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Click here to subscribeA group of 19th Century Chinese Calligraphy items including a ceramic Water Dropper in the form of two adjoined gourds, 3in, a pottery Brush Water Bowl, the outer brown glaze decorated seeds, 3in diam and a rectangular Horn Box with sliding lid containing a Chop with signature/seal stamp, 2 3/4in
Group of ten framed works and one frame to include: two Chinese watercolour paintings of birds and flowers, with calligraphy and real seal lower left, 35 x 21 cm; Thatched Cottage Scene with Ducks, watercolour and stumpwork, 58 x 42 cm; abstract pastel on paper, indistinctly signed and dated 1988 lower left; Portrait of a girl (early 20th century), watercolour over photo; Biblical print with gilt detail in moulded frame (19th century); two prints of birds signed 'Marion Barclay' in print; lithograph in diamond-form frame; and others (11)
TWO FAMILLE ROSE MOULDED PORCELAIN SNUFF BOTTLES18th/19th and 19th centuryThe first depicting a scene from 'The Legend of the White Snake', Jiaqing seal mark and of the period; the second relief decorated with a continuous scene of Immortals amongst polychrome cloud scrolls, apocryphal Qianlong seal mark.The tallest 6cm (2 3/8in) high (4).Footnotes:The Legend of the White Snake appears on a number of bottles, from several different moulds, and in different sizes. This is among the smaller examples. Others apparently from this mould can be found in Hall 1991, no. 69, and in Hui and Sin 1994, no. 30. See also, 'Chinese Snuff Bottles in The Collection of Mary and George Bloch, Robert Kleiner, no. 210, pp.324-325; a white-glazed version is in the Walters Collection, which was formed in the 1870s and 1880s (Bushell 1980, p. 99, fig 135 [2]).See an example sold at Bonhams Hong Kong, 25 May 2011, Lot 91.Also an example in the Philadelphia Museum of Art, Accession Number:1882-1003For further information on this lot please visit Bonhams.com
A CHINESE PORCELAIN VASE Decorated with figures in a temple setting and river landscape, on hardwood base (large crack to the body) Pseudo Qianlong seal mark to base 41cm high Condition: Condition Report An extensive crack running around the body of the vase, with an area of loss running along one area of this crack. wear to gilding in places and small losses to enamels This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A CHINESE YELLOW GROUND FAMILLE ROSE PORCELAIN TEAPOT Decorated with flowers and insects, a continuous ruyi border to the neck the cover with gilt final (restoration to handle) Iron red four character seal mark to base 21cm (spout to handle) Condition: Condition Report The handle restored and re-painted, some unevenness, over firing and flaws to the yellow glaze, glaze pops to the rim, wear to gilding on finial This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
A GROUP OF CHINESE BLUE AND WHITE CERAMICS Comprising: an ovoid prunus jar, painted underglaze blue 'Made in China' mark; another jar decorated with a stylised landscape; a small pedestal dish decorated with flowers and scrolling foliage; and a similarly decorated plate with imitation seal mark to base The prunus jar 13.5cm high Condition: Condition Report Some touching up to glaze flaws on prunus jar, a small crack to the interior fo the foot rim on the pedestal dish, some fritting/small chips to the rim of the plate This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.
Chinese Soapstone - Artist Six Character Desk Seal. 20th Century. Mottled grey and red stone. Fitted wooden cloth covered box with bone clasp. Roughly translated the seal characters state = The Special Sea, Horse, Cow and Meat. Surface scratches all over, generally good. Stone is 8.5cm high and weighs 0.089Kg.中国皂石 - 艺术家六字台印章。斑驳的灰色和红色石头。合身的木制布盖盒，带骨扣。大致翻译篆字状态=特海、马、牛肉。表面有划痕，总体不错。石头高8.5cm，重0.089Kg
A pair of 20th century Chinese watercolours: figures within a court garden of scholars, one with stamped seal lower left, image 20.8cm x 16cm, each with inscribed card verso with printed marks, mounted, framed and under glass. (2) Condition note:In very good condition, no foxing or other issues.
