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Click here to subscribeA Chinese porcelain flambe glazed vase bearing Qianlong seal mark, the vase glazed in high fired tones of sang de boeuf, purple and blue hues, the vase of waisted cylindrical form rising from a cafe au lait glazed recessed base with unglazed foot rim to the central banded waist terminating with a tapered neck flanked by two ruyi shaped lugs, 21.5cm highFor condition information please view this lot on our website HERE
NO ONLINE BIDDING ON THIS LOT. PLEASE CONTACT US TO ARRANGE TELEPHONE BIDDING.此件拍品不参与网络竞投，请直接联系我们咨询竞投方式A Chinese imperial inscribed famille rose wall vase, Qianlong (1736-1795), well modelled and flattened at the back, the pear-shaped form on a short splayed foot, flanked by a pair of ruyi handles to the waisted neck, the body inscribed with an imperial poem appraising incense in a circular cartouche with a yuti mark followed by two iron-red seal marks reading Qianlong chen han (the Qianlong Emperor's own mark) and Weijing weiyi (be precise, be undivided), surrounded by scrolling lotus against a yellow sgraffito ground, 19cm high The poem is recorded in the Yuzhi leshantang quanji dingben [Definitive Edition of the Complete Works by His Majesty from the Hall of Pleasure in Goodness], Siku quanshu [The complete library in four sections] ed., vol. 30. 清乾隆 黄地轧道洋彩如意耳开光御题诗纹壁瓶 《乾隆辰翰》《惟精惟一》矾红篆书款 《大清乾隆年制》青花篆书款 诗题：一瓣名香静里焚，篆烟缕缕白如云。幽情未许旁人㑹，手自翻书到夕曛。 Wall vases, also known as wall pockets or sedan chair vases, can be traced back to the Wanli period (1573–1620) in the Ming dynasty, when examples can be found for flower displays on the wall. During the 18th century under the reign of the Qianlong Emperor (1735-1796), government support for arts and craftsmanship reached its peak, the quality of the refined material and the artistic innovation all representative of the emperor’s ambition. Wall vases, of all porcelain forms, became one of Qianlong’s favourite types and developed significantly during his reign. There are thirteen wall vases in varying glazes and forms on the wall of San Xi Tang (The Hall of Three Rarities), the emperor’s special study in Yang Xin Dian (Hall of Mental Cultivation) in the Forbidden City, where he housed his most prized possession: the calligraphic works comprising ‘Timely Clearing After Snowfall’ by Wang Xizhi, ‘Mid-Autumn’ by Wang Xianzhi and ‘Boyuan’ by Wang Xun (fig.1). There are 320 Qianlong wall vases recorded in the collection of the Palace Museum in Beijing and about 138 of them are inscribed with poems by the emperor. Only a few of these poems are from Yuzhi Leshan Tang quanji [The complete Works by His Majesty from the Hall of Pleasure in Goodness], which were written by him as Heshuo Bao Qinwang (Prince Bao of the First Rank), his title from 1722 to his accession in 1735, and which were first printed in 1737 (fig.2). According to Zaoban Chu Gezuo Chengzuo Huoji Qingdang [The Archives of the Imperial Workshops], on the 23 rd of September in the 7 th year of the Qianlong period (1742), the emperor specifically commissioned Tang Ying (1682-1756) to produce porcelains with selected poems from Leshan Tang quanji . And on the 16 th of October in the 17 th year (1752), the emperor instructed Tang Ying that instead of the poems from the Leshan Tang quanji, which were written when he was still a prince, only poems composed after his accession in 1735 should be used (see Chi Jo-hsin , 'cong wenwu kan Qianlong huangdi [understanding Qianlong Emperor through artifacts]', Emperor Ch’ien-lung’s Grand Cultural Enterprise , National Palace Museum, Taipei, 2002, p. 233). In view of this the present wall vase must have been produced between 1742 and 1752, as part of a larger order which included the pair of vases in the collection of the Palace Museum: all three are identical but for their differing poems; see Poem and Porcelain: The Yu Zhi Shi Ceramics in the Palace Museum , Beijing, 2016, pl. 46 (fig.3). Enhancing the rarity of the present lot, is its yangcai (foreign colours) decoration, which was introduced by European Jesuit craftsmen to the Qing court around 1685, adapting the European techniques of enamelling on metal. This resulted not only in an enriched palette of colours, but also in a combination of European