A Chinese archaistic bronze hanging vessel, hu, 17th/18th century, cast in relief with scrolls and lappets, the domed cover with lion-dog finial, cast seal script to base, later wood stand, height of vase with handle extended 24cm**conditionreport**Typical casting imperfections, remnants of malachite encrustation, old solder repairs around the inside edge of the cover. The wood stand has been broken at the top and messily reglued, otherwise in reasonable condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
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A Chinese blue and white dish, Kangxi period, painted with musicians and a dancer in a pavilion garden setting, four character studio seal mark to base ‘ruoshen zhen cang’ (cherished and collected by ruo-shen), 26.5cm diameter, broken and messily reglued**conditionreport**Broken and messily reglued with some slight splinter losses around the immediate area, lots of glaze losses around the edge of the rim also and some large chip losses to the foot.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A pair of Chinese Bencharong enamelled porcelain dishes, Republic period, made for the Thai market, each painted with Buddhist figures on a ruby ground, apocryphal Yongzheng seal mark to base, 39.5cm diameter**conditionreport**One of the dishes is slightly warped in manufacture, otherwise in good condition with no restoration, chips or cracks detected.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A late 19th or early 20th century Straits Chinese jar and cover, kamcheng, painted in famille rose enamels with phoenix and floral designs within shaped pink panels on turquoise ground, four blue lugs supporting the twisted metal handles, late Qing or Republic period, worn red seal mark to base, 14.5 cm high Small glaze losses and wear to enamels
An early 20th century Chinese sgraffito blue ground vase, Republic period (1912-1949) the high shouldered ovoid body and short neck painted with scattered butterflies and floral sprays in polychrome enamels on the incised feather pattern bright blue ground, gilded rim (worn) and light turquoise glazed interior and base with six-character seal script Qianlong mark in iron red, post Qing dynasty, 26 cm high
An Imperial Chinese Government, 5% Hukuang Railways Sinking Fund Gold Loan Bond Certificate, dated 1911; framed and glazed on both obverse and reverse, with overall dimensions about 66 x 48cmProvenance: The Property of a Gentleman. From a Private UK Collection.This example, numbered 86556, bears the facsimile seal of His Excellency The Kung-Pao Sheng Hsuan-Huai beside the seal and facsimile signature of The Chinese Minister in London. Compare British Museum 2022.4045.8 for a similar example [£20 Bond/Numbered 11194] which is illustrated on page 269 of 'China's Hidden Century, 1796-1912', edited by Jessica Harrison Hall and Julia Lovett [2023].According to the bond offered here, it was intended 'For the construction of a Government Railway main line from Wu Chang, The Capital of Hupei Province, through Yo-Chou and Chang-sha, the capital of the Hunan Province to a point in the district of Yi-chang-Hsien in the Prefecture of Chen-Chou on the Southern Boundary of Hunan'.The issue of these bonds was controversial, not least to the Nationalist Chinese position which interpreted the issue as an encouragement to foreign intervention in China's critical infrastructure. This suggestion, that European policy makers could interfere in the construction of China's railways found little domestic enthusiasm after the events of 1842, 1860 and 1900. The bonds were presumably one of the last major financial initiatives of the Qing state, for by 1911 China was already in transition. On October 10th that year an army mutiny commenced in Hankow, an event that precipitated the Wuchang Uprising, and the Nationalist changes of Sun Yat-Sen. It was a moment that was to be both the demise of the Qing, and of China's long Imperial traditions ['The story of China' by Michael Wood, page 453 refers].
A Chinese textile sleeve band, framed and glazed, decorated with an elegant floral design beside a two-line inscription and red seal on the white/cream ground, overall dimensions 57 x 13cm; together with four other textiles, all framed and glazed [5]Provenance: From a Private UK Collection of Chinese Textiles.
