A large Chinese Famille Verte 'Buddhist lions' bottle vase, Kangxi, the large pear-shaped bottle raised on a short foot, the tall cylindrical neck with a slightly everted rim, decorated around the globular body with four Buddhist lions playing with a brocaded ball and ribbons, the shoulder with a band of floral scrolls and a ruyi border, the top of the neck with a diaper-pattern band and pendent tassels, 47.2cm highProvenance: Property of a Gentleman, purchased in the 1890s by repute and by family descent.A similar famille verte bottle vase, Kangxi, is illustrated by C.J.A.Jorg, Famille Verte: Chinese Porcelain in Green Enamels, Lier, 2011, p.43. See also a very similar famille verte vase, Kangxi, which was sold at Sotheby's New York, 15 March 2017, lot 696.清康熙 五彩獅子戲球大棒槌瓶拍品来源：绅士收藏，家族于 1890 年代购买 Condition Report: the rim restoredCondition Report Disclaimer
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Mintons bone china miniature tyg painted with flowers, a similar teapot and cover, an Art Deco blue lustred trinket dish and cover of rectangular form decorated with cherries, a Chinese black ground wine cup, gilt with a dragon, the exterior with underglaze blue landscapes, two pairs of Moorcroft white glazed pottery egg-shaped salt and pepper shakes, in sizes, a Japanese porcelain white metal topped heart-shaped scent bottle and an Asian green hardstone carved model of a Buddha
Collection of late 18th/early 19th century English pearlware porcelain and Chinese export porcelain decorated in the famille rose style, including a Newhall teapot and cover of lobed oval form, pattern no.N171, a milk jug similar, an oval sugar bowl and cover, a pearlware baluster coffee pot and domed cover, two Derby porcelain oval two-handled sugar bowls and covers, one gilt with urns and iron red and puce foliate scrolls, a Chinese export famille rose sparrowbeak milk jug and other items, various painted pattern numbers and marks (damages and repairs) Condition Report Pearlware coffee pot - crack and restored rim chip to cover, overpainting to spout, glaze crazing and wear overall. Newhall teapot and cover- very minor chipping to tip of spout, hairline crack to pot below spout, otherwise some minor and typical wear. Newhall milk-jug, cracked to upper rim, short firing flaw to shoulder. Newhall-type teabowl and saucer - teabowl chipped and cracked, saucer also cracked. English porcelain coffee-cup - some scratching to glaze overall. English porcelain oval sugar bowl and cover - three restored rim chips, overpainted hairline crack to bowl, small old regilt rim chip. Chinese Export jug - small rim chip and overpainted hairline crack.English porcelain oval sugar bowl and cover blue and gilt flower-sprays - chip to rim and stained starcrack to base. Wear. Two Derby two handled sugar bowls and covers - each with some staining and wear. Some wear overall.
Chinese export famille rose porcelain tureen, cover and stand, 18th century, oblong with canted corners, the low dome cover with pomegranate finial and body with hare’s mask handle all enamelled in typical colours with rocks, flowers and cockerels, the tureen 36cm wide and the matching stand 39cm wideCondition ReportThe tureen has a large hairline crack running across the body with small associated loss at rim. There is also some glaze chipping to the nose of hare masks. The stand has four minor rim chips plus some nibbling to the rim. Please see additional photographs.
