AN IMPRESSIVE NOH THEATER MASK OF SHISHIGUCHI 獅子口Japan, Taisho to Showa periodA gold lacquered wooden mask, lacquered brass eyes and teeth, the inner part with a seal mark reading "理" (lit. “Ri”?).H: 21,6 cm - w: 16,7 cmNote: A mask also known as “Lion’s mouth”, used for the second act of the play Shakkyō (Stone Bridge) for the role of the father lion who dances boisterously among the peony flowers in Monju Bodhisattva's paradise.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report:- minor scratches;- minor frictions;- minor losses of lacquer, two within the mouth;- two cracks, one to both sides of the mouth;- one crack to the top part to the back.
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A KYOGEN THEATER MASK OF OKAMEJapan, Showa periodA lacquered wooden mask, the inner part with a seal mark.H: 21 cm - w: 17 cmNote: Okame, also known as Uzume or Otafuku is the name for the female half of a traditional Japanese Kyogen theatre pair. She is considered to be the Goddess of mirth and is frequently seen in Japanese art.[INTERNET KEYWORDS] CHINA, CHINESE, QING, ANTIQUE, CERAMIC, PORCELAIN, PAINTING, SCROLL, JADE, DYNASTIE, JAPANESE, VIETNAMESECondition Report: Condition report: Cracks / hairlines in the lacquer, notably next to the cheeks.
A collection of four Chinese overlay Peking glass brush pots, 20th century, comprising: one with geese in a lotus pond in yellow, green, blue, and purple against a clear snowflake ground, four-character Qianlong mark, 12.3cm high, one of hexagonal form, decorated with birds and flowers in blue against a red ground, four-character Qianlong mark, 12cm high, one of square form with cranes and fruiting peach trees, seal mark to base, 11.2cm high, one with goldfish in brown, 12cm high (4)Condition report: All with minute chips to edges.
A collection of five Chinese overlay Peking glass bowls, 20th century, comprising: one decorated with geese in a lotus pond in green against an amber ground, four-character Qianlong mark, 13.2cm diameter, one with mandarin ducks in a lotus pond in red against a blue ground, four-character Qianlong mark, 12.4cm diameter, one with scrolling lotus in green against a clear ground, a seal mark to base, 12.5cm diameter, one with butterflies among florets in amber against a blue ground, four-character Qianlong mark, 11.5cm diameter, and a square bowl, with precious objects in blue against a red ground, four-character Qianlong mark, 9.5cm square (5)Condition report: All with minute chips to edges.
Ca. 386–534/535 AD. Northern Wei Dynasty. A terracotta tile featuring a beautiful depiction of a seated Buddha wearing garments whose red and green pigment is marvellously still preserved as is the black of the hair and the red drapery above the Buddha and behind his head. Buddha has a raised right hand, with the palm facing outwards and the fingers downwards while the left arm is held close to the body. In Buddhism and Hinduism, this is one of the 'Mudra' ("seal", "mark" or "gesture"), symbolic gestures of the hands and fingers used either in ceremonies and dance or in sculpture and painting. The Wei dynasty was the longest-lived and most powerful of the northern Chinese dynasties that existed before the reunification of China under the Sui (581-618 AD) and Tang (618-907 AD) dynasties. The Wei rulers were great patrons of Buddhism. They fostered Buddhism as a state religion, although the dynasty took particular care to control the religious hierarchy, trying to avoid any church-state conflicts. Buddhism held a great appeal for the Wei rulers, as it gave their leadership a legitimate base in a multiethnic society. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:330mm / W:165mm ; 3.4kg
