A Chinese famille rose porcelain jardiniere, early 20th century, painted with the three Sanxing, each with associated attributes, in a garden setting, titled with four character marks for a prosperous long life, between zigzag and false gadroon borders, 27cm dia, 21cm high; a hatcher cargo celadon dish, circa 1640, 21cm dia; and a Japanese kutani censer, 19th century, 21.5cm highThe jardiniere with lots of iron oxide spotting throughout. The interior with small star and Y shape cracks that are not visible on the exterior. No chips or signs of restoration.Hatcher dish is intact but the glaze has been affected by sea water.Both handles on the Kutani censer have been broken and crudely repaired. One leg has been off and glued back on, leaving a crack mark across the ear.
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A Chinese porcelain octagonal vase, Qing, 19th century, painted in the famille rose palette, the waisted neck with panels of Buddhist symbols, peony and bats below a yunwen border and gilt rim, each panel on the main body painted with birds and flowers, between ruyi head and foliate scroll border, the base with lotus flowers, 57.5cmA large section of the base looks as if it may have been off, as there is restoration around 90% of the foliate scrolling band, there is also restoration down one vertical section between the scrolling band and the foot. The underside of the vase has been oversprayed. The vase has been known in the family as is for many decades in its current condition.There are four panels that have signs of restoration and overspraying in the top half. The restoration is good and not obvious from afar but noticeable when close up.
A Chinese porcelain anhua bitong, of cylindrical form, anhua decorated with dragons chasing flaming pearls between moulded bands, on three short feet, 18.5cm dia, 16.8cm high, on a wood stand, 28cm high overallSome surface scratches throughout, otherwise no obvious chips, cracks or signs of restoration.
A pair of Chinese porcelain cup holders, late Qing, of boat form, the central well painted with a shou symbol surrounded by lotus flowers and tendrils on a blue ground, the exterior similar but with an eternal knot to the sides, with gilt rims, 15.5cmThe rim gilding is rubbed. No obvious chips, cracks or signs of restoration.
A collection of assorted Chinese porcelain and pottery, to include a blue & white snuff bottle with four character Qianlong mark, 8.5cm; a blue & white dish painted with a female and two boys, 16.5cm dia; two Yixing teapots; a famille rose teapot with printed Tongzhi seal mark, a small celadon bowl, porcelain temple lion and other itemsThe baluster shaped Yixing teapot has a very small chip to the outer face of the mouth, see images
Two Chinese blue & white porcelain tea bowls and saucers, 20th century, one painted with Fenghuang in flight within a diaper border, the other painted with a blossoming prunus branch with insects; and a blue and white tea bowl, painted with floral sprigs, the bowls 6.7cm - 7.3cm diaSome light surface scratches on the saucers but nothing too obvious or detrimental.
A Chinese porcelain saucer plate, painted with an iron red and gilt dragon amongst clouds, the raised sides painted with five red bats (Wufu) and Wan symbols, the exterior painted with a band of waves, apocryphal red inscribed Jiaqing zhuanshu mark, 21cm diameter.In good condition with no obvious faults.
A Chinese porcelain seal wax pot and cover, of circular form, the cover painted with a butterfly amongst fruiting vines and tendrils, the base with similar vine decoration and a bat, apocryphal Qianlong seal mark, 8cm diaIn good condition throughout, with no obvious visible chips, cracks or signs of restoration.
A pair of Chinese porcelain vases and covers, of cylindrical form tapering at the base, the covers with cockerels and a butterfly within a yunwen border, the neck painted with a thick band of lotus flowers and scrolling fronds against a lime green ground, the body painted with character cockerels and hens with butterflies and insects amongst blossoming flowers, 27cmIn good condition with no visible obvious faults.
A Chinese porcelain landscape bowl, 20th century, possibly Republic period, finely pointed with hermits returning to mountainous retreats, with short poem and within gilt moulded shaped panels, against a stippled blue ground with moulded lotus flowers and tendrils, apocryphal red inscribed Qianlong zhuanshu mark, 14.5cm dia, 8.3cm highIn good condition with no obvious faults.
