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Lot 73
A CHINESE BLUE AND WHITE PORCELAIN BOWL, MING DYNASTY. Export type decorated in underglaze blue depicting a pagoda with stylised waves and clouds and floral medallion interior. 15cm diam.A good example with no signs of major damage or repair. Slight nicks to foot rim as expected. General surface wear.
Lot 75
TWO CHINESE MINIATURE PORCELAIN VASES, 18/19TH CENTURY. To include a meiping vase with copper-red glaze together with an ovoid vase with blue and white decoration of chrysanthemum scrolls on wooden stand. Meiping 8.5cm height.Both items in good overall condition with no signs of damage or repair.
Lot 77
A CHINESE TURQUOISE GLAZED PORCELAIN 'BOYS' VASE, 19TH CENTURY. The square from vase decorated with nine boys affixed to vase holding peaches covered in a turquoise glaze. 28cm heightSlight loss to edge to tip of the items in one boys hand and corner of sleeve, as well as very tip of boys right hand thumb. No other areas of defect and no signs of repair.
Lot 78
TWO CHINESE PORCELAIN BRUSH POTS, MID 20TH CENTURY. To include a cylindrical brush pot decorated with cranes and inscription, two-character makers mark to base. Together with brush pot with splayed foot decorated with birds in landscape scene with inscription. Approx. 14-15cm heights. (2)Both in good general condition with no signs of damage or repair
Lot 79
THREE CHINESE PORCELAIN ITEMS, MID 20TH CENTURY. To include a teapot decorated with figure of immortal and inscription, faded four-character mark to base. A bell-shaped pot with spout decorated with winter landscape scene and inscription, two-character mark to base. Together with a wrist rest of rectangular form with pierced sides painted to the top with bird on branch, makers mark to corner. Wrist rest 13.5cm length. (3)All items in good general condition with surface wear only. No signs of damage or repair.
Lot 80
THREE CHINESE PORCELAIN ITEMS, 20TH CENTURY. To include a Hu form vase decorated with children playing in garden scene and inscription, four-character mark to base. A bottle vase decorated with flowering prunus and inscription, four-character mark of Qianlong to base. Together with a miniature Hu form vase with deer form handles decorated with man sitting beside a pond with inscription to verso, painted leaf mark to base. 11.5cm - 23cm heights. (3)All items in good general condition with no signs of damage or repair.
Lot 81
FOUR CHINESE / JAPANESE ITEMS. To include two stone carvings of a ram and two monkeys with peach. Together with a Chinese square form seal decorated with figures and inscription and a Japanese porcelain coaster with floral decoration, signed to base. Monkey group 18cm lengthRam with slight nicks to edges of head and body. Line of overpaint to top of porcelain seal.
Lot 87
THREE CHINESE BLUE AND WHITE PORCELAIN GINGER JARS, 19/20TH CENTURY. Of graduating sizes with prunus decoration. The larger jar with four-charatcer mark of Kangxi to base. Together with a wooden stand. 12cm - 14cm heights. (3)Two filled chips to larger jar rim. No other signs of damage or repairs.
Lot 98
A FINE CHINESE SONG DYNASTY QINGBAI PORCELAIN DISH IN KILN SAGGAR. The kiln saggar containing a fine quality porcelain dish coated in a translucent Qingbai glaze of a delicate pale blue. The glaze around the dish fusing it to the inner wall of the saggar. Thick layers of ash glaze accumulated to the outer wall of the saggar. Diameter 17cm. Northern Song Dynasty (AD 960 - 1127). Provenance: from the collection of the late Brian Page (1938-2018), the well-known Oriental art and antiques dealer from Brighton.
Lot 812
A London decorated Chinese porcelain tea bowl and saucer, painted, possibly in the workshop of James Giles, with a seated woman in green and black enamels, together with two further saucers and a Worcester blue and white painted saucer (5).Teabowl and saucer- The gilt border of the saucer is near totally worn/rubbed off, the tea bowl has a hairline crack and rubbing on the gilt top edge, both of the other saucers are damaged and have losses.The Worcester saucer has a 2cm hairline and a little general pitting.Please see extra images online.
Lot 23
A Chinese porcelain bowl decorated with a dragon, 26cm diameterWear and surface dirt commensurate with age. Visibly glued repair to the rim of the bowl with a chip missing. Hairline fracture running from the rim down about 7cm towards the middle of the bowl. Chipping to the decoration, noticeable on the body of the dragons.
Lot 85
Chinese school, modelled on WU GUANZHONG; 20th century."Village View".Ink and graphite on paper.There are tears on the outer perimeter without affecting the drawing.Apocryphal signature and inscription.Measurements: 31 x 41.8 cm.In the oriental culture, painting has a great link with calligraphy, materials such as brush and ink are fused in both disciplines. The material thus becomes a highly appreciated 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.
Lot 86
Chinese school, modelled on WU GUANZHONG; 20th century."Floating water lilies".Ink on blue card.Slight lack in the upper left corner.Signed in the lower left corner.Measurements: 31,5 x 45 cm.In the oriental culture painting has a great link with calligraphy, the materials such as the brush and the ink are fused in both disciplines. The material thus becomes a highly appreciated 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.
Lot 87
Chinese school, modelled on WU GUANZHONG; 20th century."Village View".Ink on blue card.There are tears and faults in the corners.It has damp stains.Signed in the lower left corner.Measurements: 44,5 x 32 cm.In the oriental culture the painting has a great link with the calligraphy, the materials like the brush and the ink are fused in both disciplines. The material thus becomes a highly appreciated 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.
