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Lot 375
An early Worcester moulded cream jug, circa 1753-55Of finely lobed pear shape, with a double C-scroll handle with curled thumbrest, painted with a 'Long Eliza' figure walking past a low fence and willow tree and pointing to the large plant beneath the lip, the reverse with a colourful bird on flowering branches growing from fanciful rocks, 8.3cm highFootnotes:ProvenanceWith Brian Haughton Antiques, 10 December 2015The Chinese figures carefully painted in colours on moulded cream jugs and a few other early Worcester shapes, vary considerably between different examples. Most seem to be pointing, while others have their arms folded. Some are waiting or standing still, while on the present lot the figure seems to be walking. Related figures and other motifs occur in primitive blue and white patterns from Lund's Bristol and from the earliest Worcester blue painted productions. By contrast, however, Worcester's enamel decoration is much more sophisticated from the outset. Clearly, Worcester's first overglaze decorators did not travel from Bristol and we must look to either Staffordshire saltglaze, Birmingham enamel or enamelled opaque white glass for the origins of the pattern on this delightful cream jug.For further information on this lot please visit Bonhams.com
Lot 267
An important Limehouse punch tureen and cover, circa 1746-48Of circular form raised on four lion mask and paw feet with details picked out in blue, with two elaborate scroll and shell moulded handles, the low domed cover with a twig finial issuing leaves, the sides painted in blue with two tree-lined European landscape scenes, one depicting a bridge with two swans swimming beneath, two figures herding sheep in the distance, one on horseback, the other with a building and two figures before a flock of sheep and a cow, vine leaves between the handle terminals, the cover with a continuous landscape depicting three classical scenes of winged putti, including two with a basket of fruit, one beside a bird in a cage, and one standing having released two birds in flight above, the rim with a scrolled border, a thorny rose spray to the interior and another underneath the cover, 28cm wide across handles, 18.5cm high (2)Footnotes:ProvenanceWatney CollectionIllustrated by Bernard Watney, 'Four Groups of Porcelain, possibly Liverpool', ECC Trans, Vol.4, Pt.5 (1959), pl.7a (as Liverpool), by Bernard Watney, English Blue and White Porcelain (1963), pl.43d (as Liverpool), and on the front and back covers of ECC Trans, Vol.17, Pt.1 (1999) as a tribute to Bernard Watney. These covered tureens were probably the most costly of all Limehouse porcelain and are remarkable not only for their size, but also for the quality of the painting. The distinctive style of painting represented by these bowls is Continental rather than English. It relates to a distinct group of Limehouse dry mustard pots with classical decoration, see lot 265 in this sale. It also relates to a distinct group of large sauceboats with very similar European landscapes and identical rose sprays to the centre, with a single vine leaf to the pouring lips, see lot 266 in this sale. All of these must certainly be by the same hand.It has been suggested that these tureens were intended for serving mulled wine or punch, as all have vine leaves in the spaces and Geoffrey Godden had an example with grapes to the interior. Including the present lot, just five examples are recorded, each apparently painted by the same hand. One of these, lacking its cover but painted with identical European landscape scenes, is in the Mint Museum in Charlotte, North Carolina (inv. no.D1981.99.9). The second example was purchased by Geoffrey Godden from Liane Richards, who had bought it at Sotheby's in 1996. This was sold by Bonhams as part of the Geoffrey Godden Collection on 30 June 2010, lot 42, there purchased by Rosalie Sharp. In her book, China to Light up a House, Vol.1 (2015), p.173, Rosalie Sharp recounts her excitement when she received the piece that she had previously seen only in photographs. Her example had been illustrated by Geoffrey Godden, English Blue and White Porcelain (2004), pp.86-7, col. pls.21 and 22 and pp.99-100, pls.104 and 105. Example number three is in the Victoria and Albert Museum (inv. no.C.260&A-1938) and this is also illustrated by Godden (2004), pls.102 and 103 and by Ray Jones, The Origins of Worcester Porcelain (2018), p.218. The fourth example, lacking its cover, is in the Walker Art Gallery, Liverpool Museums. The present lot is the only example with a twig finial to the cover.European landscape decoration on Limehouse falls into two distinct groups. One features large and prominent figures, while in the other group represented here, the figures are diminutive with the emphasis on the landscape itself, the scenes framed by trees and buildings. The cottage with a picket fence is a form of decoration which originated at Limehouse but was also used at Lund's Bristol. A Limehouse teapot and cover from the Liane Richards Collection painted with a very similar building is illustrated by Ray Jones, The Origins of Worcester Porcelain (2018), p.226 and was sold by Bonhams on 13 April 2016, lot 95. Another is found on a teapot illustrated (with a Chinese cover) by Rosalie Sharp (2015), p.175, fig.594 and by Jones (2018), p.226.For further information on this lot please visit Bonhams.com
Lot 011
A blue and white moon flask ‘Bianhu’ Guangxu (1875-1908) The flattened circular body on a tall foot and painted on each side with a medallion of two ferocious dragons amongst clouds and flames confronting over a ‘flaming pearl’ all within a stylised lotus scroll continued on the cylindrical neck flanked by a pair of stylised handles in the form of pine branches, 31cm. Porcelain moon flasks were first made in China during the early Ming dynasty (1368-1644). The Chinese would have been familiar with Persian and Central Asian metalwork traded along the silk road since the Tang dynasty (618-906) and regularly introduced these shapes into their porcelain production. The manufacture of a porcelain moon flask would have involved overcoming technical difficulties such as making separate sections, joining them together and firing.
