Pair of Foo "sang de boeuf" dogs, Qing dynasty. China, 19th century.Hand-polychromed porcelain.Red export wax seals on the back.Measures: 29 x 11 x 25 cm .Wear and tear. This lot can be seen in the SetdartBarcelona Gallery located in C/Aragón, 346.Pair of Foo "sang de boeuf" dogs, Qing dynasty. China, 19th century. In hand painted porcelain. These pieces were made in China for the foreign market (export to other countries). This is confirmed by the sealing wax seals on the back.Sang de boeuf enamel, a deep red ceramic glaze, first appeared on Chinese porcelain in the early 18th century. The name means "ox's blood". Sang de boeuf is a flamed and glazed glaze, marked by unpredictable but highly decorative and varied effects.The foo dog, similar to a lion, is an important symbol in Chinese Taoist culture and, through its influence, also in Japanese and Thai culture. It is identified with protection against evil spirits, and hence they are often depicted in pairs at the entrance of temples, imperial tombs, palaces, government buildings, etc. They are also known as Imperial Guardians, and were very common in traditional Chinese art. They are attributed with mythical powers of protection, and appear as early as the Han Dynasty (206 BC - 220 AD) at the entrance of important buildings.
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Pair of Foo lions, Qing dynasty. China, 19th century.Hand-polychromed porcelain.Measurements: 43 x 14 x 21 cm .Pair of Foo lions from the Qing dynasty. China, 19th century, in hand-polychromed porcelain in ochre tones, with green bases.Foo lions, also known as Buddha lions or Chinese lions (and erroneously also known as Foo dogs, since they are not canids), and sometimes also called shishi (literally, 'stone lion'), are powerful mythical animals that have their origins in the Buddhist tradition and are consequently widespread in Southeast Asia, China, Japan, Tibet, Korea and Thailand. Insofar as the Chinese use the term 'Foo' to refer to Buddha, one can also speak of 'Buddha lions'.1 In fact, they are often found on the thresholds of Buddhist temples, palaces and imperial tombs, in all buildings from the Han dynasty (206 BC-220 AD) until the end of the empire (1911),
Pair of Chinese trumpet vases, "rose family". Qing dynasty, 19th century.Hand-painted porcelain.Measurements: 24 cm (height); 15 cm (largest diameter).Pair of Chinese trumpet vases, "rose family". Qing Dynasty, 19th century in hand-painted porcelain with vegetal decorations, borders and birds of various colours. "Pink family" is a type of Chinese porcelain introduced in the 18th century and defined by the presence of pink overglaze glaze. It is a Western classification for Qing dynasty porcelain known in Chinese by various terms: fencai, ruancai, yangcai and falangcai. The colour palette was introduced to China during the Kangxi reign (1654-1722) by Western Jesuits working in the palace, but perfected only in the Yongzheng era when the best pieces were made. Although "pink family" is named after its pink glaze, the colour can actually range from pale pink to deep ruby, and in addition to pink a range of other soft colour palettes are also used. The gradation of colours was produced by mixing coloured glazes with 'vitreous white', an opaque white glaze (lead arsenate), and its colour range was further extended by mixing different colours.
Pair of Chinese garden stools. First half of the 19th century.Glazed Sancai ceramic.Measures: 40 x 54 x 23 cm .Pair of Chinese garden stools. From the first half of the 19th century in glazed Sancaiglazed Sancai ware, depicting elephants.Sancai (literally 'three-coloured' in Chinese) is a type of pottery that uses three intermingled colours as decoration. The body of Sancai ware was made from white clay, painted with a layer of glass glaze, and fired at temperatures of about 800 degrees Celsius. A style of porcelain made in China during the Tang dynasty (618-906 BC), characterised by veins and dots in three colours, mainly navy blue, turquoise and aubergine. The term also refers to ceramics made during the Ming and Ching dynasties (1368-1912), with the same three colours but separated by stripes of clay outlining the pattern.
Quianlong period bowl, 18th century, India Company.Enamelled porcelain.In perfect condition.Measures: 7 x 23 cm.Bowl decorated on its surface with floral motifs. With a curved profile, the mouth has a highly decorative golden fillet.Objects of Chinese origin, such as porcelain, have been known in the West since ancient times. As some of the Pradro Museum's catalogues state, 'Chinese manufacturers soon realised that Europeans were not experts in porcelain, and so they produced export porcelain, vulgar, even flawed, but which to Westerners were genuine works of art. Once the trade was regularly organised, the India Companies supplied Chinese artists with European models, both for forms and decoration. Throughout the 18th century, the blue and white series persisted, but of inferior quality, which was then called Nanjing porcelain, and especially the famille rose type".