A collection of Chinese and Japanese porcelain including a prunus blossom blue and white ginger jar and cover (cover v. AF), a blue and gilt decorated circular footed bowl bearing seal mark to base, 14 cm diameter x 6.8 cm high, two famille rose tea bowls, two famille rose square saucers, three miniature ginger jars (one pink, one turquoise, one yellow ground), five Japanese bird decorated saucers, a set of three Chinese turquoise ground and floral decorated flower head design bowls on circular feet, 20 cm diameter and a similar matching smaller set, 10.5 cm diameter CONDITION REPORTS The blue and gilt decorated bowl has several hairline fractures running through the piece, the most noticeably running down from the rim approx. 7 cm, the others less than 1 cm each, together with several small chips to the rim. Some firing faults, in need of a good clean, general wear and tear to include some light surface scratching etc - see images for more information.Prunus decorated ginger jar - the top is badly damaged and re-glued. The set of three ginger jars - there are some losses to the enamel decoration.The pair of square dishes - one has been broken and badly re-glued. One of the tea bowls has been badly restored to a large area, the other has discolouration and chips throughout.The set of three small bowls - two have signicant hairline fractures and some chips and the other has some chips to the rim. The three similar larger bowls - two have hairline fractures, all three have some chipping and losses to the decoration.All items are filthy and in need of a good clean. General wear and tear conducive with age and not being looked after - see images for examples
A Japanese Arita porcelain dragon and phoenix saucer dish - made for the Chinese market, painted with a green enamelled long bodied dragon and foliage and a phoenix in iron red, black and gilt, around a central gilt and underglaze blue floral rondel, underglaze blue seal mark to base, 30.8cm diameter.
A Chinese inverted baluster crackle glaze vase decorated in blue and white with dragons and flowering branches, impressed seal mark to base, ht. 38cm Lot 411 is in good condition. WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer. WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE INTERESTED IN BEFORE THE AUCTION.
An intricately carved Chinese Zitan type wood box, octagonal with dragons and mythical beasts to the top, flowers/fruits to the sides, carved seal mark to base, 24 x 14 x 10cm.In good condition. WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer.WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE BEFORE THE AUCTION THEY ARE INTERESTED IN
A rare Bow dish, circa 1753-55Of square form with indented corners, finely decorated in underglaze blue and overglaze enamels in kakiemon palette with a cockerel and a hen, the border with dragons, large flower sprays and scattered cloud scrolls, highlighted in gold, the rim picked out in brown enamel, 15.4cm wide, pseudo Chinese character seal markFootnotes:ProvenanceElizabeth Adams CollectionExhibited by Stockspring Antiques, The Dragon and The Quail, 2000, no.66. Illustrated by Elizabeth Adams and David Redstone, Bow Porcelain (1981), col. pl.F, and discussed at page 126, where it is noted that the dish is copied directly from a Japanese prototype. The hen and cockerel are also common in Chinese iconography but the three-clawed dragons on the border of the dish indicate a Japanese origin. A similar dish from the Judy and Phelps Bell Collection was sold by Bonhams on 20 November 2019, lot 206. Both dishes exhibit a pleasing smattering of cobalt blue under the glaze.For further information on this lot please visit Bonhams.com
Paar seladonfarbener, kaiserlicher Chilong-Jadesiegel, "Xiangyong wufu" und "Nianyong shuzheng". QiaVon quadratischer Form, jeweils gekrönt mit einem Knauf in Form eines kauernden, hornlosen Chi-Drachen. Beide mit fein ausgearbeiteten Gesichtern, feiner Oberflächenpolitur und aus nahezu makellosem Material. Eines der beiden Siegel hat die Zeichen "Xiangyong wufu" in archaischer Siegelschrift eingeschnitten (zhuwen), das andere "Nianyong shuzheng" (baiwen). (2)Anlässlich des achtzigsten Geburtstags des Qianlong-Kaisers wurde 1790 bei Jadeschnitzern in Suzhou erneut die Herstellung kaiserlicher Siegel in Auftrag gegeben. Bei der Wahl der Mottos der Siegel schöpfte der Kaiser seine Inspiration aus dem Kapitel Hongfan (Der