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Click here to subscribeA Chinese porcelain brush pot, early 20th century, of cylindrical form, painted with precious objects, the reverse with an inscription and signature of Chu Huanwen, six-character Guangxu mark, 12.5cm high, and a planter, of rectangular form on four bracket feet, painted with a landscape, inscribed, four-character Qianlong mark, 24.7cm long (2) 二十世纪初 浅绛彩博古图笔筒 储焕文款 及 山水图水仙盆 一组两件
NO ONLINE BIDDING ON THIS LOT. PLEASE CONTACT US TO ARRANGE TELEPHONE BIDDING.此件拍品不参与网络竞投，请直接联系我们咨询竞投方式A Chinese imperial inscribed famille rose wall vase, Qianlong (1736-1795), well modelled and flattened at the back, the pear-shaped form on a short splayed foot, flanked by a pair of ruyi handles to the waisted neck, the body inscribed with an imperial poem appraising incense in a circular cartouche with a yuti mark followed by two iron-red seal marks reading Qianlong chen han (the Qianlong Emperor's own mark) and Weijing weiyi (be precise, be undivided), surrounded by scrolling lotus against a yellow sgraffito ground, 19cm high The poem is recorded in the Yuzhi leshantang quanji dingben [Definitive Edition of the Complete Works by His Majesty from the Hall of Pleasure in Goodness], Siku quanshu [The complete library in four sections] ed., vol. 30. 清乾隆 黄地轧道洋彩如意耳开光御题诗纹壁瓶 《乾隆辰翰》《惟精惟一》矾红篆书款 《大清乾隆年制》青花篆书款 诗题：一瓣名香静里焚，篆烟缕缕白如云。幽情未许旁人㑹，手自翻书到夕曛。 Wall vases, also known as wall pockets or sedan chair vases, can be traced back to the Wanli period (1573–1620) in the Ming dynasty, when examples can be found for flower displays on the wall. During the 18th century under the reign of the Qianlong Emperor (1735-1796), government support for arts and craftsmanship reached its peak, the quality of the refined material and the artistic innovation all representative of the emperor’s ambition. Wall vases, of all porcelain forms, became one of Qianlong’s favourite types and developed significantly during his reign. There are thirteen wall vases in varying glazes and forms on the wall of San Xi Tang (The Hall of Three Rarities), the emperor’s special study in Yang Xin Dian (Hall of Mental Cultivation) in the Forbidden City, where he housed his most prized possession: the calligraphic works comprising ‘Timely Clearing After Snowfall’ by Wang Xizhi, ‘Mid-Autumn’ by Wang Xianzhi and ‘Boyuan’ by Wang Xun (fig.1). There are 320 Qianlong wall vases recorded in the collection of the Palace Museum in Beijing and about 138 of them are inscribed with poems by the emperor. Only a few of these poems are from Yuzhi Leshan Tang quanji [The complete Works by His Majesty from the Hall of Pleasure in Goodness], which were written by him as Heshuo Bao Qinwang (Prince Bao of the First Rank), his title from 1722 to his accession in 1735, and which were first printed in 1737 (fig.2). According to Zaoban Chu Gezuo Chengzuo Huoji Qingdang [The Archives of the Imperial Workshops], on the 23 rd of September in the 7 th year of the Qianlong period (1742), the emperor specifically commissioned Tang Ying (1682-1756) to produce porcelains with selected poems from Leshan Tang quanji . And on the 16 th of October in the 17 th year (1752), the emperor instructed Tang Ying that instead of the poems from the Leshan Tang quanji, which were written when he was still a prince, only poems composed after his accession in 1735 should be used (see Chi Jo-hsin , 'cong wenwu kan Qianlong huangdi [understanding Qianlong Emperor through artifacts]', Emperor Ch’ien-lung’s Grand Cultural Enterprise , National Palace Museum, Taipei, 2002, p. 233). In view of this the present wall vase must have been produced between 1742 and 1752, as part of a larger order which included the pair of vases in the collection of the Palace Museum: all three are identical but for their differing poems; see Poem and Porcelain: The Yu Zhi Shi Ceramics in the Palace Museum , Beijing, 2016, pl. 46 (fig.3). Enhancing the rarity of the present lot, is its yangcai (foreign colours) decoration, which was introduced by European Jesuit craftsmen to the