A PAIR OF CHINESE PUCE-ENAMELLED BLUE AND WHITE 'EIGHT IMMORTALS' BOWLSSIX-CHARACTER GUANGXU MARKS AND OF THE PERIOD 1875-1908Each having gently rounded sides rising from a short slightly tapered foot, the exteriors painted in underglaze blue with the Eight Immortals with their attributes, riding on various sea creatures or plants and journeying across a ground of puce-enamel crashing waves, the interiors similarly decorated with central medallions enclosing Shoulao standing beside a spotted deer amidst waves below swirling clouds, 22.2cm. (2)The decoration on the present lot is derived from Kangxi period examples and became particularly popular in the 19th century, as discussed in Christiaan JA Jörg et al, Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: The Ming and Qing Dynasties, pp.132-133, nos.138-139. Although following the same design, it is underglaze red that features on the Guangxu period bowl in the Rijksmuseum, Amsterdam, accession nos.AK-NM-12466. For another Guangxu example with puce enamel, see G Avitabile, From the Dragon's Treasure: Chinese Porcelain from the Nineteenth and Twentieth Centuries in the Weishaupt Collection, p.59, pl.72. A further closely related Guangxu bowl from the collection of Simon Kwan was included in the exhibition Imperial Porcelain of Late Qing at the Chinese University of Hong Kong, 1983, cat. no.112.清光緒 青花胭脂紅八仙過海紋大盌 一對《大清光緒年製》青花楷書款
A CHINESE DOUCAI 'DEER' DISHSIX-CHARACTER YONGZHENG MARK AND OF THE PERIOD 1723-35The interior with a roundel depicting a deer in a fenced garden with lingzhi growing from rockwork below two bats and scrolling clouds, the cavetto painted with a monkey sitting on a fruiting peach tree along with a bird, insects, cockscomb and further lingzhi, the exterior with four scrolling ruyi-heads, 20.3cm.Provenance: formerly from a distinguished European private collection, acquired in June 1979 from an important French private collection, Paris; Bonhams London, 8th November 2012, lot 103.Deer have traditionally been symbols of longevity, wealth and grace in Chinese culture, as the character for deer, lu (鹿), is a homophone for blessings, lu (祿). They are frequently depicted beside Shoulao, the God of Longevity, as they are understood to have the gift of seeking out lingzhi, the fungus of immortality. As a subject in doucai porcelain the deer became popular during the Yongzheng period, having appeared in small numbers during the Kangxi reign. Compare the piece offered here with an earlier Kangxi example with an apocryphal Xuande mark in the Shanghai Museum, illustrated in Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, pp.262-263, no.170.清雍正 鬥彩猴鹿紋盤 《大清雍正年製》青花楷書款來源: 歐洲著名私人舊藏，1979年6月購於法國巴黎重要私人收藏，其後購於倫敦邦瀚斯，2012年11月8日， 拍品編號103。
A RARE AND LARGE CHINESE BLUE AND WHITE 'BAJIXIANG' TRIPOD INCENSE BURNERJIAJING 1522-66The cylindrical body decorated with the Eight Buddhist Emblems amidst trailing formal lotus, beneath a moulded band and a border of further scrolling lotus, all raised on three short cabriole legs painted with floral motifs, 27.8cm.A similar smaller incense burner, excavated from a eunuch's tomb in Chengdu city, Sichuan province, is illustrated by Zhang Bai in Complete Collection of Ceramic Art Unearthed in China, vol.10, Beijing, no.175, where it is dated to the Jiajing period.The bajixiang, or 'Eight Buddhist Emblems', originated in India and came to China with the introduction of Tibetan Buddhism during the Yuan dynasty. They were rapidly incorporated into the decorative arts, particularly for use on votive objects, such as altar vases, candlesticks and incense burners, as seen on the piece offered here. The shape of the present lot, featuring low cabriole legs and a moulded band below the rim, was adapted in the Ming period for use in porcelain from earlier bronze incense burners. Compare with a related porcelain example, dated to the Hongzhi period and decorated with a Daoist scene, illustrated in The Complete Collection of Treasures of the Palace Museum: Blue and White Porcelain with Underglaze Red (II), vol.35, pp.46-47, no.43.Provenance: Christie's New York, 13th-14th September 2012, lot 1172.明嘉靖 青花八吉祥紋三足爐來源：紐約佳士得2012年9月13-14日·編號1172。
