including a Fine Scotch Broad Sword, the property of John Ogilvy, March 12 1926; European Weapons from the Collection of the former Royal House of Saxony, July 16, 1926; The Magnificent Collection of Armour, Weapons and Works of Art of the late S. J. Whawell, May 3, 1927, partly priced; Old English and Continental Pottery, Early Metalwork and Wooden Figures, Old English Furniture, Etc, including a Visored Bascinet Helmet, the property of Captain J.G. Ball, formerly in the Herts. County Museum, February 11, 1927; Armour and Weapons, including swords from the Meyrick Collection, June 2, 1927; Armour, Metalworks, Stained Glass, Violins, Etc, including the properties of Walter G. Tower, and W. J. Johnston Vaughan, and an Interesting Collection of Tipstaves, the property of A. Ladenburg, November 23, 1927; and Important Mediaeval and Renaissance Works of Art including the Stuart Relics of Cluny Macpherson of Cluny, May 23, 1928, partly priced
Lot 352
A pair of 19th Century Chinese coral red decorated porcelain bowls of inverted bell form, raised on a circular foot, the main body decorated with lotus medallion and scrolling foliage, bear six character "Jongzheng" mark to base (one with large hairline crack, the other very damaged but pieces extant) 7 cm high CONDITION REPORTS Bowl 1 - with two sections dislodged, previously mended but have come loose. One large firing crack and firing faults to the base. See images for further detail. Bowl 2 - large firing crack vertically from the rim towards the centre, visible particularly from the inside, not so much from the outside. Small firing fault / dot to one flower. See images for further detail.
Lot 13
A Chinese export porcelain mug showing an acupuncturist, Qianlong, circa 1780, of pedestal bell shape, painted with a patient, acupuncturist and assistant in an outside setting, against a cellular ground incised with silhouetted butterflies and sprigs14.5cm highsmall rim frit, gilding on rim partially worn away
Lot 2
A pair of Chinese blue and white square porcelain bowls, Qing Dynasty, Kangxi (1662-1722), each flared bowl with indented angles, the interiors decorated with playful boys, the exteriors with panels of a maiden relaxing, six character marl of Kangxi and of the period, on later wooden stands8 x 14.5cmboth a.f -extensive cracking and repairs
Lot 26
A Chinese famille rose porcelain saucer dish, Qing Dynasty, late 18th century, painted with a songbird in blossoming branches, 22cm diameter;an unusual conjoined vase, 20th century, rich floral decoration,19cm high;a stem cup, 20th century15cm diameter (3)Saucer: several minor rim chips, slight wearConjoined vase: Good - slight crazing on glazeStem cup: good
Lot 28
A pair of Chinese famille rose porcelain hexagonal vases, moulded with a pair of fo-dogs and two pairs of dragons to the shoulders, painted with panels and poetic extracts30.5cm highOne cracked round the neck. The other with multiple cracks on rim and large chip. Boht with rubbing of gilt mainly on the rim
Lot 30
A pair of Chinese porcelain pedestal vases, Qianlong seal marks but Republic, the duck-egg blue ground with detailed floral scrolls, seal mark in blue26.5cm highFading to gilt in some areas. Minor chipping in one area on the widest part of the vase - see images. Wear to the widest part of the exterior with some fading to colour in this area. Some pitting from the glazing process.
Lot 31
A pair of Chinese famille rose porcelain ovoid pedestal vases, late 19th century, each painted with peonies and bamboo, on spreading bases, 25cm high;a celadon baluster vase, 20th century, moulded with ruyi, lotus and leaf tips 31cm high (3)Vases: One restoreed substantially on rim and upper neck, the other with 3.5cm hairline in the rim.Celadon vase: good condition
Lot 33
A Chinese famille rose saucer dish, Republic Period, painted with a vase and Buddhist emblems, with a spurious six-character mark of the Guangxu Emperor, but later,24cm diameter;and a porcelain millefiori bowl, seal mark of Qianlong but later20cm diameterDish is good overall. The bowl has an 8cm long wall crack and several similar others, also mis-fire blister inside
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