brocade-like designs, using tonal effects to appear three-dimensional, and purely Chinese elements such as scrolling lotus motifs. Developed in the Jingdezhen imperial workshops under the patronage of the Qianlong Emperor, this style is representative of the superb quality of porcelain production achieved during the Qianlong reign. Special orders of yangcai are believed to date from only a few years in the early 1740s, with none after Tang Ying’s death in 1756. For more examples of yangcai enamels on sgraffito grounds, see Huali cai ci: Qianlong yangcai/Stunning Decorative Porcelains from the Ch’ien-lung Reign , National Palace Museum, Taipei, 2008. NO ONLINE BIDDING ON THIS LOT. PLEASE CONTACT US TO ARRANGE TELEPHONE BIDDING. 此件拍品不参与网络竞投，请直接联系我们咨询竞投方式
A Chinese porcelain vase, Republic period (1912-1949), of ovoid form, painted with a bird perched on a blossoming prunus tree, inscribed with the signature of Bi Botao (1886-1961), dated year of Gengwu, seal mark to base, 15.5cm high, and two ink paste boxes and covers, each painted with birds and flowers, inscribed and signed, 7.2 and 6.8cm diameter (5) 民国 浅绛彩花鸟图瓶 毕伯涛款 及 花鸟图盖盒 一组三件
A Chinese famille rose Budai, Republic period (1912-1949), wearing a garment painted with brickwork and florets against a turquoise ground with scroll borders, his right hand with a rosary and his left hand with a sack, impressed square seal mark 'Zhu Mao Ji zao' , 27cm high 民国 粉彩布袋坐像 《朱茂记造》篆书模款
Chinese 19thC Superb Quality and Wonderful Hardstone and Horn Figural Calligraphy (seals) Set. (17) pieces in total. On a carved wooden base. All pieces are finely carved with finely carved calligraphy to underside of bases. The size of base 10 by 11 inches 25 by 27.5 cms. The tallest figural seal 8 inches - 20 cms. all in original state. Please confirm with photographs.
A Chinese soapstone seal; a green mounted ring; a small sculpture of Ganesha, 6 cm high; four Asian coins; and twelve stone, or other material, sculpture including one of a three-legged toad (19) .Please note that this is a group lot where condition may vary from object to object. Some damage, wear and deterioration extant.
AN INSCRIBED AND DATED 'TIANHUANG' IMPERIAL SEAL, Qianlong (1736 - 95), of rectangular form, the block with incised inscription The Master of Heaven Qianlong, made by the House of Internal Affairs', dating to the year 1787, the upper section delicately carved with coiled dragon and chilong amongst cloud swirls, the face with four characters in intaglio, apparently unrecorded, 9.5cm high, 7.5cm long Provenance: Private European CollectionColour is very important in Chinese culture, with strict rules around who in society could wear specific shades. The hierarchical ranking system placed yellow as the most important and thus was restricted to the ruling class. It was the imperial colour of the Emperor. The Tianhuang stone is highly prized for a similar reason. The vivid yellow tone of the gemstone made it synonymous with the Imperial court. It was used predominantly in the carving of seals, such as this present lot, which during the Ming and subsequent Qing Dynasties were presented to the Imperial palace as tributes. The Tianguang was carved into the shape of auspicious symbols, the coiled dragon and chilong, for instance. The stone originates from Shoushan in the Fujian province of China. There are numerous meanings associated with it, including fortune and longevity, coming from the characters Fu and Shou, the locations where it is mined. It also appears in Chinese mythology, Songs of Chu (c.340 - 278 BC) Goddess Nuwa upon repairing the pillars of heaven melts the stone to restore the restore order. Or in another tale Tianhuang is the transformed egg of the phoenix.It is among the three precious seal stones of China, the other two are Jixue (bloodstone) and Furong (rose quartz). The House of Internal Affairs, or the Imperial Household Department was an institution in Qing Dynasty China whose primary purpose was to manage the proceedings of the Qing Imperial family and the activities of the inner palace. They also played an important role in the ceremonial and spiritual pursuits of the ruling family. This seal is dedicated to the Emperor from the Department, presumably presented as a gift on behalf of the institution.