Große Plan) im konfuzianischen Klassiker Shangshu (Buch der Urkunden). Im Kapitel, das als eine Konversation zwischen dem Zhou-König Wu und dem Shang-Prinzen Jizi aufgebaut ist, werden die neun Prinzipien für eine großartige Regierung postuliert, die angeblich vom Himmel selbst offenbart wurden. Der Qianlong-Kaiser war vor allem vom achten Artikel beeindruckt und wählte für das Hauptsiegel den Spruch "Bazheng maonian zhibao" (Schatz des Achtzigjährigen, der das achte Prinzip beachtet), das er mit dem Siegel "Ziqiang buxi" paarte. Über seine Wahl verfasste er den Aufsatz "Bazheng maonian zhibao lianju" in dem er erläutert, dass er die beiden Siegel zusammen mit dem Siegel "Xiangyong wufu" (Für das Vergnügen die Fünffache Glückseligkeit, für die Autorität die Sechs Leiden) verwende, ein Spruch, der dem neunten Prinzip von Hongfan entnommen ist. Ein weiteres Nebensiegel um den achtzigsten Geburtstag ist "Nianyong shuzheng" (Denke wie das Volk), das aus dem achten Prinzip von Hongfan stammt. Möglicherweise brachte man archaische chi-Drachen (chilong) als Knäufe an die Siegel an, da sich die eingeschnitzten Idiome auf einen Zhou-zeitlichen Text beziehen.a) H 3,4 cm; Sockel 3,2 x 3,2 cmb) H 3,3 cm; Sockel 3,2 x 3,2 cmProvenienzPrivatsammlung, Westfalen, seit mehreren Generationen in FamilienbesitzAusstellungenDas "Nianyong shuzheng-Siegel" war von 1990 bis 2024 als Dauerleihgabe im Berliner Museum für Asiatische Kunst (DLG 116-1990) und dort zeitweise ausgestellt (belegt durch ein Zustandsprotokoll des Museums)LiteraturFür eine Diskussion zu den kaiserlichen Siegeln zum achtzigsten Geburtstag von Qianlong siehe: Guo Jing, "Qianlong yuxi bazheng maonian zhibao shu yi", Wenjin xuezhi 2018 (11. Serie), S. 208-212; Guo Fuxiang, "On the Qianlong Emperor's Ziqiang buxi Jade seal", Sotheby's London, Fine Chinese Jades from the Thompson-Schwab Collection, 9.11.2016, S. 22-25
A Chinese famille rose ‘boys’ saucer dish, Tongzhi seal mark and probably of the period (1862-1874) and an 18th century Chinese famille rose octagonal ‘cranes’ plate, dish 25cm diameter Boys dish suggestion of a chip at inside of rim but possibly a manufacturing chip that was filled and gilded at factory. Octagonal plate shallow chip at rim, approx. 12x4mm, clearly visible; other minor nicks around rim; some wear to enamels.
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
Chinese blue and white 'Deer' bowl, the rounded sides rising to a slightly everted rim, painted in underglaze blue and copper red with two Deer, the doe reclining under a pine tree and the stag stands on the other side of the trunk, with a red bat swooping on the reverse, blue seal mark beneath, D19.5cm x H9.5cm Condition Report:Two hairline cracks running down from the top rim. Two large and three small chips to the rim, along with scratches to the interior. The foot rim has various small nibbles.
***AUCTIONEER TO ANNOUNCE WW1-2 CHINESE FIGURES WITHIN THIS LOT*** A collection of various vintage items to include seal top silver retractable pencil, Chester 1895 William Vale & Sons, five vintage pens including ball pint and one fountain pen, fruit knife, vintage glass perfume bottle in case, ceramic figures, carved mother of pearl book mark, etc (1 bag) Further details: wear and tear commensurate with age
Dancing Below The Moon is a small edition color serigraph on silk enhanced with gold foil and silver accents made by Taiwanese artist Lillian Shao in an Art Deco style. It depicts an Asian beauty who holds an ornate fan and the wrap of her light pink and mauve dress. Shao applied gold foil and silver paint on diamond shapes that float around the dancer who is framed by an enormous full moon. Includes Chinese calligraphic characters on left side of artwork. Signature and red seal on lower right: Lillian Shao. Edition number on lower left: 12/43. Housed in a gilded and silver Art Deco style frame with a black mat and silver border. Sight size: 22"L x 30"H. Frame size: 35"L x 43"H x 2"W. Artist: Lillian Shao (Taiwanese b. 1964)Issued: c. 1990Edition Number: 12 of 43 Country of Origin: TaiwanCondition: Age related wear.
A Chinese dish with figure and verse decoration, seal mark to base, 9" dia, a blue and white plate with floral decoration and leaf inside, double ring mark to base, 8 1/2" dia, and eight assorted turned hardwood Chinese vase standsCondition:The blue and white plate is chipped and cracked.Other items are fine.