A Chinese carved pale jade and russet seal, Qing Dynasty. Surmounted by two animals on their backs, height 3.5cm,width 2cm, depth 2cm.From the estate of Frederic Lipscombe.Frederic Lipscombe was an artist who studied at the Slade School of Art, after which he worked with the master studio potter Bernard Leach. As well as working in clay he was a wood carver, a silversmith, and a printmaker. In the 1930s he taught at art schools in New Zealand including Wellington College. Prior to WWII he travelled widely in the Far East, and during these travels in the 1930s he acquired objects that interested him and which he found inspirational for his own creative work. These included many carved jades and netsukes. He returned to England at the outbreak of war in 1939. He died in 1968.His collections are now being sold by his grandchildren.No damage and no repair. Extra images now on our website www.davidlay.co.uk
A Chinese famille rose porcelain double-spouted teapot, 19th century. With two seated figures in a garden opposed by a bird perched on a flowering branch, two rows of black calligraphy flanking each spout, the interior with a central partition, red calligraphy to the top and red seal to base, cover missing, height 10cm, width 18.5cm, depth 7cm.Footnote: This was used to serve two different types of tea
A Rare Chinese Finely Enameled Famille Rose Kamcheng Pot - DAOGUANG SIX-CHARACTER SEAL MARK IN IRON RED AND OF THE PERIOD (1821-1850)The Superior Quality Of The Pot Is Demonstrated By The Finely Detailed Scenes And Images Which Extend All Around The Pot. The Detail Is Exquisite. The Pictorial Scenes And Images Each Telling A Story. The Many Figural Images Finely Detailed In Enamels Extend All Around The Vessel. The Interior And Base Both Painted In Turquoise Enamel. The Piece Has Been Kept Within The Same Family's Collection For Centurys. An Early Example From This Period. Height 9.8cm / Diameter 18cm. Please See Photos And Contact For More Information.
Two Chinese eggshell cups, Republic Period or later, the smaller cup finely painted with two ladies in a room interior reading books, beneath a ruyi head band, red seal mark to the underside, the taller cup painted with a total of five dragons, amongst auspicious flowers, between ruyi head and wave bands, blue printed apocryphal Tongzhi mark; and a and a small jadeite cup on matched wood stand, tallest cup 8.4cm high, smaller cup 6.4cm high, jadeite cup 4cm highQty: 3All appear to be in good condition, with no chips or cracks found. Jadeite cup with some natural cracking
ANONYMEJapon, époque Edo (1615-1868), fin du XVIIe/XVIIIe siècleANONYMOUSJapan, Edo Period (1615-1868), late 17th/18th centuryA two-panel byobu (folding screen), ink and colours on paper, edged with a silk brocade border, and framed in lacquered wood, painted in Chinese-style with a basket brimming over with assorted vegetables and fruit, possibly signed Shokyu with an indecipherable seal. 185.5cm (67 3/4in) x 171.5cm (73in).For further information on this lot please visit Bonhams.com
D'APRÈS SONG HUIZONG (1082-1135)FauconAFTER SONG HUIZONG (1082-1135 AD)FalconInk and pigment on silk, inscription, apocryphal Yushu seal and signature of the artist, glazed and framed. 146cm (57 1/2in) high x 70cm (27 1/2in) wide.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935; the painting is shown in a photograph at Robert Rousset's Paris apartment, circa 1950sJean-Pierre Rousset, Paris (1936-2021) The most artistically talented emperor in Chinese history, Emperor Huizong of the Song dynasty (1082-1135), had the great misfortune to be ruling at a time of great turmoil and decline – much of it due to forces beyond his control. In 1126 the Jurchen-led Jin dynasty invaded the Song realm and captured the capital Kaifeng, marking the end of the Northern Song dynasty. Huizong and his Court were taken captive and sent north to Manchuria. He was further humiliated by the Jurchen who gave the former emperor a new title - Duke Hunde (literally 'Besotted Duke'). He died a broken man after nine years in captivity at the age of 52. His sad life is held as a warning to the dangers of neglecting government at the cost of art, and even the thin, spidery form of calligraphy he invented - 'slender gold' calligraphy – is seen as superfluous and decedent, unsuitable