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Lot 2032
A Derby porcelain pickle dish, circa 1770, in the form of a leaf, decorated with a fruiting vine, 10.5cm, together with a Worcester porcelain dish, circa 1770, enamel decorated with flowers within a gilt border, dia.12.5cm, a Chinese export porcelain coffee can, circa 1770, European enamel decorated with insects amongst flowers, h.6.5cm, and a similar porcelain coffee can, circa 1770, black enamel decorated with a Chinese landscape, h.6.5cm (4)Pickle dish – approx. 1cm hairline from rim, and another approx. 1.5cm from rim near stem.Worcester dish – not falts.Chinese coffee can – no apparent faults.Black and white can – approx. 2cm hairline from top inside of handle.
Lot 2353
A pair of Chinese blue and white porcelain dishes, 18th century, each decorated with pagodas within a landscape and diaper border, 19 x 26cm, togeher with a Chinese blue and white porcelain dish, 18th century, decorated with flowers within a diaper border, 20 x 26cm (3)Single example – nibbles to the rim, otherwise good.Pair – one is intact but the other has two large chips.
Lot 2354
A pair of Chinese blue and white porcelain meat plates, 18th century, each decorated with a pagoda within a landscape, 37 x 45cm, together with a similar Chinese blue and white porcelain meat plate, 18th century, decorated with a willow and flowers, 22 x 29cm (3)Smallest – fritting to the edge but intact.Pair – one has only minor fritting to the edge, the other has been smashed and repaired.
Lot 2357
A Chinese blue and white porcelain bowl, circa 1750, decorated with pagodas within a landscape, bearing Christie's Nanking auction lot label 3017 to the underside, dia.19.5cmQuite stained and discoloured, particularly to the interior.The white enamel is very rubbed.Some fritting/nibbles to the rim.Rings well.
Lot 2365
A Chinese famille rose porcelain tea bowl and saucer, 18th century, enamel decorated with flowers, 12.5cm diameter the saucer, together with another Chinese famille rose porcelain tea bowl, 18th century, enamel decorated with a bird amongst flowers (3)Enamel is a little rubbed in places but overall condition is good.
Lot 2369
A pair of Chinese Canton porcelain vases, 19th century, each flanked by gilt lion mask handles, enamel decorated with interior scenes within cartouches, h.31cmFirst vase – two small chips to the rim, one mask has a large chip and has been regilded, small losses to the enamel.Second vase – some large nibbles to the rim, both masks have various chips and have been regilded.
Lot 2370
A collection of Chinese Canton porcelain dinnerwares, 19th century, each enamel decorated with interior scenes within cartouches, to inlcude a trefoil shaped tray, w.26.5cm, a bowl, dia.23.5cm, plates, largest dia.25cm, and dishes (11)All have some enamel loss.Bowl – one tiny chip to the rim.Triform dish – small chip to the rim.24.5cm dia. Plate – cracked and with enamel losses.Pair 22cm plates – one has a small chip to the rim.The rest of the pieces are intact.
Lot 2371
A collection of Chinese Canton porcelain, 19th century, each enamel decorated with interior scenes within cartouches, to inlcude a bachelor's teapot, h.9.5cm, a milk jug and jars (8)Lid – tiny chips to rim.Cylinder jars – both lids chipped (one very), one body with chips to the rim.Ovoid jars – one chipped to footrim, the other lid finial has been re-attached.Large jar – lid glued down, cracked to the body.Teapot – spout and underside of lid with small chips.
Lot 4030
Worcester porcelain jug, 18th Century, decorated with birds in branches, 9cm high, together with a matching tea bowl and saucer, and two Chinese porcelain plates, 18th Century (5)Condition Report: The small jug is in good condition, some firing marks to the base edge. There is a minor nick to the edge of the saucer, the cup is OK. The blue and white plate has 3 or 4 small chips to its edge. The famille rose plate is in good condition.
Lot 4107
Ten pieces of Chinese Export porcelain, comprising: a famille rose tureen with associated stand, the tureen about 33 cm wide; four blue and white plates [including three decorated with Deer]; a famille rose plate depicting a Manchu/Chinese family with their dog, 20 cm diameter; a famille rose teabowl decorated with Manchu/Chinese figures; a verte imari shallow soup dish, 23 cm diameter; and a Chinese Imari dish [10]Provenance: The Property of a Lady. From a Private UK Collection.Condition Report: Please note that there are substantial areas of damage to this lot that includes cracking, chipping and severe deterioration. Both tureen and stand require repair and/or re-building.