TRÈS RARE VASE BOUTEILLE EN PORCELAINE À GLAÇURE DE TYPE 'GUAN'Marque et époque Yongzheng (1723-1735)A RARE GUAN-TYPE PEAR-SHAPED VASEYongzheng seal mark and of the periodThe compressed body resting on a slightly flared foot, tapering to a tall cylindrical neck, covered overall with a bluish-grey glaze suffused with a golden crackle, the foot rim covered with a brownish-black wash, the base with a six-character seal mark in underglaze blue. 22cm (8 5/8in) high.Footnotes:清雍正 仿官釉荸薺瓶 「大清雍正年製」款Provenance: An Italian private collectionThe property of a lady來源：意大利私人珍藏女士珍藏The simple yet elegant form of this small vase is highlighted by the unctuous, light celadon glaze suffused with a network of light brown cracks which was made in imitation of Guan ware of the Southern Song dynasty during the reign of the Yongzheng emperor of the Qing dynasty. The Palace Museum in Beijing and the National Palace Museum in Taipei today hold a substantial collection of porcelains covered with a range of celadon or bluish-green covered glazes, including Ru (汝), Guan (官), Ge (哥), Jun (鈞), Ding (定) wares, considered to be the five classic wares by later collectors of Chinese ceramics of the Song dynasty. These glazes were distinguished by their translucent, crackled appearance in a variety of pale bluish or celadon colours that strongly resembled the qualities of jade. They were produced in official kilns built by court officials in about 1145 near the Southern Song capital of Lin'an, present-day Hangzhou and were known as Southern Song Guan ware. The revival of archaic shapes and designs under the Yongzheng emperor contributed to a renewed interest in the glazes that characterise the five classic wares of the Song dynasty which were accurately recreated in imitation of these. The shape of this small bottle vase is a reinterpretation of a Song shape and its small size suggests that it may have been made for use in a scholar's studio. The opaque glaze, which on a Song dynasty prototype would have been thick and heavy, is lustrous and comparatively thin, the base applied with a brown slip simulating the original 'iron foot' found on an original Song piece.For further information on this lot please visit Bonhams.com
MAGNIFIQUE ET TRÈS RARE GOURDE EN PORCELAINE ÉMAILLÉE REHAUSSÉE D'OR IMITANT LE BRONZEMarque et époque Qianlong (1736-1795)A MAGNIFICENT AND EXCEPTIONALLY RARE FAUX-BRONZE MOONFLASKQianlong seal mark and of the periodExpertly modelled of compressed globular form supported on a spreading foot and surmounted by a cylindrical neck with a galleried rim, the shoulders applied with a pair of lion-head handles issuing rings from their jaws, either side of the vase with a large medallion moulded in low-relief with two confronting chilong flanking a central stylised shou roundel, all against a dense leiwen ground, the foot and neck with a band of leaves, covered overall in a lustrous tea-dust glaze, with scattered turquoise splashes imitating bronze encrustation, with some areas picked out in gilt, wood stand 43cm (17in) high.Footnotes:清乾隆 仿古銅釉描金夔龍壽字紋雙獸耳抱月瓶 「大清乾隆年製」款Provenance:Collection of Octave du Sartel (1823-1894), prior to 1881 Sale of the collection of Octave du Sartel, Hôtel Drouot, Paris, 3 to 5 April 1882, lot 130A French private collectionCornette de Saint Cyr, Paris, 26 May 2018, lot 35Published and Illustrated: O. du Sartel, La Porcelaine Chinoise, 1881, pl.XXXII, no.157來源:Octave du Sartel珍藏， 1881年前購入「O. du Sartel珍藏」拍賣，德魯奧拍賣行，巴黎，1882年4月3至5日，編號130法國私人珍藏Cornette de Saint Cyr拍賣行， 巴黎，2018年5月26日，編號35出版及著錄：O. du Sartel著，《La Porcelaine Chinoise》，1881年，圖版XXXII，編號157This magnificent large vase is decorated with archaistic motifs and covered with a dusty dark teadust glaze enhanced with splashes of bright blue enamels and gold detailing simulating the aged patina of ancient bronze vessels. It embodies the spirit of the Qianlong era when archaic bronze vessels were collected and their shapes and designs copied and adapted in a variety of materials including porcelain. Much like his predecessors, the Qianlong Emperor held a profound appreciation for antiquities, surpassing them by personally adding to the Imperial collections an unprecedented number of artefacts. Emulating the legacy of Emperor Huizong of the Northern Song dynasty, Qianlong commissioned illustrated catalogues listing, reproducing