A RARE CHINESE BLUE AND WHITE MING-STYLE ALTAR CANDLESTICKFOUR-CHARACTER QIANLONG MARK AND OF THE PERIOD 1736-95Constructed in two sections, the lower tier with a wide tray below a knop stem and the upper tier with a baluster stem above a similar tray and terminating in a drip pan, decorated with bands of differing formal designs including trailing lotus, peony and other flowers, ruyi-heads, plantain leaves, breaking waves and foliate lappets, 25cm.Provenance: from an English private collection, London.Candlesticks of this type traditionally featured as part of the garniture of the five vessels, wu gong, made for the principal altar of a temple. This sacrificial set comprised a pair of flower vases, two candlesticks and a tripod incense burner. A larger pair of Ming-style candlesticks with a presentation inscription by Tang Ying (1682-1756), director of the Imperial kiln at Jingdezhen during the early Qianlong period, is in The Victoria & Albert Museum, accession no. FE. 129-1975, donated from the Bushell Collection and illustrated in Rose Kerr, Chinese Ceramics: Porcelain of the Qing Dynasty 1644-1911, pp.66-67 and 69, pl.45. Another pair signed by Tang Ying and dated to 1740 is in the Hildesheim Museum, Germany, illustrated in Ulrich Wiesner, Chinesisches Porzellan. Die Ohlmer’sche Sammlung im Roemer-Museum, Hildesheim, pp.44 and 108-109. Compare also with the pair sold in these rooms, 13 November 2013, lot 169.清乾隆 青花纏枝蓮紋燭臺《乾隆年製》青花篆書款來源: 英國倫敦私人收藏。
A LARGE AND RARE CHINESE BLUE AND WHITE LANTERN-SHAPED VASEYONGZHENG 1723-35The cylindrical body rising from a gently stepped foot to a short waisted neck with a flared rim, decorated to the body with an archaistic motif of kui-dragons among stylised trailing peony between formal bands of plantain leaves and ruyi-head lappets, the neck and foot with foliate scrolls and bands of geometric flowers and ruyi-heads, 36.5cm.Provenance: from an English private collection, London.The archaistic style of this piece is typical of work produced under the Yongzheng Emperor who actively promoted the revival of Ming porcelain designs at the Imperial kiln of Jingdezhen. Tang Ying (1682-1756), director of the kiln at this time, records a number of antiquities from the Imperial collection being sent down as prototypes, particularly underglaze-blue porcelains produced during the reigns of Yongle (1403-25) and Xuande (1426-35). These wares were copied meticulously, down to the fine detail of their characteristic feature of 'heaping and piling', as seen in the piece offered here. By contrast, the 'lantern' shape was an innovation of the Yongzheng period, often featuring additional vase-shaped flanges to either side and originally used with Guan-type or Ge-type glazes, such as the two Yongzheng examples in the Palace Museum, Beijing, illustrated by Geng Baochang, Gugong Bowuyuan cang Qingdai yuyao ciqi, pls.174 and 206.清雍正 青花夔龍牡丹紋燈籠瓶來源: 英國倫敦私人收藏。
A CHINESE AUBERGINE AND GREEN-ENAMELLED 'DRAGON' BOWLSIX-CHARACTER KANGXI MARK AND OF THE PERIOD 1662-1722The exterior decorated with two sinuous five-clawed dragons chasing flaming pearls among wispy clouds above breaking waves and rockwork, 13.3cm. Provenance: formerly an English private collection, Sussex, acquired in the 1990s.Cf. Two comparable Kangxi marked bowls are in the Helen and Peter Lin Collection, illustrated in Joined Colors: Decoration and Meaning in Chinese Porcelain, Chinese Ceramics from the Min Chiu Society, Hong Kong, pp.90-91, nos.19 and 20. A similar Kangxi bowl but of different proportions is in the Palace Museum, Beijing, published in Gugong Bowuyuan cang gu taoci ciliao xuancui (Selection of ancient ceramic material from the Palace Museum), vol.2, pl.88. Another is in the Asian Art Museum of San Francisco, illustrated in He Li, Chinese Ceramics: A New Standard Guide, pl.615. A further comparable example is in the Shanghai Museum, published in Wang Qingzheng, Kangxi Porcelain Wares from the Shanghai Museum Collection, pl.196.The design is based on a Ming prototype, as seen in a larger Wanli marked bowl with the addition of a key fret band to the foot, illustrated in Porcelain of the National Palace Museum: Enamelled Ware of the Ming Dynasty, vol.3, pl.9. The colour combination of the piece offered here became popular in the early Qing period and is also known on examples from the Yongzheng and Qianlong reigns, remaining in use into the 19th century. At the time of Qianlong green-enamelled porcelains with purple dragons were apparently reserved for guiren, or sixth-rank consorts. See Splendours of China's Forbidden City: The Glorious Reign of Emperor Qianlong, pp.197-202.清康熙 綠地褐彩趕珠龍紋盌《大清康熙年製》青花楷書款來源: 英國薩塞克斯郡私人舊藏，購於1990年代。