Ca. 386–534 AD. Northern Wei Dynasty. A rectangular ceramic brick featuring a seated Buddha with a plump face, elegantly curved almond-shaped eyes beneath sharply defined and arched brows, a well-formed nose and full lips recessed into fleshy cheeks, drooping ears, the hair and ushnisha (the knot of hair on the top of the head) carved with curls. The modelling of the facial features is articulated with vivid realism, the serene expression of the Buddha endowed with the uttermost spirituality. The leaf-shaped halo behind Buddha is painted in a deep blue hue, which matches the long flowing garment of the Buddha, completed by a red upper garment. The Buddha's right hand is in the abhaya mudra, i.e. upright with the palm facing outward, all fingers are pointing up towards the heavens. In Buddhism and Hinduism, this specific 'mudra' (“seal,” “mark,” or “gesture”) symbolises wisdom, calmness, and fearlessness. His left hand, with the palm facing outwards and fingers pointing down, is in the 'varada mudra' (favourable mudra), which indicates, charity, compassion and sincerity. The Wei dynasty was the longest-lived and most powerful of the northern Chinese dynasties that existed before the reunification of China under the Sui (581– 618 AD) and Tang (618–907 AD) dynasties. The Wei rulers were great patrons of Buddhism. They fostered Buddhism as a state religion, although the dynasty took particular care to control the religious hierarchy, trying to avoid any church-state conflicts. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. Size: L:330mm / W:170mm ; 4.4kg
Assorted Mainly Late 19th/Early 20th Century Sewing Accessories and Other Items, comprising a H Sauerbier & Son Manufacturers Newark, patent crimping machine dated 1866; a hair-mounted curb link chain; miniature ebonised double scroll with cream silk sleeve, printed in gold with two standing lions and crown, 14cm long; small white beaded purse and another miniature example; assorted mother of pearl cotton reels, Chinese token, seal and embroidery tools; pair of ivory glove stretchers, ivory and bone sewing accessories, buttons etc
A good and fine pair of Chinese Republic-style floor standing porcelain vases; the vases of rulo-shape and with outset border of ruyi heads above scrolling loyus above a pink ground neck, further bands and figures below in an outside setting, each vase has a four line poem and is signed with red seals, each with four character red seal mark to underside (59cm)
A 20th Century Chinese Republic period Qianlong mark brush washer water pot in the form of a bat having a deep purple glaze with open section half covered by a bat with wings spread and pointed ears . Four character Qianlong (1736-1795) mark to underside in Zhuanshu seal script. Measures approx; 9cm. No visible damage.
A 19th Century Chinese Qianlong mark porcelain brush pot vase having hand painted decoration depicting an elder, woman and many children in an exterior setting with table and jardiniere among trees and flowers. Four character Qianlong seal mark to base in ochre. No visible signs of major damage. Measures approx; 10cm x 9cm.
An early 20th Century Chinese Republic Period porcelain incense burner with wax seal to base. The piece decorated in a blue and white palette depicting an seated man with wine glass raised to a scroll over a table. The reverse having a poem / script pertaining to a Wu Chang District Wine Show Tasting. Small hole to top for incense stick and ochre seal to base. No visible damage. Measures approx; 6cm.
The hinged lid decorated with Chinese landscape scenes, with a fitted interior, containing vials of original Chinese pigments and porcelain mixing dishes, brushes, an ivory seal and seal paste, on paw feetHeight: 12.6cmLength: 35.6cmDepth: 23.5cmProvenance: The Canterbury Auction Galleries, 11th June 2013, lot 872來源：2013年6月11日售於坎特伯雷拍賣行 拍品號872For a similar painter’s box of almost identical proportions see A Tale of Three Cities, Canton, Shanghai & Hong Kong, David. S. Howard, Sotheby’s, London, 1997, cat. no. 243, page 185.相似一例見 《A Tale of Three Cities, Canton, Shanghai & Hong Kong》大衛 霍華德 倫敦蘇富比1997年圖243頁185Condition ReportCrack to cover, in two places running with grain of wood, visible to exterior and interior. Some wear to gilt decoration. The gilt-metal lion paw feet added in EuropePlease note the illustration in the printed catalogue is incorrectly numbered, as is the whole page. 200, and 203, and 204