for upright leaders to emulate. His contribution to the arts, however, is unparalleled: he established a painting academy, created a huge collection of art, and invested much time and money into gardens, tea ceremony, poetry, painting, calligraphy and music. In Emperor Huizong's second year on the throne (1101), the censor Jiang Gongwang submitted a memorial saying he had heard a rumour that someone had entered the Rear Garden of the palace with a falcon:'The other day I, your subject, heard a rumour on the street that some high-ranking men including one named Jia entered the Rear Garden with falcons on their shoulders to hunt birds. This I could not believe... How could a ruler who is benevolent busy himself with going hunting? How could anyone devoted to the dynastic ancestors have the leisure to pursue the pleasure of hunting'.The censor claimed not to believe the rumour, but he still went on at length on the reasons Emperor Huizong should not involve himself with anything as cruel and dangerous as hunting. If the emperor did ever go hunting, no record of it has been preserved; see P.Ebrey, Emperor Huizong, London, 2014, p.301.宋徽宗（款）鷹 設色絹本 鏡框來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏；約二十世紀五十年代攝於其公寓照片中可見巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
AISIN GIORO YU HUAN (1929-2003)Peinture sur éventail représentant un oiseau sur une branche de pivoineAISIN GIORO YU HUAN (1929-2003)A fan painting of a bird on a peony branchDecorated with a bird on a peony branch. Inscription to the right with artist's seal, and a further inscription to the right.Aisin Gioro Yuhuan was the great great grandson of the Daoguang emperor, and became well known in his lifetime for his traditional Chinese paintings and Chinese music. 52cm (20 1/2in) wide x 18cm (7 1/16in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) 愛新覺羅·毓峘 花鳥 設色紙本 扇面來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
PEINTURE REPRÉSENTANT UNE DAME DE COUR ET SA SERVANTEProbablement dynastie Ming (1368-1644) ou antérieurA PAINTING OF A COURT LADY AND LADY-ATTENDANTProbably Ming Dynasty (1368-1644) or earlierInk and pigment on silk, with apocryphal seal of Song emperor Huizong, reading Neifu tushu zhi yin on the top left, seal of Jin dynasty emperor Zhangzong, reading Mingchang Yulan, collector's seal lower right reading Nanchang wanshi zhencang, framed and glazed. 135cm (53in) long x 56cm (22in) wide. Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) The present lot depicts an elegant Court lady holding in her hand a sheng or free-reed wind instrument, seated outside beside a gnarled rock issuing peony. Behind her stands an attendant draped in green robes, the relatively large size of the lady indicates her importance compared to the smaller attendant.The Court lady wears an elaborate headdress with seven phoenix, perhaps indicating that this is Bixia Yuanjun, the primordial sovereign of the dawn clouds, or Lady of Mount Tai. In Daoism, she is considered not only the Goddess of Mount Tai, but also of childbirth and destiny. She became an important deity particularly in the north of China during the Ming and Qing dynasties. The detail of the clothes is particularly magnificent. The Lady is clad in gorgeously decorated robes detailed with a Daoist Immortal carrying a staff from which hangs a double-gourd containing an elixir, and facing a crane and tortoise, symbols of longevity. This again would seem to indicate that the figure is a deity or connected to Daoism. In the centre of the painting is a spurious seal reading 'Mingchang Yulan', seal of the Jin emperor Zhangzong (r.1188–1208). Emperor Zhangzong attempted to supersede the former Song emperor Huizong as an art connoisseur and inherited a large collection of art which he inscribed or attached his seal to. See the painting, for example, of 'Lady Guoguo's Spring Outing', attributed to Zhang Xuan, where emperor Zhangzong added the three characters 'Tian shuimo', which actually belonged to Huizong; see Three Thousand Years of Chinese Painting, Yale, 1997, p.77. Another collector's seal on the bottom right reads 'Nanchang wanshi zhencang' which likely belonged to Wan Chengzi 萬承紫(1775-1837). In the upper left is another apocryphal seal reading 'Neifu tushu zhi yin' (內府圖書之印 'Seal for Painting and Calligraphy of the Palace