A RARE CHINESE WUCAI SILVER-GILT MOUNTED BOWL JIAJING 1522-66 The exterior painted with iron-red, green and turquoise panels of pheasants and foliage reserved on an iron-red ground, the interior decorated with an underglaze-blue medallion of a waterbird among lotus to the well and a band of diaper to the rim, the sides with two paper labels, 'Oriental Ceramic Socy., 1950 Exhib'n., 119' and 'Oriental Ceramic Socy., 1957 Exhib'n., 219', the base with a further paper label, 'AC 516', the silver-gilt mounts late 16th/early 17th century, possibly Augsburg or Nuremberg, 14.6cm. Provenance: formerly the collection of RW Brandt by 1923; then the collection of Mr and Mrs Alfred Clark; sold by Sotheby's London, 24th March 1953, lot 60, to Bluett & Sons, London; purchased by Mr Charles J Aron, 19th May 1953; sold by Mrs Charles Aron, 24th April 1963, to Bluett & Sons, London; purchased by Mrs Irene Dreyfus, 5th July 1963; with Ralph M Chait Galleries Inc, New York, 1980s; later the property of an important Charleston collection. Exhibited: Oriental Ceramic Society, Polychrome Porcelain of the Ming and Manchu Dynasties, 1950, no.119; Oriental Ceramic Society, The Arts of the Ming Dynasty, 15th November - 14th December 1957, no.219. Published: RL Hobson, The Wares of the Ming Dynasty, pp.116-117, pl.6, fig.2; Warren E Cox, The Book of Pottery and Porcelain, vol.1, p.485, and pl.140; Roy Davids and Dominic Jellinek, Provenance, p.50. The extensive provenance, exhibition history and publication of the wucai bowl offered here give a clear illustration of the artistic and historical importance of this piece. Dated to the 16th century, it is a testament to the early phase of economic and cultural exchange between China and the West, before the consolidation of the trade routes that would emerge over the course of the following centuries. After the founding of the Dutch East India Company in 1602, the volume of pieces exported from China would increase significantly, but at this date porcelain reaching Europe was extremely rare. The principal conduits were the Portuguese, who had established a trading base in Macau in 1557, and the Spanish, with their Central American colonies providing an ideal mid-point for their alternative shipping route, as well as the historic overland route via Central Asia to Turkey. Through them, a limited number of wares made in Jingdezhen were able to reach the West, so highly priced that they were only available to the very richest echelons of society. Consequently, porcelain was treated with the same reverence as other exotica displayed in the fashionable kunstkabinetts, or 'cabinet of curiosities', of the day. In much the same way as nautilus, coconuts and ostrich eggs, porcelain was applied with metal mounts that adapted it to Western taste and signalled its value to contemporary viewers. Thus when displayed in an effort to expand knowledge even as Europe embarked on its first explorations of Africa, Asia and the Americas, it took its place amongst the many forms of naturalia and artificialia collected at the time. Similarly mounted porcelain bowls of the Jiajing period can be seen in The Victoria and Albert Museum, such as the 'Trenchard' bowl, accession no.M.945-1983, and a contemporary kinrande-type bowl, accession no.M.16-1970, the latter illustrated in Stacey Pierson, From Object to Concept: Global Consumption and the Transformation of Ming Porcelain, fig.2.7. Two further mounted kinrande-type bowls are also in The Metropolitan Museum of Art, accession nos.79.2.1122 and 68.141.125a, b, the former illustrated in Suzanne G Valenstein, A Handbook of Chinese Ceramics, p.178, no.174. 