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Lot 147
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)
Lot 316
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.
Lot 354
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.
Lot 309
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.
Lot 315
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.
Lot 307
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.
Lot 311
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.
Lot 313
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.
Lot 310
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.
Lot 159
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.
Lot 233
Two 18th century Bow fan-panelled landscape powder blue porcelain plates together with an 18th century Worcester porcelain blue and white bowl, pair of English pearlware sauce ladles, Chinese plate and vase, a studio pottery tile relief moulded with an owl, Poole pottery green glazed teapot stand etc (some damages)
Lot 26
A FAMILLE ROSE OPIUM PIPE, late 19th century, of cylindrical form, with coiled dragon in iron red and enamelled with scattered clouds with trellis banding to each end, 58cm longOpium as a medicinal ingredient was documented in Chinese texts dating back as early as the Tang Dynasty, but the recreational use of the substance was limited. Similar to India, it was introduced to the country by Arab merchants, initially as dried powder often drunk with tea. However, as the opium trade grew, particularly due to competition with British trading from their colonies in India, the use of the drug became more widespread. The first restrictions were introduced by the Qing in 1729 when he introduced a ban on Madak, a mixture of blended opium and tobacco. British ships began to import opium into the country, something the Qing Dynasty initially tolerated as it created an indirect tax on Chinese subjects, as increasing the silver supply available to foreign merchants through the sale of opium encouraged Europeans to spend more money on Chinese goods. The recreational use of opium continued to grow in China and it began to affect the stability of the society. Unlike Chinese society at the time, it was not prejudiced based on rank, it affected all members of society. These two lots in the sale illustrated how prolific its use had become by the 19th century with the provision in decorative objects which could be used to enhance the experience. A chair, equipped with scrollwork neck rest and a finely painted famille rose porcelain pipe. During the heyday of opium smoking, hundreds of tools were crafted specifically for the preparation, vaporizing, and ingestion of the drug.
Lot 39
A CHINESE FAMILLE VERTE PORCELAIN BOWL, Qing Dynasty (1664 - 1912), of circular form, decorated with cartouche shaped panels field with individuals insects against a green stippled ground, the exterior with song birds on flowering prunus, the vase with vacant double concentric rings, 22cm diameter
Lot 136
A CHINESE 'EUROPEAN SUBJECT' DISH, c.1750, painted en grisaille with gilt enclosing a classical depiction after Claude Duflos, and contained within an elaborate border with peacock, recumbent dog and classical trophies, 23cm diameter Chinese Export Ware Porcelain The story of this long-lasting and highly productive cross-pollination of culture begins with the remote industrial community of inland China, Chingtechen. Porcelain had been produced here on a continual basis for around 2,000 years. From these factories, the unique development of export wares, directly resulting from the trade between East and West, were established. They were designed to meet the particular demands of the Western market, or for specific private commissions by European aristocracy. Canton, also played an important role in this trading process. It was in this bustling port, that the porcelains were often finished and painted with decorations that would be most appealing to European and later American audiences. There is something particularly intriguing about having a visual manifestation of the vast and at times fractious commercial relationship between Asia and the West. These surviving porcelains, such as the wonderful collection in this sale, capture the interaction of cultures and ideas, particularly the growing fascination on the part of European societies with the fashions and customs of China and Japan. This fascination was fully exploited by the Chinese porcelain makers who saw a unique opportunity to expand their market beyond Asia. The quality of the export ware varied, a large amount of its production was in blue and white household pieces, which were shipped on mass to Europe. Most porcelain in the China Trade was made for use at the table and they were often moulded in shapes, which reflected European taste and dining customs. However, finer wares do exist, particularly dating from the period of 1715 - 1740. At this time there was considerable experimentation amongst the porcelain makers, working out what would satisfy the western palette. As such Chinese elements still abound in these examples, such as lot (138), which depicts in exquisite detail the famous Chinese dramatic work ‘Romance of the Western Chamber’ by playwright Wang Shifu. In later years the development of specific patterns, which became increasingly popular with western audiences, such as lot (145) which depicts 'The Cherry Pickers', a scene originally derived from a French print, 'La Cueillette des Cerises' engraved by Nicolas Ponce (1746 - 1831). It was highly sought after in the Dutch market and was produced until the early 19th Century. And lot (144), the 'Valentine' pattern tankard, which is based on a design for a dinner service made in Canton for Commodore George Anson (1697-1762). The original design was a combination of the pastoral and the exotic with details such as the coconut palm and breadfruit tree. It is understood that the design for the service was the work of the First Lieutenant Piercy Brett (1709-1781), Anson's official artist during his 1740-1744 circumnavigation. The decoration was later altered and simplified by Chinese painters when producing it in larger quantities for the export market. There are numerous examples of ‘en grisaille’ export porcelain in this collection. A French term used in relation to Chinese ceramics to describe porcelains decorated with black or dark brown over-glaze enamel. All of these examples, depict European subject matter, whether it is man serenading his beloved (lot 142) or borrowing from classical mythology, in the hunting bowl (lot 137) with an interior reserve portrait of Diana the Huntress. They reflect an increasing tendency towards westernized designs. Pictorial decoration was directly copied from prints or drawings or they even sent European porcelain to China to act as models. The technique of ‘en grisaille’ used by Chinese porcelain painters may reflect the influence of working from black and white engravings. The monochrome palette allowed for a rendering of fine, linear detail. Niamh Corcoran, October 2019
Lot 47
A LARGE CHINESE 'CANTON' PORCELAIN DINNER SERVICE, mid-19th century, decorated in traditional palette, comprising:A large oval Soup Tureen and CoverFour graduated oval meat dishes,A large oval serving dishA sauce tureen and coverA pair of vegetable tureens and coversFour leaf-shaped pickle dishesA warming dish with liner and coverSixteen large dinner platesTwelve shallow circular soup bowlsTen side platesA lozenge shaped hors D’oeuvre dishA teapotA Chocolate cup and cover with twin handlesA drum-shape preserve pot and coverProvenance: Ron McDonald Antiques, Kildare Street.
Lot 386
A large late 19th Century Chinese famille rose baluster vase, converted to a lamp, decorated with flowers and blossom, upon a wooden stand, no shade, height 50cm (stand to rim), together with two modern Chinese porcelain lamp bases, decorated with flowers, on wooden stands, no shades, 30cm & 33cm high (3) Spots of pitting and bubbling to the glaze. One long hairline crack down the side, which has been painted over with foliage in an attempt to disguise it. Would benefit from a clean. Light scuffs and scratches consistent with age and general usage. Cracks to the wooden stand. Other two lamp bases are generally in good condition. One has a chip and hairline crack tot he rim. Both have light pitting and spots of residue.
Lot 83
A 19th century Chinese Daoguang porcelain circular dish, c.1820's-1840's, decorated with a trio of bats above roundels amidst floral decoration, the centre with pomegrante, a double concentric line on the upper face and reverse rim, another above foot to base, with underglaze blue seal mark to base, painted in red with bats to reverse, H.2.3cm Diameter 15cm
Lot 82
A Chinese Daoguang famille rose porcelain dish, c.1820's -1840's, with gilt scalloped rim, decorated with chrysanthemums and peonies, the central roundel decorated with pomegranate, bearing iron red Daoguang (1821-1850 six character mark to base, bats painted in red to reverse, Diameter 14.6cm
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106012 item(s)/page