Qing court around 1685, adapting the European techniques of enamelling on metal. This resulted not only in an enriched palette of colours, but also in a combination of European brocade-like designs, using tonal effects to appear three-dimensional, and purely Chinese elements such as scrolling lotus motifs. Developed in the Jingdezhen imperial workshops under the patronage of the Qianlong Emperor, this style is representative of the superb quality of porcelain production achieved during the Qianlong reign. Special orders of yangcai are believed to date from only a few years in the early 1740s, with none after Tang Ying’s death in 1756. For more examples of yangcai enamels on sgraffito grounds, see Huali cai ci: Qianlong yangcai/Stunning Decorative Porcelains from the Ch’ien-lung Reign , National Palace Museum, Taipei, 2008. NO ONLINE BIDDING ON THIS LOT. PLEASE CONTACT US TO ARRANGE TELEPHONE BIDDING. 此件拍品不参与网络竞投，请直接联系我们咨询竞投方式
A Chinese porcelain vase, Republic period (1912-1949), of ovoid form, painted with a bird perched on a blossoming prunus tree, inscribed with the signature of Bi Botao (1886-1961), dated year of Gengwu, seal mark to base, 15.5cm high, and two ink paste boxes and covers, each painted with birds and flowers, inscribed and signed, 7.2 and 6.8cm diameter (5) 民国 浅绛彩花鸟图瓶 毕伯涛款 及 花鸟图盖盒 一组三件
A Chinese famille rose wine cup, 18th century, of deep 'U' form on a short circular foot rising to an everted rim, painted with a blossoming branch of osmanthus flowers, inscribed with an excerpt from Li Qiao's poem, 'Gui' (Osmanthus): Zhi sheng wuxian yue. Hua man ziran qiu. (The branches are growing for months without end. Once they are laden with blossoms, autumn has surely arrived), six-character Yongzheng mark, 4.7cm high The same poem is inscribed on Kangxi porcelain 'month cups' representing the eighth month, which similarly depict autumn associated with the Chinese mid-autumn festival. Osmanthus also became synonymous with the imperial examinations, as they were held in the eighth lunar month. 清十八世纪 粉彩花神杯 《大清雍正年制》青花楷书款 题识：枝生无限月，花满自然秋。
A 19th Century Chinese Qing Dynasty porcelain ginger / temple jar and cover having hand painted and fine enamelled decoration depicting birds of paradise perched on branches with floral sprays and famille Jaune borders. Raised on quadruped hardwood socle base stand with pierced decoration. Measures 16cm tall without stand.
A pair of Chinese porcelain figures of the Emperor, 35cmH, and Empress (af), 33cmH, seated on floral thrones, unusually painted in greens, pink and blue, heightened in gilt, each marked to base, together with hardwood plinths, includes certificate of antique from House of Choy SDN. BHD. Malyasia
Four Volumes from the 'Masterworks in the National Palace Museum' series, comprising: 'Masterworks of Chinese Jade'; 'Masterpieces of Chinese Painting'; 'Masterworks of Chinese Bronze' and 'Masterworks of Chinese Porcelain'; each one contained in its slip case (4) .Please note that some wear and deterioration extant.
A small Library of Chinese Art Reference Books and Saleroom Catalogues, including: Christie's New York/21.3.2012/20.3.2001; Sotheby's catalogue of The Mr and Mrs Eugene Bernat Collection; Christie's London 21.4.1986/15.7.1981/18.4.1977/15.12.1980; Christie's Hong Kong catalogues 8.10.1990/20.3.1990; Christie's catalogue of The Hardy Collection of Early Chinese Ceramics and Works of Art from the Sze Yuan Tang; Sotheby's Hong Kong catalogue of 'An Important Private Collection of Chinese Celadons and Other Ceramics'/5.11.1996; 'Chinese Ceramics/The New Standard Guide' by He Li; 'Later Chinese Porcelain' by Soame Jenyns; 'The Art of The Tang Potter' by Mario Prodan (1960); and 'Oriental Ceramics/The World's Great Collections-The Percival David Foundation' with introduction by Margaret Medley (lot)Provenance: The Property of a Gentleman. From a Private English Library. .Please note that this is a group lot of books where the extent of wear, soiling, deterioration may vary from book to book, and catalogue to catalogue. Some areas of damage extant.