Lot 375
A GROUP OF ORIENTAL AND OTHER CERAMICS, to include a Chinese famille rose ginger jar, two modern rose medallion bowls (sd), a gourd shaped Imari vase (repaired), a Mason's Chinese Scroll pattern dinner plate, a fishbowl style jardiniere, a Doulton Burse Willow pattern jug with pewter cover, a Copeland Spode's Italian dinner plate and octagonal dish, a small blue and white vase (rim chipped), two figures (figure with basket missing parts and has an extensively damaged hat, the other has a hairline), etc. (qty) (Condition Report: most items appear ok, pieces mentioned in the description are as stated, other pieces may have s.d.)
Lot 6439
18th/19th Chinese hardwood low table of rectangular form, the frieze carved with a central crosshatched and gadrooned motif, flanked by fruiting foliage with stylised bats and scrolling cloud spandrels, raised on square supports with scroll feetDimensions: Height: 50cm Length/Width: 182cm Depth/Diameter: 57cm
Lot 6440
19th century Chinese lacquered hardwood altar table, rectangular top with moulded edge, the pierced and carved frieze decorated with Chinese scroll symbols and a central circular roundel motif with raised scrolling carvings, on rectangular end supportsDimensions: Height: 80cm Length/Width: 128cm Depth/Diameter: 51cm
Lot 6023
Chinese yellow enamel wine pot, of bombé form, the body finely painted with panels of scholars, the first depicts three scholars seated beside a large wine jar, the second with three scholars examining a painting, both with river landscapes, within blue scroll borders and reserved on a foliate scroll decorated yellow ground, green hardstone finial, Qianlong seal mark, but later, L17cm x H9.5cm
Lot 91
Chinese cloisonne vases, the first of baluster form, yellow enamel ground with prunus and chrysanthemum decoration, approx 26 cms. The second of tapering form, black ground decorated with tree peony, approx 44 cms h (af) together with Chinese silk tapestry, approx 29 x 27 cms, depicting a bird in flight amongst cloud scroll with ocean waves beneath, framed and glazed. (3)
Lot 339
Good late 18th century Chinese export porcelain covered tureen and a dish, Qianlong, (1736-1795), each decorated in Canton Famille Rose enamel colours with flowers and rockwork, the tureen with gilt-spotted deer mask handles and matching scroll handle to cover, 35cm across handles x 22cm high, the dish 37cm wide (2)
Lot 66
IMPORTANT ET RARE VASE IMPÉRIAL EN BRONZE DORÉ ET ÉMAUX CLOISONNÉSMarque et époque Qianlong (1736-1795)A RARE LARGE IMPERIAL GILT-BRONZE AND CLOISONNE ENAMEL VASEQianlong four-character mark and of the period Heavily cast and richly gilt, of tall baluster form with a bulbous central section raised on a spreading pedestal foot and rising to a tall trumpet neck with wide flared rim, set with a pair of gilt-metal scroll handles inlaid with faceted coloured glass stones, the body decorated in vibrant colours with dense lotus scrolls centring on four large lotus blooms, the neck with a pair of confronted stylised dragons on each side below a band of pendant leaves, the foot similarly decorated above a band of lotus lappets, the base with an incised four-character mark within a double square. 42.5cm (16 3/4in) high.Footnotes:清乾隆 銅鎏金掐絲琺瑯纏枝蓮紋螭龍耳瓶「乾隆年製」款Provenance:Acquired by the great-grandfather of the present owner in France in the late 19th century, and thence by descent Property of a gentleman來源：現藏家曾祖父於19世紀末得自法國，後家族流傳紳士珍藏This magnificent and large cloisonné enamel vase reflects the influence of archaistic styles on the material culture under the Qianlong emperor. His interest in antiquity, and in archaic bronzes in particular, is documented in the catalogue of his collection of antiquities titled Xiqing gu jian, Catalogue of Chinese Ritual Bronzes in the Collection of the Qianlong Emperor, an illustrated catalogue of the over 1,500 bronzes in the Imperial collection completed in 1755. Many of the bronzes included in this catalogue provided the inspiration for artists and craftsmen in the imperial workshops who liberally adopted and interpreted the original forms and designs of archaic