明嘉靖 五彩錦上添花紋盌鑲銀鎏金耳 來源：RW Brandt舊藏（1923年前）；Alfred Clark伉儷舊藏；Bluett & Sons於1953年3月24日在倫敦蘇富比購入，拍品編號60；Charles J Aron先生於1953年5月19日購入，其後Bluett & Sons於1963年4月24日從Charles J Aron太太購回；Irene Dreyfus女士於1963年7月5日購入；Ralph M Chait Galleries Inc於1980年代購入，其後成為美國南卡羅來納州查爾斯頓市重要收藏。 展覽： 東方陶瓷學會，Polychrome Porcelain of the Ming and Manchu Dynasties, 1950年, 編號119。 東方陶瓷學會，The Arts of the Ming Dynasty, 1957年11月15日至12月14日, 編號219。出版：R L Hobson, The Wares of the Ming Dynasty, 頁116-117, 圖版6, 圖2; Warren E Cox, The Book of Pottery and Porcelain, 第 1 卷, 頁485, 及圖版140; Roy Davids and Dominic Jellinek, Provenance, 頁50。
Four Chinese figures, including two jadeite examples, largest 7.5cm wide Seated porcelain figure has been broken into two halves and glue-repaired; head glue-reattached; hat chipped at one side, glue-repaired at the other; his yellow shoulders chipped and incomplete at each side. Standing porcelain figure his hat chipped and re-touched in black. The two jadeite sections formerly joined as one cockerel group, see latest image; larger cockerel head missing; stand missing one foot so cannot stand straight. Other stand is odd; fair.
A Chinese famille verte porcelain baluster vase and cover, 19th century, decorated with birds amongst branches and blossom on decorative gilt metal base (now converted to a table lamp and drilled), 56cm total Small chip to underside of cover rim; otherwise good. Jar tightly mounted to the metalwork.
Six 20th century Chinese porcelain figures of Mao Zedong, largest 35cm high First image, back row, left to right - 1) two small hairline cracks to his coat; minor firing cracks to bisque finish. 2) good; the biscuit finish a little dirty. 3) Good but dirty glazed finish. 4) Evidence of professional restoration. 5) Good, biscuit finish. Green bust good.
A Chinese famille noire floral dish, Qianlong mark, late 19th/early 20th century and two Chinese enamelled porcelain plates, 19th century, famille noir dish 23.5cm diameter Famille noir plate good. Famille verte plate four very small chips to rim, possibly factory defects; wear to gilding, particularly the rim. Famille rose plate wear to gilding.
Two late 18th century Chinese enamelled porcelain figures of immortals, 19cm high Immortal wearing yellow-ground robe small chips to head-dress; minor chip to right-hand little finger. Green-robed immortal minor nicks to head-dress; right-hand fingers incomplete; horizontal hairline crack to lower part of his beard.
A 19thC Chinese export porcelain Punch Bowl, the rim with gilt and cobalt blue scale decoration, the body with sparse floral motifs all raised on foot, D29cm x H12cm, together with a 19thC Chinese porcelain Tureen, lacking cover, white ground with cobalt blue and gilt decoration, twisted handles, chipped, with central circular cartouches, L 32cm x W 21 x H 6.5cm, and an 18thC Chinese export porcelain Bowl, with blue and gilt banding and central urn motif, cracked and chipped, D 18cm x H 8.3cm, an 18thC Chinese export armorial porcelain Cup, damaged and repaired, with crest and monogram, H 6.5cm x D 9cm (4) Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe.
A 20thC Chinese pottery Jardiniere Stand, with pierced apertures, decorated in blues and oranges, H 74cm x D 36cm, together with three jardinieres, two of which majolica, and an unusual Chinese blanc de chine prunus Vase, the plain body with twin handles in the form of prunus branches, blossoming out onto the body, coloured with enamels, heavily restored neck, H 36.5cm. Provenance - The Damien Parsons Collection. The property of the late John Damien Parsons, an East Devon architect and husband of poet Patricia Beer, whose interest in Asian Art was sparked after he inherited a few pieces of Chinese porcelain from his grandfather. Over many decades Parsons continued to add to the collection, sourcing Chinese and Japanese Ceramics and Works of Art from exhibitions and other collections. Pieces from the Parsons Collection were recently exhibited at Mount Edgcumbe. etc. (4)
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