comprising approximately 170 catalogues in total, with 94 catalogues from the Sotheby's dated from 8 March 1966 to 25 May 1971, accompanied by 76 catalogues from Christie's dated from 11 October 1965 to 29 July 1969, some titled 'Important Chinese Ceramics and Works of Art' (Christie's 19 June 1967), 'An Important Collection of Japanese Netsuke' (Christie's 21-23 February 1966), 'A Fine Collection of Chinese Export Porcelain' (Sotherby's 27 October 1970), 'Catalogue of Important Archaic Chinese Bronzes Sculpture and Ceramics- The Property of Mrs. Mary Cohen' (Sotheby's 14 July 1970) (Dimensions: largest catalogue: 24.5cm x 18.5cm) (Qty: qty)(largest catalogue: 24.5cm x 18.5cm)
18TH CENTURY CHINESE PORCELAIN BLUE AND WHITE CHARGER, depicting a riverscape in a circular 'Spearhead' frame and with a cell pattern, fish roe and floral border, large square unglazed kiln support mark to the base. Qianlong period. Diameter 48cm approx. (B.P. 24% incl. VAT) CONDITION REPORT: There is a re-glued chip to the back of the rim. Not visible from the front, otherwise overall appearing good for age.
LATE 19TH CENTURY CHINESE HARDWOOD TABLE SCREEN overall with pierced and foliate decoration and having porcelain enamelled centre panel depicting figures in landscape appearing to be at a celebration. 56cm high approx. (B.P. 24% incl. VAT) CONDITION REPORT: The frame is very dusty and grubby but appears not to have damage. Porcelain panel is chipped to the top right hand corner. Porcelain panel measures approximately 23.5 x 15.5 cm.
19TH CENTURY CHINESE PORCELAIN FAMILLE ROSE ENAMEL DECORATED FISH BOWL, with cartouches of mounted and running figures engaged in a deer hunt on a Canton style floral ground with birds, the interior painted with exotic carp and water weed. Unmarked, diameter 23cm, height 18cm approx. (B.P. 24% incl. VAT) CONDITION REPORT: Some losses to the rim gilding and significant wear to the inside of the bowl. However no obvious cracks, chips or noticeable restoration.
PAIR OF CHINESE PORCELAIN POLYCHROME STANDING COURT FIGURES, each holding a pierced Chinese character. Unmarked to base, 48cm high approx. Late Qing/early Republic period. (2) (B.P. 24% incl. VAT) CONDITION REPORT: Appearing overall in good condition, some noticeable fritting to the front of the base on one of the figures but overall no obvious or serious damage noted.
19TH CENTURY CHINESE PORCELAIN BLUE AND WHITE LARGE BALUSTER VASE decorated with a feature square panel of a mythical beast above rocks and stylised crashing waves, flanked by fan and peach shaped panels of birds on branches and seated lions. 42cm high approx. (B.P. 24% incl. VAT) CONDITION REPORT: Evident minor chip to the inner foot rim, otherwise appearing good overall for age.
LARGE CHINESE PORCELAIN LIDDED GINGER JAR AND COVER decorated in polychrome famille verte enamels depicting a bird on a rock amongst peony, prunus blossoms and bamboo on a yellow enamelled ground. 19th Century, double concentric circular mark to the base in under glazed cobalt blue. 27.5cm high approx. (B.P. 24% incl. VAT) CONDITION REPORT: Continuous hairline crack running from just above the foot and onto the shoulder area.
FINELY POTTED AND PAINTED CHINESE PORCELAIN LIDDED GINGER JAR AND COVER in Kangxi style with famille verte enamels depicting cartouches of birds, ducks, flowers and rockwork, on a floral green glaze ground. Double concentric blue mark to base, early 20th Century, 23cm high approx. (B.P. 24% incl. VAT) CONDITION REPORT: Appearing in very good condition for age. Minor wear to the paintwork in some places but overall in excellent condition.
PAIR OF 18TH CENTURY CHINESE EXPORT PORCELAIN OVAL DEEP DISHES Quanlong period, the pair depicting a matching river scape in cobalt blue. Together with another 18th Century Chinese export porcelain oval dish depicting floral motifs inside stylised spear head border, unmarked. All 32cm long approx. (3)(B.P. 24% incl. VAT) CONDITION REPORT: Overall very good condition, minor wear as expected but no obvious chips, cracks or restoration.
A group of English and European porcelain to include a Coalport Banana Tree pattern tea bowl, coffee cup and two saucers, Curly Pagodas tea bowl and saucer, Caughley gilded tea bowl and saucer, early 19th century pink lustre saucer dish decorated with berries and flowers and a small Samson porcelain tapered beaker decorated in the Chinese style with famille rose flowers, gold mark to the base, 6cm high (some damages) Provenance: Ex. Cartwright Reference collection.
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