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Click here to subscribeAn early 20th century Chinese white metal mounted green glass bowl, of dished circular form with geometric/serrated and stylised petal decorated rims linked by dragon ornamented straps, unidentified seal mark to base 11.5cm x 6cm glass doesnt fluoresce under black/UV light, this isnt uranium glass.
4 x Oriental / Chinese ceramics - hexagonal pot with script around and seal marks, brown teapot with script & bird detail to side with seal on base, crackle green glazed dish with flare design (35.5cm diameter & has small chip to edge) & green vase with embossed floral detail ~ in good used condition
Two Chinese Yixing zisha stoneware teapots, 20th century, each rounded body imitating strips of bamboo, with a four-character seal mark to base,12.5 and 17.5cm long (2)Provenance: Maurice 'Dick' Turpin, Barons Keep, London W14.Condition ReportThe large one with a small chip to rim of the cover. The small one with no obvious faults.
Document from Chinese last emperor Puyi, a part of the Puyi dossier, regarding the edicts including the famous Dong-ling theft in 1927. The book bears the seal of the Republican Period National Palace Museum.Height: 10 in x width: 7 1/4 in.Condition:There are no major losses. There is creasing to the items covers.There are minute tears and creases along the edges of the pages. There is toning, foxing and discoloration throughout. There is a line of discoloration across the entire back cover, measuring approximately 7 inches. There is heavy wear throughout, as expected from age and use.
CHINESE SCHOOL IN THE MANNER OF XU BEIHONG "Galloping horse" watercolour heightened with white with script and seal marks, 25 cm x 37 cm together with a similar black and white print and a print of two pandas feeding, in the manner of Wu Xouren, 41 cm x 55 cm and another depicting a bathing water buffalo with script, 25 cm x 37 cm
Pair of Japanese Satsuma Meiji period (1868-1912) square-section tea caddies with covers and liners, on a tray, each piece signed, painted with flowering prunus and butterflies within green line border, a pair of Chinese 20th century Yixing red stoneware faceted tapering oviform vases, enamelled in the famille rose palette with cranes, iris and Chinese characters, impressed seal marks, and a pair of 20th century Chinese cloisonne vases, each decorated with flowers, on blue fret pattern ground, 23.5cm high
Chinese 20th century blanc-de-chine figure group, modelled as a musician and two companions on rockwork base, incised character marks and numerals, together with a 20th century Chinese small blue and white oviform vase printed and painted with figures and pine trees, a boxed set of Japanese Meiji period (1868-1912) calligraphic and pictorial ink blocks comprising six pieces, a comb signed with a four character mark stained and engraved with a landscape, an early 20th century Japanese inlaid metal cigarette case marked with seal and K24 to reverse and a carved wooden cigarette case with quatrefoil foliate medallion (6)
Collection of Chinese and Japanese porcelain and other items comprising a baluster blue and white vase adapted as a lamp, four-character Kangxi mark, probably 19th century, painted with figures and animals within flower borders, three 18th century Chinese export plates painted with figures in landscapes, two small Chinese blue and white vases, one with four-character mark to base, painted with dragons, a Japanese Satsuma saucer, seal mark to reverse, the border painted with figures, the well with pavilions in landscape and a Royal Worcester miniature jug, painted with birds, signed 'G.Dank' with printed black factory marks, mid-20th century (some damages and repairs) Condition Report Vase/lamp - Chip to rim, crack to body, accretions and gluue around the rim.Small dragon vase - chip to rim, hairline crack to rim/neck.All plates with chips, two with cracks.Satsuma dish- surface marks, small cip to the rim, wear ato gilt and decoration.All with general wear and tear.
19th Century Chinese Famille Rose cylindrical vase, enamel decorated with a bird amongst flowers, with character marks, gilt upper rim, faint mark to base (approx 28.5cm tall); together with a smaller cylindrical vase / brush pot depicting a seated elder in traditional dress, seal mark to base
Chinese School, three paintings depicting Chinese figures, comprising: Shao Si Ming, watercolour, six character signature and red character seal, Yun Zhong Jun, character signature and red character seal, 32 x 60.5cm and a musician with a monkey, possibly Tao Kan, 31.5 x 59cm, 31.5 x 60cm, each framed and glazed
A Chines brass cast brass Fu incense burner with open mouth and hinged head H x 20cm D x 11cm, a Chinese cast brass Pinyin three legged lucky toad with horned mounted open mouth with coin H x 13cm L x 17cm and two Chinese cast brass Gu shaped vases of cylinder form with archaic style decorated panels, larger has cast brass seal mark verso H x 28cm and 17cm (4)
A PAIR OF CHINESE POLISHED BRONZE TABLE LAMPSLATE 19TH / EARLY 20TH CENTURYeach of two handled vase form, with panels of lion dogs in relief, on a floral ground between a pair of horned lion dog handles, the neck and foot with arched foliate panels, with six character seal marks, fitted for electricity (2)44cm high TH
A FORMATION OF ROCKS BY YEQING 冶青《巨石》China, first half of the 20th century. Ink on paper. The fan-shaped painting depicts a formation of rocks with sparsely sprouting grass. Calligraphy and two seal marks on the top right and left side.Inscriptions: The two texts describe the sketch of rocks, signed 'Yeqing' and 'Daye', and two seals 'Daye' and 'Yeqing.'Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The painting with material loss at the center fold and some discoloration.Dimensions: Image size 52.5 x 23.1 cm, paper cover 63.5 x 65 cmLaid down on paper with protective cover.