A near pair of Chinese blue & white porcelain dragon dishes, painted with a writhing dragon chasing a flaming pearl amongst clouds, the exterior painted similar, one dish with two blue lines around the border, the other dish with a single border line, each with apocryphal six character Guangxu mark, 16.5cm diaOne dish with a small rim chip otherwise both are in good condition.
A Chinese porcelain bell shape wine cup, painted with a lotus flower against a blue ground, 8cm dia; a wine cup with flaring silvered rim, painted with a recumbent red stag beneath a fruiting peach tree, 7.2cm dia; and a set of five octagonal tea bowls, painted with a variety of flowers, 5.7cm dia, all items with stamped four character Tongzhi markOne octagonal bowl has a curvilinear hairline crack around most of the base. All other items are in good condition with no obvious visible faults.
A pair of Chinese porcelain bowls and covers, possibly Republic period, the shaded pink petals between turquoise and lime green bands, stamped four character Guangxu mark, and a square dish with re-entrant corners, painted with radiating famille rose petals with a gilt band to the centre, the bowls 10cm dia, the plate 20cmAll items are in good condition with no obvious visible faults.
A Chinese porcelain fluted saucer, Qing, painted with butterflies and floral sprigs, the underside with five red bats (Wufu), apocryphal blue inscribed Qianlong zhuanshu mark, 13cm dia, a mother of pearl carving, Qing, carved with figures and buildings, on a carved wood stand, 29.5cm high; and a famille rose bowl, Qing, 19th century, painted with sprays of tree peony, 11cm diaButterfly saucer with a fine hairline star crack to the underside, which is partially visible on the top surface, otherwise no signs of any chips or restoration.Shell carving with chips, cracks and a repair. The stand with splits.The bowl with two small rim chips.Most faults visible in online images.
A set of three Chinese porcelain dragon and Fenghuang dishes, the incised decoration in green and aubergine against a mustard yellow ground, each with apocryphal Qianlong seal mark, 13cm dia, in an old Japanese wood boxOne dish has a rim chip from which issues a 1.5cm hairline crack. All other dishes are in good condition.One dish has a small black mark on the rim, see images
A collection of Chinese porcelain in coloured grounds, including a yellow double gourd vase, sang de beouf minature snuff bottle, clair de lune bowl etc (one tray)The oval shape bowl with damage to the side, with signs of old restoration to the damage, top rim of the same bowl is rubbed, the other items look in good condition
A collection of mainly 19th Century Chinese blue and white porcelain including tulip vase (a.f.), Cafe au lait ground bowls, moon flask etc (one tray)The small moon shape flask with restoration to both sides of the pierced top finials, the same flask with a chip to the top rim, and signs of other restoration in parts, other items with damages and parts missing, and some other items with chips and cracks, the tulip vase with cracks, chips, and losses
A 19th Century Chinese Kangxi style prunus blossom jar and cover, another blue and white ginger jar, Chinese export porcelain and a kangxi style bowlItems with chips and cracks, some rubbing to the outside to the rims of the meat plates, larger meat plates with large chips to the outer rims, the smaller other ginger jars with lid missing, and a chip to the top rim, the large ginger jar and cover appear in good condition, bowl and dish with chips and cracks, large jar and cover 30cm high
A collection of Chinese polychrome porcelain including figure of Buddha, pair of knife rests and hexagonal vase, etc.Some items with cracks and chips, some decoration is rubbed, some old restoration marks in places, one of the figures with signs of white paint marks visible touch-ups around the figure,
Edmund de WaalCylinder, circa 2000Porcelain, pale blue celadon glaze with unglazed band around the interior rim, and pinched ridge with blue stain.12.6 cm high, 11 cm diameterImpressed with artist's marks.Footnotes:ProvenanceAcquired directly from the artist by the present ownerAn Important Collection of Edmund de Waal By Emma Crichton-Miller Arts writer, editor, journalist and contributor to the 2014 Edmund de Waal monograph. The turn of the millennium marked a decisive shift in the work of the acclaimed potter and writer, Edmund de Waal. Until then, de Waal had become known amongst a growing band of admirers for his mastery of single thrown porcelain vessels fired in a pale blue celadon glaze. Each unique, these represented variations on a range of forms - cylinders, bowls, lidded jars, tea pots, bottles - which owed some of their lineage to ancient Chinese, Japanese and Korean examples and some to the High Modernist tenets of Bauhaus directors Walter Gropius