Lot 23
A Louis XV gilt bronze mounted Chinese famille rose export small porcelain model of a pheasantthe porcelain probably Qianlong period (1736-1795)the bird with iron red body with shaded breast and multicoloured and gilded plumage, perched on a pierced rockwork base in mottled aubergine and turquoise, the oval acanthus-cast rocaille and c-scroll base on corresponding feet, 26cm high Footnotes:For a comparable small pair of unmounted Chinese famille rose pheasants, circa 1760 previously with A & J Spealman, London, see Christies, Chinese Export Art, 21 January 2016, lot 46.For a larger pair of Louis XV gilt bronze mounted Chinese famille rose porcelain models of pheasants with mounts attributed to Jean-Claude Chambellan Duplessis, see Christies, The Exceptional sale, 4th July 2013, lot 9.The French fashion for gilt bronze (ormolu) mounted porcelain supplied by marchand-merciers such as Lazare Duvaux and also un-mounted Chinese porcelain birds is revealed in the 'revolutionary' sales held in Paris in the late 18th century. However, bronze Chinese pheasants appear to be relatively rare with only un-mounted birds usually seen on the market.For further information on this lot please visit Bonhams.com
Lot 24
An early 19th century English gilt bronze mounted crackle glazed Chinese porcelain vasethe mounts in the manner of Benjamin Vulliamy (1747-1811) and Benjamin Lewis Vulliamy (1780-1853)the grey crackle glazed baluster body with a relief moulded biscuit undulating key border and scalloped girdle, the foot with a similar narrow band, the whole with applied stylised lion drop ring handles, the rim with applied flared fluted and lobed rim mounts, the foot rim mount with trellis cast border, the vase raised on an a shallow square porphyry plinth base, the vase 36.6cm high, 39cm high overall including the plinth (2)Footnotes:Benjamin Vulliamy and his son Benjamin Lewis Vulliamy (1780-1854) who traded in London as Vulliamy & Son, belonged to a family of Swiss extraction whose original business of making clocks and watches expanded rapidly during the last quarter of the 18th century due much to the entrepreneurial spirit of the senior member of the family, Benjamin. Trading from 74 Pall Mall, their surviving Ornament and Clock Books contain extensive details regarding their business practices which clearly indicate that their craftsmen were not necessarily employees of the firm, but were 'individuals or firms largely resident in London who were working independently for their own account,' (See: Furniture History, 1967, Geoffrey de Bellaigue, 'The Vulliamys and France,' pp. 45-53). Besides mechanical movements for their watches and clocks, they also designed and had made elaborate cases which incorporated porcelain figures which were supplied by William Duesbury of Derby. In addition they supplied ornamental metalwork in many guises and, as de Bellaigue remarks, 'they were prepared to supply their customers with anything from a chimney-piece to a door handle, from a piano to a button.' The Vulliamys were fully aware of current taste on the Continent and France, not only utilizing published French designs, but also copying actual French objects or their components. They are also recorded as actually purchasing works of art in Paris, either on commission or for resale, and also utilized the workshops of the Delafontaines, 'who were among the most eminent bronze manufacturers active in Paris in the beginning of the nineteenth century,' (Bellaigue, op. cit.). The Delafontaines are shown in Vulliamys' books 'as suppliers of bronze mounts, chased but not gilt, which were incorporated into candelabras, inkstands, clocks and mounted porcelain jars,' as seen on the present vases. The Vulliamys had an illustrious list of clients, including many members of the aristocracy and eminent personages, together with the patronage of the Royal Family including the Prince Regent to whom they supplied elaborate mounts, all with comparable square bases, for several Chinese porcelain vases which in the Royal Collection. These included three Chinese famille rose jardinières (RCINs 48 and 101659.1-2) and a set of four jardinières with bowls of dark blue Spode ware in imitation of Chinese porcelain (RCINs 700.1–4).For further information on this lot please visit Bonhams.com
Lot 1406
A group of Chinese porcelain blue and white jars and vases: all decorated in blue and white with prunus, comprising a vase of slender oviform with short raised neck, four character mark for Kangxi, 25.5cm high, together with a small baluster vase and cover 22cm high and five oviform jars, approximately 1083cm high. [7]
Lot 1424
A mixed lot of Chinese porcelain: including a small famille rose cup, cover and stand decorated with figures and inscriptions from the 'Table of the Peerless Heroes', late Qing Dynasty, diameter of stand 10.5cm; a similar teapot and cover with peach finial and enamelled with ladies on terraces, 15cm; a famille verte tea canister and an eggshell teabowl [7 including covers].
Lot 1425
A mixed group of Chinese porcelain: comprising a deep dish with incised peony decoration under a dark celadon glaze, 25.5cm diameter, a food container and cover decorated with female figures within a garden, four small blue and white dragon bowls, apocryphal Jiaqing seal marks, together with a small famille rose saucer dish, [chipped].
![A Liverpool [William Reid] blue and white low-footed sauceboat: press-moulded and strap-fluted, painted with Chinese lake lan](https://cdn.globalauctionplatform.com/76689ac6-356f-471e-a241-aeb700a7151f/9726fc52-daa7-4727-ad17-aeba00ed9fdf/468x382.jpg)
Lot 1552
A Liverpool [William Reid] blue and white low-footed sauceboat: press-moulded and strap-fluted, painted with Chinese lake landscapes with fishermen, the oval footrim with beaded border, '4' mark below lower handle terminal, circa 1760, 18.5cm.*Notes Bears paper label for the 'Watney Collection'.*Notes Literature: Maurice Hillis 'Liverpool Porcelain 1756-1804' page 69 [3.132A] for a similar example with distinctive shell moulding to the rim.
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