Chinese vase, Qing dynasty, Qianlong period. Late 18th century.Hand-painted porcelain.Mouthpiece with restoration with grooves (staples).Seal on the reverse.Measurements: 63 cm (height); 37 cm (largest diameter).Chinese vase from the Qing dynasty, Qianlong period, late 18th century, of circular forms with elongated upper neck and open circular mouthpiece. The side handles have zoomorphic forms. Hand-painted with palace scenes of characters, vegetal ornamentation and borders of great quality and colour. The seal on the reverse confirms the period of the vase.Ch'ien-lung (1711-1799) was the fourth emperor of the Ch'ing, or Manchu, dynasty in China. His rule spanned a span of 63 years, a longer reign than any other in recorded Chinese history. In Ch'ien-lung's reign, the Ch'ing dynasty reached its zenith and began the downward spiral that would culminate in the Revolution of 1911, which marked the final demise of imperial China. He was one of the greatest imperial patrons of the arts and literature.
Plate. China, late 19th-early 20th century.Enamelled porcelain.With seal and inscription.In perfect condition.Measures: 36 x 28,5 cm.Chinese society liked, throughout its history, to decorate its residences with paintings and embroideries representing natural elements. In this case, the artist focuses his attention on a bucolic landscape crossed by a river. The scene is determined by the minuteness of the individual flowers and leaves of the trees. The precision of the line is one of the characteristics of Chinese painting, together with a certain restraint in colour, as can be seen in this case, where the range of blues and greens is enriched only by certain touches of earth and sienna in the inhabited mounds.
Plate. China, late 19th-early 20th century.Enamelled porcelain.With seal and inscription.In perfect condition.Measures: 36 x 28,5 cm.Chinese society liked, throughout its history, to decorate its residences with paintings and embroideries representing natural elements. In this case, the artist focuses his attention on a bucolic landscape crossed by a river. The scene is determined by the meticulousness of each of its component parts: a typically oriental house with cantilevered architecture and the magnificent landscape. Precision of line is one of the characteristics of Chinese painting, together with a certain restraint in colour, as can be seen in this case, where the range of blues and greens is enriched only by certain touches of earth and sienna from the mountain mounds.
Pair of Chinese "rose family" vases. Qing dynasty, 19th century.Hand-painted porcelain.Chipped at the mouths.Measurements: 37 x 17 x 15 cm.Pair of Chinese vases, "pink family" of the Qing dynasty, 19th century, square shape with the decreasing lower part, curved neck and open mouth, lateral handles of zoomorphic forms. Hand decorated with palace scenes, vegetable ornaments and borders."Pink family" is a type of Chinese porcelain introduced in the 18th century and defined by the presence of pink overglaze glaze. It is a Western classification for Qing dynasty porcelain known in Chinese by various terms: fencai, ruancai, yangcai and falangcai. The colour palette was introduced to China during the Kangxi reign (1654-1722) by Western Jesuits working in the palace, but perfected only in the Yongzheng era when the best pieces were made. Although "pink family" is named after its pink glaze, the colour can actually range from pale pink to deep ruby, and in addition to pink a range of other soft colour palettes are also used. The gradation of colours was produced by mixing coloured glazes with 'vitreous white', an opaque white glaze (lead arsenate), and its colour range was further extended by mixing different colours.
Quianlong vase, 18th century.Porcelain with white on white decoration.The base is chipped.Measurements: 45,5 x 21,5 cm.This Quianlong vase has a circular base and a trumpet-shaped body. It has been decorated using the white-on-white technique, combined with gilt floral motifs inscribed in polygonal pavilions. The Qianlong Emperor, a member of the Qing dynasty, ruled China from 1736 to 1795, and is remembered to this day as one of the most cultured emperors and one of the most important in terms of art collecting. His long reign was a particularly interesting moment in Chinese history. At that time, the country was the richest and most populous nation in the world. Qianlong was able to preserve and foster his own Manchu warrior and hunter traditions, and combine them with the adoption of Confucian principles of political and cultural leadership, thus achieving an effective and stable government. Indeed, it was his ability to adopt Chinese customs while honouring his Manchu tradition that made him one of the most successful emperors of the Qing dynasty. Qianlong studied Chinese painting, and especially enjoyed the art of calligraphy, highly regarded in this culture, indeed conceived as the highest of the arts.
Chinese vase, Qing dynasty, Qianlong period. Late 18th century.Hand-painted porcelain.Seal on the reverse.On wooden base with damage on the side.Measures: 39 x 25 x 25 cm.Chinese vase from the Qing dynasty, Qianlong period, late 18th century, of circular forms with elongated upper neck. Hand-painted in cobalt blue with decoration of dragons, vegetal ornaments and borders. The seal on the reverse confirms the period of the vase.Ch'ien-lung (1711-1799) was the fourth emperor of the Ch'ing, or Manchu, dynasty in China. His rule spanned a span of 63 years, a longer reign than any other in recorded Chinese history. In Ch'ien-lung's reign, the Ch'ing dynasty reached its zenith and began the downward spiral that would culminate in the Revolution of 1911, which marked the final demise of imperial China. He was one of the greatest imperial patrons of the arts and literature.