A RIVER LANDSCAPE AFTER WANG YUANQI BY WEI QING 韡慶《山水畫》，王原祈款China, first half of the 20th century. Ink and watercolor on segmented paper. The fan-shaped painting depicts a landscape with a river and mountains in the background and two cabins hidden behind trees and rocks in the foreground. A fisherman waiting on a boat nearby to catch a fish. Calligraphy and a seal mark on the left. A seal mark on each bottom corner.Inscriptions: Text (translated): 'Wei Qing imitated Wang Lutai's work' (pseudonym for Wang Yuanqi, 1642-1715) and 'Painted in Shenjiang'. One seal mark on the upper left, and one seal on the bottom left. Another seal on the bottom right (translated): 'Wei Ting learns drawing at 57 years old.'Fan paintings by Wang Yuanqi are highly sought after. For a landscape fan shaped painting by the master artist see Fine Chinese Classical Paintings and Calligraphy in Christie's Hong Kong on 01 June 2015, lot 1117, sold for HKD 3,200,000.Provenance: From the collection of Professor Jan Wirgin (1932-2020). Jan Wirgin studied Classic Chinese and History of Art at Stockholm University. Later, he joined the Museum of Far Eastern Antiquities in Stockholm, first as a curator and then between 1981-1998 as the director of the museum. Further, he published numerous articles during his work as the editor of the Bulletin of the Museum of Far Eastern Antiquities. One of his most famous works is the book "Chinese Art history" (1972), which is still one of the most read books for students of Chinese art history in Sweden. Condition: Good condition. The painting with some abrasions along the folds, minor material loss to the lower left corner.Dimensions: Image size 50.4 x 21.5 cm, paper cover 63.5 x 65 cmLaid down on paper with protective cover.
HOSAI MASAHIRO: A FINE ANABORI IVORY NETSUKE REFERENCING THE LEGEND OF CHORYO AND KOSEKIKOBy Hosai Masahiro, signed Masahiro 正廣 with seal Hosai 芳齋Japan, Tokyo, c. 1860A remarkable and intricately carved ivory netsuke, the manju-type netsuke fitted with a 'faux lid' carved in relief with a ferocious sinuous dragon forming a circle, one side pierce-carved in anabori with a design of Choryo handing back the shoe to Kosekiko after having defeated the water dragon. Two himotoshi and signed MASAHIRO with red seal HOSAI underneath. The artist was known for his meticulous anabori carvings and was a pupil of Adachi Masanobu.DIAMETER 3.7 cmCondition: Very good condition with few natural age cracks.Provenance: Sold at Sotheby's, 13 March 1987, London, lot 39. German private collection, acquired from the above.Zhang Liang (known as Choryo in Japanese) was a Chinese military strategist and politician who lived in the early Western Han dynasty. The present netsuke depicts the legend of when Choryo met the old man Kosekiko (Huang Shigong) on a bridge. The old man began to teach the art of war to Choryo and one day Kosekiko wanted to test Choryo and threw a shoe into the river where a powerful water dragon lived. The dragon seized the shoe and Choryo defeated it and gave the shoe back to Kosekiko. The present netsuke shows exactly this scene - the proud Choryo, with one foot on the dragon's head, is presenting the shoe to Kosekiko who is mounted on a horse atop a bridge. According to legend, Choryo used the teachings of Kosekiko as a military adviser to Liu Bang, the founder of the Han dynasty.Trade Certificate: The trade certificate for the sale of this lot within the EU has been granted (permit number DE-K-230523-303). This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.
