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Click here to subscribeA group of ceramic figurines, a pair of Royal Worcester blush ivory, model 1206, modelled as a man and woman each carrying a water vessel, a Vienna porcelain lady, 4373, Royal Doulton 'Windflower', HN1763, and three modern Chinese blanc de chine Guanyin figures, tallest 8.5 by 10 by 32 cm high. (7)
A Chinese porcelain vase, Qing Dynasty, 19th century, of baluster form with twin applied lion dog and ring handles to the shoulders, decorated in a white glaze, fading to cream around the neck with crackleure, and with overglazed blue and white enamel to one side depicting a man fishing on a boat, beside a rocky hillside, four character underglaze blue mark to base, 11 by 25cm high.In generally good condition with no major issues, however the rim has three chips.
A Chinese porcelain cover, early 20th century, likely the cover for a bowl, decorated with birds, fruit, and flowers against a pink ground, 10 by 6cm, together with a modern Chinese silk embroidery panel of a golden dragon clutching a flaming pearl, against a red ground, 58 by 60cm, and a copy of 'Young Fu of the Upper Yangtze', by Elizabeth Foreman Lewis, pub. George G. Harrap & Co Ltd, reprint edition 1934, black cloth with yellow printed text, (3)
A Quantity of writing items to include writing slope box, Two Desk tidy boxes, Three drawer apprentice chest containing painting utensils, Reeves & Sons Ltd London porcelain paint pallet, Arts and crafts lacquered box containing miniature paint tubes etc, Chinese lacquered box containing seal wax/ paint. Together with two vintage class room hand held chalk boards and box of Box of slate pencils. [Will not post]
Pair of Chinese Canton Famille Rose porcelain vases, of tapered rectangular form with waisted necks, painted with panels of birds amongst foliage reserved on a foliate scroll ground, with conforming neck and foot friezes, 34cm high– There is decoration wear all over on both and one has damage to the rim in two places one of which has been repaired
Three Chinese blue and white porcelain baluster vases, the largest depicting a 'Long Eliza' and boy in a garden holding lingzhi, and three figures around an altar table, four character mark of Kangxi (but probably later), 36cm including domed cover, together with another smaller, depicting two figures carrying a large vase, 26.5cm high, and a smaller similar vase, 16.5cm high, (cover a/f), (3)
Porcelain kendi, possibly Chinese Wanli but unmarked, of traditional form and decorated for the Middle Eastern market in underglaze blue with floral panels, 18cm high, (s/d)This form was adopted by the Middle Eastern market as the Qaliyan / Kalyan / Kalian, precursor to the Huqqah / Hookah base.The main body has a crack running around along approximately half of the body. To the neck and body there is some deep crazing and we believe some of these to be cracks. Glaze crazing all over. The dome is missing its tip where it has been brocken off. Some small nibbles to the raised eedges, particularly around the top. Some light surface scratches and wear.
Chinese school, after models by WU GUANZHONG; 20th century."Portico view".Ink on handmade paper.Signature and apocryphal comments.Measurements: 40,5 x 30,5 cm.Ink drawing in which an architectural view is represented, which seems to show the door of a city of the East, which is deduced by the tops of the domes of bulbous appearance. In Eastern culture, painting is closely linked to calligraphy, and materials such as brush and ink are fused in both disciplines. The material thus becomes a highly valued artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.
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