bronzes and adapted them to contemporaneous aesthetics. In its form, this vase shows the strong influence of an archaic ritual drinking vessel known as gu, most popular in the Western Zhou period, and it shares the bulbous central part, the high, splayed foot and tall flared neck with the original model. However, while the overall outlines of the archaic prototype were retained, the craftsmen who fashioned this vase liberally interpreted the original archaic shape.On this vase, the original archaic form has been adapted and slightly modified, with a larger, tapered middle part and a shorter and more widely flaring neck. The design of large lotus blooms and lotus scrolls covering the entire surface of this vase is, however, entirely based on 18th century and earlier decorative schemata, and can be found on textiles, porcelains and lacquerware of this and earlier periods. The use of pink and white, two new enamel colours introduced in the Yongzheng period, lends the design a more sophisticated color gradation and adds a painterly quality. Moreover, the very playful design of the elaborate gilt-metal handles cast and richly gilt in the form of wispy leaves and tendrils, is also firmly rooted in the 18th century and alludes to Western rocaille motifs introduced by Jesuits to the Qianlong court, as are the very unusual coloured glass inlays. Two important points further distinguish this vase: the large size and the four-character mark incised to the centre of the base. Cloisonné enamel vessels in the collection of the Palace Museum show that there are four different types of marks on vessels made for use at the Imperial court. On some vessels, the Qianlong mark is cast in relief, while on others, the marks are incised on the rims of a vessel. Other vessels bear an incised four- or six-character mark on the base, often within a double square, compare several examples illustrated in Palace Museum (ed.), Compendium of Collections in the Palace Museum. Enamels, 2, Cloisonné in the Qing Dynasty (1644-1911), Beijing, 2011, cat.nos.163, 171, 259 and 280. The present vase is among a small group of larger marked cloisonné vessels in the Palace Museum collection, compare Palace Museum (ed.), op.cit., cat.no.170, 171, 172 and 259. Its impressive size, intricate design and incised mark are elements found only on imperial cloisonné enamels of the finest quality and suggests that it was commissioned for the court of the Qianlong emperor.For further information on this lot please visit Bonhams.com
Lot 29
TRÈS RARE PAIRE DE LOUCHES EN ARGENT INCRUSTÉES D'ORFin de la Période des Royaumes Combattants (475-221 avant J.C.)/Début de la Dynastie des Han de l'Ouest (206 avant J.C.-9 après J.C.)A VERY RARE PAIR OF GOLD-INLAID SILVER SPOONSLate Warring States/Early Western Han DynastyEach spoon with a racquet-shaped bowl decorated with a pierced design of two addorsed stylised dragons within a narrow border of linked S-scrolls, extending to a slender, slightly tapering stem and terminating in a handle with a pierced design of S-shaped scrolls terminating in a larger C-scroll, set with an eyelet suspending a ring, spoons and handles worked in a parcel-gilt openwork stylised bird scroll motif, the bowl and handle finely inlaid in gold with a variety of animals including prowling tigers, long-tailed birds, recumbent deer and seated hares, foxes and owls, all running and racing amidst stylised rockwork, the stem on one spoon set with a stylised, gold-inlaid bird head, the other spoon with a stylised taotie mask. 26.7cm (10 1/2in) and 27.2cm (10 3/4in) long. (2).Footnotes:戰國晚期/西漢早期 銀錯金長柄匙一對Provenance: Acquired from Priestley & Ferraro, London, November 1999A distinguished European private collectionPublished:Priestley & Ferraro, Out of Wind and Dust: Reflections of War and Peace in Chinese Art, London, 1999, cat.no.1.