Storehouses'), the seal of Emperor Huizong.Although the painting echoes the work of Tang dynasty painter, Zhou Fang, and his 'Court Ladies Wearing Flowered Headdresses', illustrated in Wei Jin zhi Wudai huihua, Shijiazhuang, 2003, pp.86-87, with their large chignons and elaborate headdresses, the style of the painting would suggest a a later date. See for example, related figures of ladies in a Daoist wall painting 'Homage to the Highest Power', originally from the Longmen Monastery in Shanxi Province, c.1300, in the Royal Ontario Museum (acc.no.933.6.3).Cette œuvre dépeint une élégante dame de Cour tenant un sheng (instrument à vent à anches libres), assise à côté d'un rocher tortueux traversé par un arbuste couvert de pivoines. Derrière elle se tient une suivante dans une robe verte, et la plus grande taille de la dame manifeste son importance.La dame de Cour porte une coiffe élaborée à sept phénix, indiquant peut-être qu'il s'agit de Bixia Yuanjun, la souveraine primordiale des nuages de l'aube, appelée aussi Dame du Mont Tai. Dans le taoïsme, elle est non seulement la déesse du Mont Tai, mais aussi celle de l'accouchement et du destin. Elle devint une divinité importante, surtout dans le Nord de la Chine, durant les dynasties Ming et Qing.Le détail des vêtements, en particulier, est magnifique. La dame est habillée de robes superbement décorées, dont une rouge présentant un motif d'immortel taoïste tenant un bâton où est accroché une double-gourde contenant un élixir, et faisant face à une grue et une tortue, des symboles de longévité. Ceci semble encore montrer que ce personnage est une divinité ou est lié au taoïsme.Au centre de la peinture se trouve le sceau apocryphe « Mingchang Yulan », prétendument le sceau de l'empereur Zhangzhong (r. 1188-1208) des Jin. L'empereur Zhangzhong tenta de remplacer l'empereur Huizong des Song comme connaisseur des arts et hérita d'une vaste collection d'art sur laquelle il calligraphia ou apposa son sceau. Voir par exemple la peinture de L'excursion printanière de Dame Guoguo, attribué à Zhang Xuan, sur laquelle l'empereur Zhangzhong a ajouté les trois caractères « Tian shuimo », qui appartenaient en fait à Huizong, cf. Three Thousand Years of Chinese Painting, Yale, 1997, p.77. Il y a autre sceau de collectionneur en bas à droite, « Nanchang wanshi zhencang », probablement celui de Wang Chengzi 萬承紫(1775-1837). En haut à gauche se trouve un autre sceau apocryphe indiquant « Neifu tushu zhi yin » (內府圖書之印), le sceau de l'empereur Huizong.Bien que la peinture évoque le travail du peintre Zhou Fang de la dynastie Tang et ses Dames de la Cour portant des coiffes fleuries illustrées dans Wei Jin zhi Wudai huihua, Shijiazhuang, 2003, pp.86-87, avec leurs grands chignons et coiffes élaborées, le style de cette peinture suggèrerait une date plus tardive. Voir par exemple des personnages comparables de dames sur une peinture murale taoïste, Homage to the Highest Power, provenant probablement du monastère de Longmen dans la province du Shaanxi, vers 1300, et conservé au Royal Ontario Museum (acc.no. 933.6.3或明或更早 仕女圖 設色絹本 立軸來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏本拍品描繪一位優雅宮裝仕女，手持竹笙，安坐於牡丹花旁的嶙峋石上。其身後為綠袍侍女。從二人的身量大小區別可見其身分區別。該宮裝仕女頭戴七鳳冠，或表明其為碧霞元君或泰山娘娘之身分。在道教中，她不只被認為是泰山山神，還是主生育的神祇，並在明清時代的華北地區廣受崇拜。本拍品對人物衣飾著墨甚多。主角華麗的衣袍上甚至可見了肩挑懸壺的道教仙人形象，亦有仙鶴壽龜等紋樣，均為長壽之象徵... 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A 19th Century Chinese Qing Dynasty silver and zitan wood decorative desk stand bearing marks for Luen Wo of Shanghai. The stand having a central two stepped pen stand in the form branches adorned with floral accents flanked by inkwells to each side having embossed character and floral panel sides. Pen rest to the front with pierced floral lattice worked borders with all being raised on bun feet supports. Impressed Luenwo marks stamp to base with wax seal and collection paper label. Measures 15cm x 22cm x 11cm. Total weight 955 grams.
An early 20th Century Chinese Qianlong mark Cinnabar red lacquer trinket box having carved scenes depicting figure on winged horse in mountainous landscape with clouds. The hinged lid opening to reveal a black lacquered interior. The underside bearing a six character Qianlong mark in seal script. Measures approx; 5cm x 10cm x 8cm.
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