and describing various segments of his vast collection. Yet, his interest in antiquities transcended mere acquisitions. He actively encouraged and commissioned contemporary artworks made in the style of ancient masterpieces. In the instance of this particular vase, the emperor's antiquarian pursuits intersect with a prevalent fascination of the time: the emulation of one material through another in trompe l'oeil ('trick of the eye'). Porcelain became a canvas for replicating the allure of lacquer, stone, wood, and bronze, seamlessly blending antiquarian interest with the artistic freedom.The Qianlong Emperor's fascination for works in the trompe l'oeil technique has been argued to reflect the Manchu Court's own numerous personas when ruling its multi-ethnic Qing empire, see John Hay, Sensuous Surfaces: The Decorative Object in Early Modern China, London, 2010, pp.232-235. The Qing emperors were Manchus from the North-east of present day China, however they presented themselves as universal rulers capable of being legitimate guardians of Han Chinese culture, Mongolian culture and Tibetan culture, cloaking themselves in various garbs to suit their political goals. This can be most clearly seen in a painted album of the Yongzheng Emperor dressed in various roles, including a European, a Tibetan lama, a Mongolian archer and Daoist priest, etc; see J.Rawson et al, China: The Three Emperors 1662-1795, London, 2006, no.167. The trompe l'oeil effect of simulating archaic bronze vessels moreover reflects the Qing Court's fascination with ancient China's history and the resulting trend of archaism. The Qianlong Emperor was keen to establish himself as an antiquarian to legitimise his role not only as the ruler of China, but as the chief examiner of the Imperial civil service examination system which recruited thousands of literati scholars, well versed in the Confucian classics and history. The moonflask shape originates from flasks carried by traders and herdsmen from Central Asia and the middle east. Flattened bronze vases, bianhu, appeared as early as the Warring States period (475-221 BC); see for example, a bronze bianhu illustrated by Marie-Thérèse Bobot, Chine connue et inconnue: Dix Années d'Acquisition au Musée Cernuschi, 1982-1992, Paris, 1992, pp.56-57, no.25. Such archaic bronzes were collected by the Song emperor Huizong and are recorded in the Xuanhe bogu tu and reproduced in the Qianlong era, also a line drawing of bronze bianhu vessel, see Chongxiu Xuanhe bogu tu, juan 13, no.12. The current moon flask thus mirrors the Qianlong Emperor's artistic tastes, blending China's past, Western trompe l'oeil techniques, and innovation into its design, reflecting the artistic landscape of its time.See an archaistic simulated bronze vase with an incised Qianlong seal mark, illustrated by Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol.2, no.953, which was later sold in Sotheby's Hong Kong, 4 October 2011, lot 19. Other examples of Qianlong period porcelains decorated in imitation of archaic bronzes from the collection of the Palace Museum, Beijing, are illustrated in Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, pp.411-15, pls.92-96. Another Qianlong-marked faux bronze vase, in the collection of the Palace Museum, Taipei, is illustrated in Emperor Ch'ien-lungs Grand Cultural Enterprise, Taipei, 2002, p.173. See also a rare gilt-decorated teadust-glazed imitation bronze beaker vase, Qianlong mark and the period, which was sold in Christie's New York, 15 September 2011, lot 1602. A large Hu-shaped bronze-imitation vase was sold in Sotheby's Paris, 15 December 2011, lot 50.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
A CHINESE PORCELAIN BOWL of flared circular form, painted in underglaze blue with flowers within a diapered rim, unmarked, 6 1/2" diameter, together with two Chinese provincial porcelain shallow dishes, both with seal marks, 6 3/4" and 7 3/4" diameter (3) (Est. plus 24% premium inc. VAT)Condition Report: Bowl has been broken in half and reaired with rivets (one missing but drill holes apparent), small losses to rim inclusing one next to break. No damage to either dish but both have firing flaws, especailly larger darker bowl which has an ugly firing hole near the centre.
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