Pair of Chinese vases. Qing Dynasty, 19th century.Hand-painted porcelain.Wear due to use and passage of time.Measures: 33 x 19,5 x 14,5 cm.Pair of Chinese vases from the Qing dynasty, 19th century, with lobed geometrical shapes and zoomorphic side handles, in hand-painted porcelain in ochre and green colours. These vases are reminiscent of the shapes of the ritual wine vessels that were made in bronze in early China for funerary celebrations in the Bronze Age. Bronze ritual vessels were more than just elegant objects of status, but symbols of power that commanded respect. They were cast using moulds from pieces of pottery, built around a clay model.
Libation cup; Chinese, Quing Dynasty 1644-1911.Enamelled and polychrome porcelain.It has an inscription on the base. It is in a good state of preservation.Measurements: 18 x 15.5 cm.Cup of libations that presents a foot of round base, with cylindrical structure that supports the body with thin and exvasado lip. The ornamentation is based on figurative scenes, with the presence of a large dragon on the body standing out. This type of piece is of great artistic and decorative value, and originally had a sacred and mythological character. They were made from natural materials of animal origin, as these materials supposedly had the ability to detect the presence of poisons in the liquids poured into the cups, although in this case they are made of porcelain.This is the case with libation cups such as the one presented here, dating from the 18th century, which served as ceremonial vessels for the sprinkling of a ritual drink as an act of offering to the deities. The liquids offered in the libations were varied, normally unmixed wine was used, although milk, honey and even pure water were also often poured into them. The elegant decoration of this piece is faithful to the minimalist taste of Dehua's production, where refinement is aimed at the subtlety of the details. Following this line, in the present Libation cup we find
Two late 19th century Chinese porcelain crackle glazed hand painted vases. The lot to include a ovoid shaped crackle glazed vase having a hand painted battle scene all over with a waisted neck over a incised collar, together with a Famille rose flared top & waisted neck small vase having a gilt dragon in relief around the neck over hand painted polychrome decorations around decorated panels throughout, raised on a carved hardwood stand. Largest measuring approx. 13cmtall.
TWO BOXES AND LOOSE CERAMICS ETC, to include two 20th Century Chinese ginger jars with lids, no marks to the base approximate height 9cm, two Sadler horse themed tankards, Nao figurine holding two milk pails, two German style porcelain figures holding doves, unmarked salt glazed storage jars, five and six gallon salt glazed barrels - five gallon broken to the tap area, a pair of Harley Jones decorative vases, religious plaster figures, together with assorted other ceramic bowls, vases and ornaments etc, some pieces have damage
A large Chinese 20th century porcelain bottle-shaped vase. Printed red seal mark, Printed, painted and gilt with an immortal and attendants in procession, in iron-red and black, within lappet-shaped border with scrolling foliage, on hardwood stand, 61.5cm high exc. stand Condition Report: In good order overall, some minor surface scratching to glaze and very slight wear to enamels and gilding.
Group of mixed ceramics to include a Royal Copenhagen bottle vase, no. 4878, decorated with a Sparrow amongst cherry blossom, 14cm high, a Chinese incense jar and cover with blossom decoration on a black ground, with pot stand, two Continental porcelain cabinet cups and saucers depicting classical scenes, with gilt border decoration, and a framed Limoges ceramic plaque depicting 2 putti
A Chinese Provincial Porcelain Bowl, possibly Kangxi, of circular form with everted rim, painted in underglaze blue with stylised scrolling foliage16.5cm diameterA Pair of Chinese Porcelain Bowls, Qing Dynasty, painted in underglaze with scrolling foliage, seal marks14cm diameter (3)First bowl with some deterioration to glaze. Pair of bowls: one with old restored rim chip, the other with faint hairline crack.
A Chinese Porcelain Dish, Kangxi, painted in famille verte enamels with insects amongst flowers and rockwork within a foliate panelled border29cm diameterA Similar Dish, QIanlong, painted in famille rose enamels with peony and rockwork within an arrowhead and flowering and fruiting branch border34.5cm diameterA Similar Octagonal Plate, painted in green and brown with a flowerspray within a husk swag border23.5cm diameter (3)Kangxi - A section broken out of the rim around 6 o clock, re attached and proffesionaly restored. The rim heavily fritted. Qianlong - The dish has been in two pieces and re stuck, two further smaller pieces re stick inline with the larger break. Rim with heavy glaze fritting.Octagonal - a large flat chip to the rerar of the rim. A further two rim chips and a foot chip. Some general rim fritting and glaze pitting.
A group of three hand-painted Chinese porcelain famille rose plates, c. 1760-80. To include: a floral example and two depicting Chinese domestic scenes. 23 cm wide. (3).Condition: floral plate with 5 cm crack and filled rim chips, 7cm crack to another plate, both with chipping/fritting to rims
A group of eighteenth and nineteenth hand-painted Chinese porcelain famille rose and blue and white wares. To include: a tall vase with floral decoration, a baluster-shape mug, three cylindrical tankards and two tea caddies. 23 cm wide. (7).Condition: vase with restored rim and foot, mug with rim cracks and chips, large mug deficient of handle, blue mug with restored handle, one mug with tinker-repaired handle, one tea caddy with cracked lid, the other with replaced lid.
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