ZOKOKU: AN UNUSUAL TWO-CASE TSUISHU LACQUER INRO WITH PEONY, LILIES, AND REISHIBy Tamakaji Zokoku (1806-1869), signed Zokoku象谷Japan, Kagawa, c. 1850, Edo period (1615-1868)Of unusual form and oval section, containing one large and one smaller case for medicine, finely carved in low relief with a large peony blossom extending from the right side, borne on a leafy stem against a neatly incised wave ground. The reverse carved with a spray of lilies with one reishi rising from behind. Each frame is set with a quadrilobed border and flanked above and below by a rinzu band. The top and bottom are finely decorated with a large floral medallion surrounded by curling leaves, the bottom bearing the seal signature of the artist, ZOKOKU, within the center of the medallion. With a faux coral ojime.HEIGHT 10 cm, LENGTH 5.8 cmCondition: Very good condition with only minor wear and traces of use.Provenance: Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent in the same family. The upper case with an old collector's label, 'L 619.' Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').The production of lacquerware in Kagawa (Shikoku) was encouraged by daimyo Yorishige Matsudaira (1622-1695) and many artisans took up residence in the area. Zokoku Tamakaji was born in Takamatsu in 1806, but at the age of 20 he moved to Kyoto to study with various painters and lacquerers and had the opportunity to research Chinese lacquer techniques, then bringing his knowledge to Kagawa and helping to seal its reputation as a major lacquerware producing area.
TAMECHIKA REIZEI (1823-1864) : 'MINAMOTO TOSHIYORI GAZING AT A WATERFALL'By Tamechika Reizei (1823-1864), signed Kuroudo tokoro no shu jugoi-ge shikibu shojo Sugawara Ason Tamechika no zu with sealJapan, 19th century, Edo period (1615-1868)Ink on paper. Mounted as a hanging scroll on a silk brocade frame, with antler handles. Finely painted with Minamoto Toshiyori admiring a gushing waterfall accompanied by his attendants.Signed and inscribed lower right, 'Kuroudo tokoro no shu jugoi-ge shikibu shojo Sugawara Ason TAMECHIKA no zu' [Painted by the high-ranking official Sugawara Ason Tamechika]. One seal. One inscription to the back, 'Gazing at a Waterfall, painted by Sugawara Ason Tamechika'.SIZE 28.5 x 105.5 cm (image), 30.5 x 186.5 cm (including mounting)Condition: Good condition with minor wear and creasing. The brocade frame with usual traces of wear and age.Tamechika Reizei (1823-1864) was a painter of the late Tokugawa period whose talent and efforts contributed a great deal to the revival of the traditional Yamato-e (paintings stressing Japanese themes and techniques as against the Kara-e, a style under strong Chinese influence). He was born into the Kano family of painters. He was drawn, however, to the Yamato-e style and improved his artistry by copying old Yamato-e masterpieces. Under the name Reizei, he produced numerous works on traditional themes, using ancient techniques. Later, he was adopted by the court nobleman, Okada Dewa no Kami, after which he signed his name as Okada or Sugawara. He became a courtier of the imperial court in Kyoto in order to study firsthand the traditional practices of the court, which he considered important subject matter.Minamoto Toshiyori (1055-1129) was an important and innovative Japanese poet, who compiled the Gosen Wakashu. He was the son of Minamoto no Tsunenobu (1016-1097); holder of the second rank in court and of the position of Grand Counsellor). Shunrai was favored by Emperor Go-Sanjo and to a lesser degree Emperor Shirakawa.
OKUMURA MASANOBU (1686-1764): 'SHOKI'Japan, 18th century. Woodcut, hand applied with urushi (lacquer) and washes of ink on paper. Mounted on paper. Depicting the demon queller Shoki standing in an animated pose apoplectic with rage with a grimace on his face.Inscriptions: To the left margin, signed 'Hogetsudo, Okumura Bunkaku Masanobu kinzu' 芳月堂、奥村文角政信謹圖 ('This is painted with respect by Okumura Bunkaku Masanobu, the studio name Hogetsudo'). One seal, 'Tanchosai' 丹鳥斎.Image SIZE 63 x 24.6 cm, SIZE incl. mounting 70.5 x 30.3 cmCondition: Shows tears, some wormholes, minor staining, browning, and few losses but still presenting well.Provenance: Van Stockum Gallery, The Hague. Collection of Robert and Isabelle de Strycker, acquired from the above and thence by descent within the same family. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Shōki was a scholar of early seventh-century China who committed suicide after being cheated out of the first rank in civil service examinations, yet who was buried with honors after the emperor heard the tragic tale. To show his gratitude, Shōki appeared as an exorcist in a dream of a subsequent Chinese emperor and vowed to quell demons and banish disease. In Japan, auspicious images of Shōki were displayed for the Boys' Day Festival, celebrated on the fifth day of the fifth month.Shōki was generally depicted, based on the iconography, killing a small demon. However, in the Japanese popular cult that reveres him as guardian deity, he was also rendered standing alone in a more iconic mode.Okumura Masanobu (1686-1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga. The era Masanobu was born into was a prosperous and creatively fertile one, in which flourished the haiku poets Matsuo Bashō and Ihara Saikaku, the bunraku dramatist Chikamatsu Monzaemon, and the painter Ogata Kōrin. Masanobu was one of the most influential innovators of the ukiyo-e form, and popularizing Western-style perspective drawing. His career saw ukiyo-e evolve from its monochromatic origins to the verge of the full-color nishiki-e revolution of Suzuki Harunobu's time. Masanobu's ukiyo-e was mostly produced in the Kyōhō era. They display the printmaker's sense of line, color, and composition. The subjects are most often humorous and are executed in a lively manner with figures in brightly colored, fashionable clothing.