A FINE CHINESE CELADON GLAZED DOUBLE GOURD VASE, Qianlong (1736 - 1795), evenly covered in a soft pale tone, formed with a compressed globular body with waisted mid-section, below a pear-shaped bulb, rising to a tapering cylindrical neck, the base with Qianlong seal mark, encircled by a dry foot-ring, 32.5cm high
A PAIR OF CHINESE FAMILLE ROSE CORAL GROUND BOWLS, 19th Century, each exterior painted and enamelled with four landscape roundels, separated by the eight Buddhist emblems picked out in gilt, the interior with Shou medallion, encircled by five bats, the base with Qinglong seal mark in iron red. Each 18cm diameter
A Chinese twin handled vase decorated in polychrome enamels, with figural handles, a central ruyi border, deep pink upper reserve with decoration of bats and fish and two cartouches of 'Eurasian' decoration the Asian interpretation of European life, featuring figures in a rolling landscape holding a baby, with yellow ground and seal mark to base, height 31 cm generally in good condition some marks and minor imperfections but no hairline cracks or chips
A pair of Chinese vases of substantial proportions on hardwood stands, the vases have multilobed everted rims revealing ruyi decoration, the sides with overglaze polychrome enamel and cartouches with depictions of a seated imperial personage being presented with a vessel amidst courtiers, with raised gilt decorated mouldings of mythical beasts and seal mark to base, height 95cm (2)
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
MAI TRUNG THU (VIETNAMESE-FRENCH 1906-1980) Young Girl with Fan, 1960 gouache and ink on silk 20 x 13 cm (7 7/8 x 5 1/8 in.) signed and dated in Chinese lower rightbears seal of the artist PROVENANCEPrivate Collection, United KingdomChristie's, Hong Kong, Asian 20th Century Art, November 23, 2014, lot 304
Two Chinese Imperial 5 Dragon clawed dishes,to include a yellow ground plate with a blue seal mark to base, and a Doucai pallete dish with a six character mark to base within double blue circle. the larger dish having five dragons on the inside chasing a flaming pearl on a yellow background, (diameter: 25.5cm), the smaller Doucai dish with a central dragon only amongst flames and clouds, bearing blue circle (diameter: 12cm) (2)
Four Chinese porcelain items to include a labelled pair collection of 'Jiaqing' period famille rose on coral ground plates probably for the straits market.A fine square tapered vase, decorated with various landscape scenes bearing inscriptions and a clobbered enamelled two tone green wide bodied bottle vase, all have seal marks to bases.Height of vases: 30.5cm, 17cm respectively, Diameter of plates: 19.5cm(4)
HESING: Also known as Xi Cheng. Mandarin who travelled in the Keying, first Chinese junk to ever sail from Hong Kong to New York and further to London. Signed 8vo portrait drawing of Hesing. Signed `Hesing´ in bold black ink at the foot beneath his portrait, also adding the junk name `Keying´ and `L A Hilllbeck´ to the head, all with their equivalent Chinese characters beneath. The drawing bears to the upper corner a red ink stamp with Chinese characters, being the seal of Prince Hui Rui. Few stains not affecting the signatures. Small folding and creasing. The Keying was a three-masted Chinese trading junk that sailed from Hong Kong in December 1846 with a mixed crew of Chinese and British sailors. The vessel had been purchased surreptitiously by a conglomerate of enterprising English businessmen. It was placed under the command of Captain Kellett with the intention of carrying curiosities and merchandise to England and thereafter serving as a kind of floating museum. The Chinese crew members that they were embarking on such an extended journey were not aware of such plans. The Keying arrived in New York City on July 9, 1847, creating a sensation, with seven thousand visitors per day. In late March 1848, the Keying arrived in London to great fanfare, and several different medals were struck to commemorate its appearance, including one that had a bust of Mandarin Hesing. It was visited by the Queen Victoria, whose right to be the first European woman to visit it was reserved, The Duke of Wellington and Charles Dickens. It has been suggested that the Chinese Emperor was aware of the project from the start and secretly kept informed about it, and that the mandarin served as an informer to report back in detail. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Four pieces of 18th century Worcester porcelain decorated in the Camaieu pattern, to include teapot , coffee pot, bearing fake Meissen crossed swords, height 22cm, sucrier and cover and teacup, with imitation of Chinese seal mark to base.Additional Information The sucrier with tiny chip to base rim and to flower heads on finial. Teapot cover with finial broken off and glued back on, chip to underside, hairline to rim and chipping to cover finial. Coffee pot finial from cover missing, chipping to spout, two internal firing cracks to rim.
A Chinese porcelain lobed footed bowl decorated with figural landscape, with gilt rim and turquoise enamelled interior, Daoguang zhuanshu seal mark to base, diameter 18.5cm.Additional Information Light wear to gilding, very minor flat surface chip to blue paint to the interior, light surface scratches.
A Chinese tea dust-type glazed vase, Qianlong seal mark to base, height 18cm, and a further vase painted in underglaze blue with dragons chasing the Sacred Pearl above stylised waves, Kangxi six character mark to base, height 24.5cm, both marks apocryphal (2). Additional InformationLight general surface wear, some pitting and fritting, particularly to second item.
A late 19th/early 20th century Chinese watercolour depicting elderly fisherman and young attendant in rural setting, script and seal marks upper left, 23.7 x 17.6cm, in period gilt heightened frame featuring clouds, glazed.Additional InformationThere are crease marks going along the central section, further light general wear, some dirt and spotting, frame worn with losses to colouring.
KUNIYOSHI; a mid-19th century Japanese coloured woodblock print depicting Takenouchi No Sukune in court robes and Chinese collar seated with war-fan on ornamental stand beside him, with further script, seal marks and stamps, from the Meiko Hyaku Yuden (Stories of 100 Heroes of High Renown' series, 35.2 x 23.6cm, framed and glazed.Additional InformationSome surface loss to lower central section, some creasing and waviness to paper, also some surface loss in the gap between Takenouchi and his fan.
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