Lot 4108
Eight famille rose dishes; each one decorated with floral designs and about 22.5 cm diameter, Qianlong; together with a pair of Samson Chinese style porcelain vases and covers, late 19th Century, decorated with a band of flowers, between blue and gilt borders, damages, 12cm high [10].Provenance: The Property of a Lady, inherited from her Mother. From a Private UK Collection.Condition Report: Please note that there is some enamel deterioration, damage and/or repair to some of the plates in this lot. This includes easily apparent areas of re-gluing to two of the plates. There is also damage and repair to the pair of vases.
Lot 14
A WORCESTER HEXAGONAL VASE AND COVER circa 1770, painted in colours with exotic birds amongst fruiting plants, the powder blue ground with gilt foliage, 40cm highProvenance: The collection of Sir George ArmytagePreviously sold at Christie's on 4th June 1962, lot 60 and 9th February 1981, lot 122Bought at Kirklees House Sale, conducted by Phillips on 9th June 1987, lot 131The collection of the late Anthony du Boulay FSA (1929-2022)and thence by descent.Anthony du Boulay FSA (1929-2022)Anthony joined Christie's in 1949 and initially worked on the front counter, which gave him a practical education in all things sold at auction. This excellent foundation enabled him to move to on to the furniture department. In 1956 he was appointed Head of the Porcelain Department, which covered all ceramics. He became a Director in 1963 and in 1965 he handed over the running of the European Ceramics department so that he could concentrate on Chinese ceramics, which had become his chief love. He became President of Christie's Geneva in 1967 and set up their saleroom in New York in 1976. Latterly, he spent two years in Paris. After retiring from Christie's in 1980, Anthony became Honorary Adviser on Ceramics to the National Trust of England and Wales. Between 1981 and 1983 he was given the fascinating job of separating items of national importance left to the nation in lieu of inheritance tax from those either given to the National Trust, or still owned by the family.
Lot 1160
Two Late XIX Century Chinese Porcelain Saucer Dishes, painted in the famille rose palette with flowering shrubs, 16cm diameter; Two Chinese Blanc de Chine figures, a Chinese blue and white lidded bowl, a Provincial ware blue and white bowl, another lidded bowl, etc. (13)most with crackle to glaze, firing marks, and repair to lid of one vase, all with general wear.FLUTED CIRCULAR GREY/BROWN BOWL AND COVER HAS FINIAL REGLUED ON.
Lot 1163
A XIX Century Chinese Porcelain Blue Ground Famille Verte Vase, painted with two panels of figures in a courtyard, with two smaller panels and figures on the neck and gilt dogs of fo handles within a crinkle formed rim. 44cm high, hardwood stand. (A/f)there are cracks, chips, missing pieces, restoration
Lot 52a
Johnson Tsang (Chinese 1960-), 'Blockade Line', 2023, painted dry cast and porcelain filled resin sculpture wrapped in red cord, bearing the Artists stamped signature to the reverse of the sculpture, from an edition of 100, published by Avant Arte; 23.5cm x 15cm x 14cm23.5cm x 15cm x 14cmIn excellent conditionNo knocks, chips or cracks to the sculptureStored inside its original packaging, no apparent issues.
Lot 143
â—† SAMUEL JOHN PEPLOE R.S.A. (SCOTTISH 1871-1935) STILL LIFE WITH TULIPS Signed, oil on canvas Dimensions:51cm x 51cm (20in x 20in) Provenance:Provenance: Mr & Mrs John B. RankinPrivate Collection ScotlandExhibited: Scottish National Gallery of Modern Art, Edinburgh, S. J. Peploe 1871-1935, 26 June - 8 September 1985, no.78 Note: Still Life with Tulips is a remarkable painting by Samuel John Peploe, in which he brought to bear the Edwardian sophistication of the work with which he made his professional name in turn-of-the-century Edinburgh, the lessons he learnt at the heart of the Parisian art world before World War One and the progress he made during the conflict from which he emerged as a Scottish master of modern art.In an image of striking design, which remains as arresting now as when it was painted, Peploe set up his still-life arrangement in front of a sheer black background. This shows the silhouettes and bright colours of the cloth-covered table, glass vase and tulips to the greatest possible effect. He had used this approach in a celebrated series of still lifes painted in the early 1900s, such as Coffee and Liqueur (Kelvingrove