來源：於1999年11月得自倫敦古董商覺是軒（Priestley & Ferraro）歐洲顯赫私人珍藏出版：覺是軒（Priestley & Ferraro），《Out of Wind and Dust: Reflections of War and Peace in Chinese Art》，倫敦，1999年，編號1This highly unusual pair of gold-inlaid silver straining spoons appears to be unique and no other example appears to be recorded. Stylistically these beautifully made spoons follow the tradition of silver and gold-inlaid bronze vessels, fittings and ornaments made in the later part of the Warring States period and the Western Han dynasty. Their elaborate and highly fluid decoration displays the stylistic and technical influence of artistic developments that took place in the southern regions of China at the end of the Warring States period and that continued well into the Qin and Western Han periods. The gold-inlaid designs on the handles and bowls of both spoons are filled with tiny animals including birds, hares, foxes and tigers, realistically rendered and vigorously moving along fine curvilinear lines. The underlying openwork design of addorsed stylised birds and dragons contributes to the overall dynamism of the design reflecting the influence of contemporaneous lacquer painting and silk weaving. The fluid, calligraphic representations on these two spoons recall painted designs found on Chu lacquer, such as the lacquer coffin from Baoshan, Jingmen, Hubei province, illustrated by Teng Rensheng, Lacquer Wares of the Chu Kingdom, Hong Kong, 1992, pp.58-59, no.6, or on outermost lacquer coffin found in the Western Han tomb No.1 of the Lady Dai (217–168 BC) at Mawangdui, Changsha, Hunan province. From the early sixth century BC, gold and silver were gradually adopted as inlays, and very few solid gold and silver vessels were made from the fifth century BC onwards. Vessels, ornaments and fittings made entirely in silver or even gold represented a 'new' element in the artistic repertory of this early period. However, among the rare pieces made in gold is a gold straining spoon that was discovered in the tomb of the Marquis Yi of Zeng in Sui Xian, Leigudun, Hubei province, dated to 433 BC. While it is not inlaid, the bowl of this spoon is rendered in a pierced design of stylised scrollwork similar to the design on the bowls on the present pair of spoons (Fig.1). Rare silver vessels of this period include a small silver bowl with a raptor-head handle formerly in the Carl Kempe collection, illustrated in Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl.76, and another small silver cup in the collection of the Metropolitan Museum of Art, New York, published in Jenny F. So and Emma C. Bunker, Traders and Raiders on China's Northern Frontier, Washington, D.C., 1995, cat.no.73.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
Lot 84
GRAND PLAT EN PORCELAINE ARMORIÉEÉpoque Qianlong (1736-1795), vers 1740A LARGE ENAMELLED AND GILT-DECORATED ARMORIAL CHARGER FOR THE ENGLISH MARKETQianlong period, ca. 1740Decorated to the centre with the coat of arms of Fryer of London, the rim finely painted in gold with a continuous vine scroll. 48.1cm (19in) diam.Footnotes:PROPERTY OF A DISTINGUISHED PORTUGUESE GENTLEMAN葡萄牙顯赫紳士珍藏清乾隆 約1740年 琺琅彩描金紋章圖大盤David S. Howard notes that the coat of arms with its 'sable-à-chevron' between three dolphins embowed argent, a canton ermine' is that of the family of Fryer of London. Sir John Fryer (1671-1726) was an Alderman of London, Sheriff, and then Lord Mayor of London in 1721. Howard assumes that this service is likely to have been made for one of his two daughters. See David Sanctuary Howard, Chinese Armorial Porcelain, vol. II, Frome, 2003, p.195, G7.Fryer.For further information on this lot please visit Bonhams.com
Lot 493
A Chinese export silver three piece tea service by Kwan Wo, comprising tea pot, cream jug and twin-handled sugar basin and cover, the tapered cylindrical bodies decorated with embossed hexagonal panels of figural scenes, spaced by panels of bamboo, prunus blossom and peonies, against a textured ground, each with vacant shield-shaped reserve, with bamboo-style scroll handles and finials, maker’s mark ‘KW’, with workshop/artisan mark, tea pot height 14cm. £600-£800 --- Kwan Wo of Canton and Hong Kong was active circa 1875-1940. Condition Report The tea pot with bone insulators to the handle. In good overall condition, clear stamped marks to the base of each piece. Gross weight approximately 27 troy oz.