The smoky opaque stone carved with a seated mythical beast, 6cm, together with a green quartz drum, with gilt-metal mounts (2)Provenance: Purchased from Honeychurch Antiques Ltd, 19th March 1987於1987年3月19日購自香港古董商HoneychurchPROPERTY FROM THE DIANA M. STAINOW COLLECTION (1926 - 2019) Please note lots 16 – 54, Stainow Collection to be sold at no reserve清注意拍品16 號至54號 斯坦諾收藏 均為無底價起拍 DIANA M. STAINOW 收藏 私人財產(1926-2019)Originally a native of Boston, in her youth she studied painting and drawing at the School of the Museum of Fine Arts, Boston. In 1954, she married Gregory Stainow and had three children, where they lived in Paris until their divorce in 1979. After some ‘itinerant’ years where she lived amongst other places London, Paris and Hong Kong, she devoted herself to collecting art, writing, further travel and family. As an artist she travelled the world bringing home treasures to incorporate into her paintings, with a particular interest in non-Western Culture, particularly Chinese and Celtic art.(An extract taken from The Boston Globe 19th October 2019.) 黛安娜 斯坦諾 波士頓人,年輕時曾在波士頓美術博物館學院學習繪畫. 1954 年,她與格雷戈里· 斯泰諾結婚,育有三個孩子,後來居住在巴黎,直到 1979 年離婚,在倫敦.巴黎和香港等地都有 居所,由於對藝術的熱愛 她致力於收藏藝術品,寫作,以及熱愛旅行和家庭.作為一名藝術家,她周遊世界,將所見所藏珍寶 融入她的畫作 中,同時也對非西方文化特別感興趣,尤其是對中國和凱爾特藝術.居所，由於對藝術的熱愛 她致力於收藏藝術品、寫作，以及熱 愛旅行和家庭。作為一名藝術家，她周遊世界，將所見所藏珍寶融入她的畫作中，同時也對非西方文化特別感興趣，尤其是對 中國和凱爾特藝術。TO BE SOLD WITHOUT RESERVE無底價起拍Condition ReportThe seal with a few minor chips to the front edge.The green drum, with signs of overall surface wear, minor nicks to edges.
A Chinese 19th Century faceted tortoise shell inlaid medicine / snuff bottle, four panels inscribed with Chinese characters. The base with four-character mark of Jiajing. Together with a 19th Century celadon glazed porcelain bottle and a later carved composite bottle with dragon and seal mark of Qianlong to base. Heights 5.5 - 9.5cm (3)
A Chinese porcelain enamelled cup and saucer. Painted with a monkey in a pine tree with deer holding lingzhi in it's mouth. Both with red seal marks of Xianfeng and of the period (1851-1861). Saucer diam. 13cm. Cup height 7cm. (2) Provenance: Property of an English gentleman, acquired in the 1990s and early 2000s.
A Chinese 18/19th century carved celadon-glazed porcelain censer. The exterior carved with floral scrolls covered in a pale celadon glaze, on four feet with further pierced work between each foot. Impressed four-character seal mark of Yongzheng to base. With a wooden display stand. Diam. 24cmProvenance: Property of an English gentleman, acquired in the 1990s and early 2000s.
A Chinese early 19th Century sgraffito ruby-ground porcelain bowl. The exterior decorated with nine polychrome 'flower balls'. The base with underglaze blue six-character seal mark of Jiaqing (1796-1820). Diam. 17.2cm Provenance: From a local home in Bath, acquired by the vendor's grandmother.
A Chinese 18/19th Century blue and white porcelain bowl. The bowl finely decorated in underglaze blue with a ruyi lappet pattern to the interior and flower scrolls to the exterior. The base with six-character seal mark of Qianlong to base. Possibly of the period (1735-96). 15cm diam.Provenance: From a local home in Bath, acquired by the vendor's grandmother.
A Chinese Yuan/Ming Dynasty Junyao Tripod censer. The squat globular form body on three compressed feet covered in a green crackle glaze pooling into light-blue and purple glaze around the foot. A small impressed seal mark near the edge of the circular ring to the base. Together with a silk box. Censer height 7cm, diam. approx. 9.5cm
A Chinese 19th Century blue and white porcelain stem bowl decorated with a lotus pond scene, the exterior with four-character mark reading 'shi lu lian sheng'. Together with a late 19th Century famille rose hexagonal dish on splayed foot, with Tongzhi seal mark to base. Stem bowl height 8cm x 11cm diam. Dish width approx. 16cm (2)
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