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A CHINESE IVORY SEAL the upper part of the square block finely carved to the top and all four sides with one or pairs of dragons and cloud scrolls, the underside carved in sealed script, 9cm h, 19th/ 20th c++Some accretion of and grime, various minor ascending and descending shrinkage cracks in the side, on the underside a central short natural hairline crack
Impressive large Chinese Qing Dynasty Tung-Chih period famille verte ovoid vase, with turned pierced wooden cover, painted with two large oval reserves of blossoming branches with exotic birds and four smaller reserves, one showing a mythical dragon with the sacred pearl, a vase of flowers, another mythical dragon and a still life of objects, upon a blue scale ground, wax seal to base, 25" high
A pair of Chinese blue and white bowls, six character Qianlong seal mark and of the period, internally painted with the "The three friends of Winter" amongst rockwork within a double circle, the exterior with two boys between plantain and pine trees, three scholars and a pagoda, painted in the Ming style, 7 1/2in. (19cms) diameter (one bowl with small rim chip). PROVENANCE: A old Northumbrian family collection.
Property of a Lady A Chinese blue & white Ming style bottle vase, underglaze six character seal mark of Qianlong (1736-95) and of the period, decorated with a band of floral scrolls, above a petal lappet band, with a lotus scroll band above a ruyi head band, the neck with plaintain leaf decoration, further ruyi band and cresting wave motifs, 14in. (36cms) high. Provenance The Shafto family, Beamish Hall, County Durham, thence by descent. An old label found inside the vase reads: " Ta-Ching Kien-Long Nan tiki (1736 1796) Chinese".
A group of Chinese ceramics, comprising: a red bottle vase gilt with dragons chasing flaming pearls, six character Qianlong seal mark in underglaze blue, 23cm high; a blue and white bottle vase, Qianlong seal mark in underglaze blue; a large modern blue and white vase; a blanc-de-Chine figure of Guanyin; a `famille-verte` jar; a bowl; and a Japanese Imari plate (af) (7)
A MAGNIFICENT CHINESE "LANTERN" VASE probably made under the direction of Tang Ying with decoration in underglaze blue, copper red and passages of anhua, the neck with bands of blossoming prunus, flowers on a cellular ground and bamboo shoots over a continuous mountainous landscape shrouded in clouds and mist, with buildings, trees, waterfalls, a bridge and figures on a boat, the tallest peak with two "impressed" characters and the base with the seal mark of Qianlong and of the period, 18?" (47cm) high. See illustrationProvenance: Possibly Embley Park, Hampshire, the family home of Florence Nightingale. Private Collection, The Isle of Purbeck, Dorset. This Vase has been in the vendor`s family for at least 50 years. The use of copper red and the masterly execution of the continuous landscape suggests that this outstanding vase was manufactured in the imperial kilns under the direction of Tang Ying during the early years of Qianlong`s reign. The painterly manner in which the landscape is rendered is reminiscent of the work of Wang Hui (1632-1717), who played a key role both in reinvigorating past traditions of landscape painting and in establishing the stylistic foundations for the Imperially sponsored art of the Qing court. Indeed, the decoration on this vase may be derived from his master work - the series of twelve monumental scrolls depicting the Kangxi Emperor`s Southern Inspection Tour of 1689. A blue and white lantern vase painted with deer and crane amongst rockwork and pine trees from the Qing Court Collection is illustrated in "Blue and White Porcelain with Underglazed Red (III) - The Complete Collection of Treasures of the Palace Museum" Beijing, 2000, vol.36, no. 135. Another was included in the exhibition of "Imperial Perfection, Chinese Palace Porcelain of the Three Great Emperors", at the Minneapolis Institute of Art, Minneapolis, 2004. (Illustrated in the accompanying book as no. 27). Another lantern vase with extensive underglaze copper-red decoration is with Marchants. This unmarked vase is dated by them to the Yongzheng period.
A pair of Chinese porcelain yellow ground medallion bowls each painted with roundels of lake and mountainous landscape scenes divided by brightly coloured flowers and foliage on a yellow ground incised with scrollwork, the interiors with iron-red ground foliate motifs, Daoguang seal marks and of the period (1821-1850), 15cm. diameter (one with tiny rim chip, the other with short hair crack to rim)
A Chinese black stone seal, decorated with a verse and two seal marks, 17cm x 11.5cm, hardwood base, late 19th/early 20th century and a Chinese School scroll painting, decorated with a panoramic scene with figures eating, fishing and craftsmen working, central scene 26cm cm x 237cm, late 19th/early 20th century
Zhao Shao`ang, Chinese, 1905-1998- Ducks and lilies; hanging scroll; ink and bodycolour on paper, with inscription and two seals, 94x43cm: together with two other hanging scrolls to include examples by Huang Binhong 1864-1955, Mountain view, ink on paper, with inscription and one seal; and one further hanging scroll depicting an eagle perched upon a branch by a different hand, Note: Zhao Shao`ang, a native of Guangzhoi, was the most influential artist in the second generation of the Lingnan School of Guangdon painters, who are known for Western-inspired realism in their work. Extensively exhibiting his art abroad, Zhao may have had a greater impact on the West than in China. (MMOA)

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