and Ludwig Mies van der Rohe. Some of these pots veered more steeply towards abstraction, others were modestly practical. While they might increasingly have been grouped in what de Waal referred to as 'cargoes' at selling exhibitions at Egg in Kinnerton Place, in 1996, London, and the Scottish Gallery, in Edinburgh, in 1998, these were sold individually as items of craft. From 2000 onwards, however, and certainly by 2005, the date of the two leaning vessels in this collection, titled as a single work, 'In a Dark Wood' (lot 56), de Waal's principal preoccupation has been the creation of conceptual art works from assemblies of pots. This collection of pots (lots 36-58) all made between 2000 and 2005 thus marks a precious and fertile moment in de Waal's career. It was the period when he was beginning to articulate, both in writing and in exhibitions of his and others' work, his growing interest not so much in what a pot might be but what it might express. In 1999 de Waal, who, born in 1964, has been making pots since the age of five, was invited to show his work at High Cross House in Devon. The pioneering Modernist house, designed by the Swiss–American architect William Lescaze and completed in 1932, was commissioned by the noted philanthropist Leonard Elmhirst, founder of the Dartington Hall Trust. This was to be his first public exhibition. But rather than simply exhibiting his pots alongside works from the Trust's collection, de Waal seized the opportunity to use the whole house as a space for an intervention, creating an entirely new body of work in response to its specific architectural qualities. These pots were distinguished by a small square mark, to underline their new purpose and identity, as opposed to the oriental marks the artist had been using and which you can also see here on these later pots. De Waal wrote in the catalogue that the exhibition reflected his own realisation, that the 'real life' of pots is considerably more fluid than the 'functionalism' ascribed to them. That many pots made ostensibly for use actually had more symbolic meanings and that their display was highly charged. Even kitchen cupboards could act as condensed still lives of objects.' Their primary symbolic function, perhaps, is as vessels. De Waal is an artist committed to the vessel form. He said in an interview in 2004, what happens when you throw a pot, is that 'what you're doing is actually, of course, making an inside and an outside simultaneously, which doesn't happen in very many other places in art. You're making a volume in a very short period of time, you're creating an internal space'. These internal spaces echo our own intuitive feeling of being containers - explaining the special kinship human beings have felt with vessel forms throughout human history. In the shift we see between 1999 and 2005, however, de Waal's focus on the internal space within the pot enlarged to encompass an interest also in the external spaces between pots and then between pots and the architectural spaces they inhabit. All were capable of being activated to express ideas - from concrete images of cargo ships laden with porcelain from the Far East to the most abstract philosophical, musical or poetic ideas. This larger focus became explicit in 2002, when de Waal produced an entire Porcelain Room for the Geffrye Museum in east London. Inspired equally by the idea of the ornate Kunstkammer or Cabinets of Curiosities baroque princes built to house their porcelain and other treasures and the minimalist, constructivist art of Donald Judd and Carl André, de Waal created an entire environment. He wrote at the time, 'I tried to create an installation in which the pots define the structure of the space. The room pushes at the architectural elements, opens up the walls and the floor and the ceiling and the windows as places for the pots to be'. As he has said, 'It was a no-going-back moment. I couldn't return to discrete, domestic pots'. So the discrete pots we see here, poised on the cusp between functional domestic ware and symbolic objects to be deployed and understood in a larger conceptual framework, have a particular poignant potency. They are transitional pieces. As if to underline their momentousness, in 2007 the collector acquired at auction the aptly named pair of elongated leaning vessels, 'In a Dark Wood' (lot 56), created in 2005. The title echoes the opening lines of the first canto of Dante's epic poem, The Divine Comedy: 'In the middle of the journey of our life, I came to myself, in a dark wood, where the direct way was lost'. For the five years during which these pots were made, de Waal had been in the middle of the journey of his own life, wrestling with the direction his work should take. By 2005, he knew.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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