Museum and Art Gallery, acc.no.35.586), Peonies (National Galleries of Scotland, acc.no. GMA 1946) and Still Life (Edinburgh Museums and Galleries, acc.no.CAC4/1964), in which Peploe paid his respects to Dutch Old Masters such as Frans Hals and to Eduoard Manet. Paintings such as these proved extremely popular when included in solo and group exhibitions in Edinburgh and London of the period, establishing Peploe as an artist of note and accomplishment.Encouraged by his friend and fellow Scottish Colourist, John Duncan Fergusson, Peploe spent two key years in Paris from 1910 until 1912. He was welcomed into Fergusson’s avant-garde Anglo-American circle of friends, the Rhythmists, and immersed himself in the very latest developments in French painting, experienced at first hand. Such was the pace of his development that he was elected a sociétaire of the cutting-edge Salon d’Automne in recognition of his contribution to the modern movement. His paintings became bolder in technique, colour and design, their progressive nature quite unlike anything that had been created, or seen, in the Edinburgh art world to which he returned two years later.Declared medically unfit for service during World War One, Peploe used the period for continuing experimentation, when canvas and paints could be sourced. Rich colour, spatial compression and a strong structure became the foundation of his still lifes, with furrowed brushstrokes and pronounced outlines coming to the fore. In 1917, he moved studio to 54 Shandwick Place in Edinburgh, where he was to remain until 1934. The following year, his election as an Associate member of the Royal Scottish Academy secured his place within the Scottish art establishment.As Alice Strang has written ‘The still lifes which Peploe painted during the period between approximately 1918 and 1923 are the works for which he is best known…Peploe changed his technique, adopting an absorbent gesso ground and reducing the amount of medium in his paint. He pushed his use of colour to the extreme and obsessively arranged objects – such as blue-and-white Chinese porcelain vases, filled initially with tulips and then usually with roses; fans; books; fruit in a variety of dishes…to create finely balanced compositions.’ (Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.23)Still Life with Tulips dates from this exceptional immediate post-war period, before Peploe settled into the rose still lifes which he painted, exhibited and sold in great numbers during the 1920s. During this period he worked particularly closely with his other fellow Scottish Colourist, F. C. B. Cadell and the two shared an interest in a style which was to become known as ‘Art Deco’ following the Exposition international des arts décoratifs et industriels modernes held in Paris in 1925.At this point, tulips were Peploe’s preferred flower, often bought from stalls on nearby Princes Street. His enjoyment of their strongly-coloured stems, leaves and heads comes to the fore in their balletic presentation here. Their reaching, curving and swooning qualities, in all directions, is played out in the very frontal plane of the image to the right and in an effusion of movement from the vase. The simplified forms of the boldly-coloured petals play against the black and white planes in front of which they are positioned.Throughout, Peploe plays with notions of the space beyond the canvas, with just the angled corner of the table included, whilst the cropped fan, red tulip above it and emerging tulips to the right allude to a continuation of the narrative beyond the viewer’s gaze. The realisation not only of the translucency of the water in the vase and the stems within it, but also its reflection of the space within which the artist was working, is a tour de force passage.Given the brilliance of his tulip still lifes, it is little surprise that his painting, Tulips, of 1923, was acquired for the British national collection in 1927 (Tate, acc.no. NO4224), the year in which Peploe attained the rank of full Member of the Royal Scottish Academy. His appointment was announced in the Glasgow Herald, which described him as ‘an artist of the new movement, Mr Peploe is outstanding in Scotland, and his work has received recognition in London and abroad as well as at home.’ (10 February 1927) Indeed, Peploe’s legacy is primarily based on his mastery of the still life genre, of which Still Life with Tulips is an exceptional example.