Lot 1439
A Chinese Carved and Ebonized Low Table, first half of the 20th century, with polychrome landscape top having lobed rim and over scroll supports with mask terminals, 50cm wide by 44cm, together with an Art Deco chinoiserie two tier occasional table and a bamboo and lacquer two tier table (3)
Lot 32
AN IZNIK BLUE AND WHITE DISH, OTTOMAN ANATOLIA, CIRCA 1560-80 underglaze painted fritware, decorated with central floral rosette surrounded by chinoiserie scrolling foliate sprigs and lobed medallions containing a pair of flowering plants on dense scrolling ground, the lip with wave and rock design interspersed with scrolls, the underside with drilled rim foot surrounded by repeated floral motifs, and old French label reading: Panneau 4 no. 98 Collection Darses Paris and red wax seal marked W [?], 6.5cm high; 31.5cm diam.Provenance: Private collection, London. Acquired before 1967.This dish is typical of the blue and white types produced during the second half of the 16th century, which adapted Chinese motifs and juxtaposed them with more obviously Ottoman forms. Here, we can see elements of two of the styles of the 1570s which are defined by Julian Raby, the 'triple scroll ground' and 'wheatsheaf', both of which feature a central flower-head. The triple scroll on our dish only appears as a repeated element on the rim, while the ear of wheat is combined with Ming style tendrils. These are interspersed with densely decorated medallions which replace the more typical peonies. For characteristic dishes in the 'wheatsheaf' style, see Atasoy & Raby 1989, fig.447, p.41 and Carswell & Moraitou 2023, cat.52, p.106.
Lot 346
A CHINESE FAMILLE ROSE CANTON ENAMEL 'COCKEREL AND QUAIL' DISH QING DYNASTY, YONGZHENG OR EARLY QIANLONG, 18TH CENTURY Well painted in bright enamels with a cockerel standing over a hen quail with her chicks, within lobed reserve with lilac scroll foliate border, the reverse with a band of lime-green with 'cracked ice' pattern and prunus flowers 15cm diameter Provenance: John Sparks, London, 1st March, 1990, purchased for £1,800 by William Alexander Palmer and sold with the original purchase receipt. 清乾隆 銅胎畫琺瑯天雞圖盤拍品來源：英國帕瑪家族顯赫私人收藏，1990年3月1日W. A. Palmer以1800磅的價格購自倫敦知名古董商John Sparks Condition Report: star cracks to enamel Condition Report Disclaimer
Lot 371
A LARGE CHINESE 'DRAGON' JARDINIERE QING DYNASTY, 19TH CENTURY The exterior enamelled in green and aubergine with five-clawed dragons chasing sacred pearls above waves on a pale yellow ground, the interior with dragons to the centre within a border of flying cranes and clouds, raised on four scroll feet, the base with inventory label numbered 'X 86' 34.5cm diameter Provenance: Sotheby's 12th July, 1960, lot 88, purchased via Bluett & Sons, London, for £26-0-0, as recorded in the RHRP China ledger no. C 685 The Reginald and Lena Palmer Collection, no. C 685 清十九世紀 三彩龍紋三足香爐拍品來源：英國帕瑪家族顯赫私人收藏，家族收藏編號C685號；1960年7月12號通過Bluett & Sons以26鎊的價格購於蘇富比，拍品號88號 Condition Report: the base with 23cm long crackCondition Report Disclaimer
Lot 540
A Chinese famille rose ‘Wu Shuang Pu’ hexagonal jardinière, Qing dynasty, mid-19th century, Finely painted to each side with a figure and inscription, the foot pierced with floral motif, the flat rim decorated with chrysanthemum amid an archaic scroll motif, 22cm high Footnotes: Note: The Wu Shuang Pu 無雙譜 ('Table of Peerless Heroes') is a series of woodblock prints created by Jin Guliang ca. 1670. The album contains forty illustrations of forty famous historical figures from the Han dynasty to the Song dynasty, described by Jin as being 'peerless'.
Lot 191
A Chinese hardwood vase stand, c.1900, the circular top inset with rouge marble enclosed by a beaded border, above a pierced apron with double gourds, on shaped legs with scroll feet,33.5cm wide38cm highCondition ReportSurface scratches. Splits and chips to corners and edges. Repaired with signs of glue to one apron, one leg and stretches. The band below the top stretched with losses. Two aprons damaged with losses.
Lot 74
A THAI SILVER TABLE BOX Chinese character marks, early 20th Century, rectangular, the hinged cover decorated in relief with Vishnu riding Garuda, flanked by attendants, on a scroll ground, wood lining 18.5cm wide Condition: For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
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