A CYLINDRICAL TORTOISESHELL SNUFF BOTTLE, FORMERLY IN THE COLLECTION OF WU RANGZHI (1799-1870) 玳瑁鼻烟壺，原爲吳讓之(1799-1870) 收藏China, 19th century. The elegant yet traditional 'Rouleau' form, decorated in gilt with inscriptions, supported on a flat base, the conical shoulder rising to a narrow neck with a flat rim. The shell of caramel color highlighted with patches of dark chocolate and near-black tones. The base inscribed with a four-character collection seal.Inscriptions: To the body, 'Shishenxuan cang' (Collection of Shishenxuan); 'Wu / Lu jing Lufu / Songmen Huxi / Yideng wudao / Wie ke bumi'; 'Wu Rangzhi qingwan' (Collection of Wu Rangzhi); ´Jue / li zhi wu wo / kong ya you xing / xin ying xian jue / si bu huang ning'. To the base, 'Jin Shi Cang Yin'. Provenance: From a Hungarian private collection. Condition: Good condition with expected old wear, minuscule nicks, light scratches, natural imperfections.Stopper: Coral Weight: 20.4 g Dimensions: Height including stopper 69 mm. Diameter neck 11 mm and mouth 5.5 mmWu Rangzhi (1799-1870), also known as Wu Xizai, was a Chinese painter, calligrapher, and master seal carver. He developed the Wan School, originally founded by Deng Shiru, and frequently paired his own texts with rubbings of stelae and other carvings, demonstrating the range of possibilities available to artists inspired by the scholarship of the Stele School and its willingness to blend old and new forms.Auction result comparison: Type: Closely relatedAuction: Woolley & Wallis, London, 17 May 2016, lot 129Estimate: GBP 5,000 or approx. EUR 8,300 converted and adjusted for inflation at the time of writingDescription: A Chinese tortoiseshell square-section snuff bottle, Qing dynastyExpert remark: Compare the closely related material and inscriptions, bearing the same three collector's marks to the body ('Shishenxuan cang' and 'Wu Rangzhi qingwan') and the base ('Jin Shi Cang Yin'). Note the different form and the size (8 cm).This item contains ivory, rhinoceros horn, tortoise shell, and/or some types of tropical wood and is subject to CITES when exporting outside the EU. It is typically not possible to export such items outside of the EU, including to the UK. Therefore, after this item has the necessary trade certificate, it can only be shipped within the EU or picked up in our gallery in person.玳瑁鼻烟壺，原爲吳讓之(1799-1870) 收藏中國，十九世紀。圓柱形壺，平底，鍍金銘文，削肩。 焦糖色，帶有深棕色和近乎黑色的色調。款識：悟：路經盧阜，松門虎溪。一燈悟道，為客不迷；覺：理知無我，空壓有形。心應先覺，思不遑寧；師慎軒藏；吳讓之清玩；金石藏印。來源：匈牙利私人收藏。品相：狀況良好，有磨損、微小劃痕和自然瑕疵。壺蓋：珊瑚重量：20.4 克尺寸：含蓋高69 毫米，頸部直徑11 毫米，壺口直徑5.5 毫米 吳讓之 (1799-1870), 字熙載，清代畫家、篆刻家、書法家。包世臣的入室弟子。善書畫，尤精篆刻。少時即追摹秦漢印作，後直接取法鄧石如，得其神髓，又綜合自己的學識，發展完善了“鄧派”篆刻藝術，在明清流派篆刻史上具有舉足輕重的地位。吳煕載以篆書和隸書最為知名，在晚清書壇享有很高的聲譽。對後來的趙之謙、吳昌碩均有影響。拍賣結果比較： 形制：非常相近 拍賣：Woolley & Wallis，倫敦，2016年5月17日，lot 129 估價：GBP 5,000（相當於今日EUR 8,300） 描述：清代玳瑁鼻煙方壺 專家評論：比較非常相近材質、款識，有同樣的三個收藏印。請注意不同的外形和尺寸 (8厘米)。
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