Lot 211
A rare Nantgarw porcelain cabinet plate decorated by Thomas Pardoe, the porcelain c.1818-22, the decoration c.1821-23, painted with a landscape vignette of two exotic birds perched on tree branches to the centre, contained within a six lobed cartouche of gilt bands with iron red stylised flower surmounting each lobe and trios of gilt-highlighted leaves to the creases, on a turquoise and duck-egg blue caillouté ground with six ornamental reserves bordered in blue and gilt and containing further painted exotic birds in landscapes, the gilded rim with six large and six small lobes, old collector's label to underside, 21cm diameter The present lot is being offered on behalf of a charity. Footnotes: Note: Thomas Pardoe (1770-1823) was one of the most versatile painters of pottery and porcelain in the late 18th and early 19th century in England and Wales. Born in the parish of St. Alkmund in Derby, Pardoe was apprenticed to the Derby porcelain works at the age of 15, and by age 20 had moved to Swansea as a skilled artisan by request of George Haynes, owner of Cambrian Pottery. Between 1802 and 1804 Pardoe was acting manager and chief painter. Around 1809 Pardoe moved to Bristol, where he is recorded as having a decorating business. While in Bristol, Pardoe acted as go-between in the development of a new venture of porcelain manufacture at Nantgarw, aiming to manufacture the finest porcelain available for the English market. In 1821 Pardoe was invited by William Weston Young to work with him and decorate the large stock of porcelain that remained. Pardoe’s Nantgarw painting was based on his standard repertoire, including Japanese-influenced ‘Imari’ styles, Chinese-influenced ‘famille rose’ styles, botanical decoration, naturalistic flower groups, and caillouté or ‘pebbled’ gilding. Pardoe’s painting at Nantgarw was among his very finest, a reflection of his great admiration for the factory and the culmination of some thirty years of painting experience. The present lot is most likely a single-item commission rather than from a named service or registered pattern, and therefore bears a possibly unique decorative scheme in Pardoe's oeuvre. It bears no impressed mark, but this is not universal for Nantgarw porcelain, see below in the related literature for other examples. The turquoise caillouté ground is strongly reminiscent of Sèvres porcelain and illustrates the prevailing taste and demand for Sèvres porcelain among wealthy families and connoisseurs in London in the first decades of the nineteenth century. Related Literature: Andrew Renton et. al., Thomas Pardoe 1770-1823, Nantgarw, 2023: Nantgarw China Works. Cf. N18 for a plate decorated by Thomas Pardoe in the National Museum of Wales in Cardiff, item number NMW A 31449, and N20 for a plate decorated by Thomas Pardoe in the Andrews Collection, Oriel Plas Glyn-y-Weddw. The examples mentioned above share the six lobed cartouche with iron red stylised flowers, ornamental reserves painted with exotic birds, and caillouté ground found on the present lot. These unusually elaborate plates showcase the range of Pardoe's skills from figurative and landscape painting to East Asian motifs. The NMW example equally bears no impressed mark and yet is undoubtedly from Nantgarw and decorated by Thomas Pardoe. W. D. John, Nantgarw Porcelain, Newport, 1948: R. H. Johns Ltd. Cf. 53 D. for a small plate decorated in the Kildare S. Meager Collection decorated with similar ornamental reserves to the present lot, albeit containing single pink roses. See also 54. A for a small plate in the E. M. Bythway Collection with a similar treatment of a distant background of conventional mountains in pale bluish-grey colouring to the centre of the plate. We are grateful to Andrew Renton of Amgueddfa Cymru – Museum Wales for confirming the attribution of the present lot based on inspection of photographs.Condition Report: Overall in good decorative order. Some light scratches to the porcelain visible on the centre, some pitting present to the centre and border, some bubbling and tarnishing to the gilt lobed cartouche on the right side, some loss of gilding to the rim, some areas of surface dirt. UV examination reveals a now-defunct postcode inscribed in UV-susceptible ink to the underside.
Lot 246
A pair of Chinese Export porcelain famille rose armorial jardinières, 18th century, with twin handles, decorated in bright enamels and gilt to each side with a coat-of-arms on a ground of scattered floral sprays, 20cm high, 25cm wide (2)Provenance: Almost certainly Baroness Burton (1873-1962), Chesterfield House, Mayfair. The Collection of Lord and Lady Weinstock.Footnotes: Note: In the late 19th century, Baroness Burton was a leading English collector of porcelain and French furniture. She and her husband were the then owners of Chesterfield House, the superb rococo palace built from 1746 by Isaac Ware for the 1st Lord Chesterfield. A series of photographs of its famous interiors taken by Bedford Lemere in the late 19th and early 20th century show them overflowing with Lady Burton's collection. Chesterfield House was demolished in 1937 and Lady Burton died childless twenty-five years later. Upon her death, the title of Baron Burton was passed down to Michael Baillie, 3rd Baron Burton.Condition Report: Light surface wear as expected with rubbing to the enamels and gilt in places; each base has traces of a brownish adhesive and the inscription in black ink LOAN BARONESS BURTON. Losses to the glaze of the interior of both in vertical bands down the ribbed sides.One jardinière: restoration to both handles, one handle extensively restored with an associated area of overpainting and spraying to the side, possibly covering cracks that are not visible, measuring approx. 17.5 x 11 cm and another area of restoration encircling the exterior of the base.Second jardinière: restoration to one handle with overpainting and spraying, possibly covering cracks that are not visible, with an associated lightly discoloured area of restoration to one side measuring approx. 21 x 12 cm.
Lot 247
A very large modern Chinese porcelain famille rose bowl, apocryphal Guangxu six character mark to underside, the deep bowl enamelled with dragons and flaming pearls amid cloud wisps to the exterior, the interior with two dragons chasing a flaming pearl amidst further cloud wisps to the centre, with Greek key border, 62.5cm diameter
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