Kangxi Period, Late 17th century AD. A trio of blue and white glazed ceramic meiping vases, each with bell-shaped lid and knop handle, panels of flowers and foliage, chrysanthemum borders. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 1 kg total, 21-22cm (8 1/4 - 8 1/2"). [3] Fine condition, two rims chipped, some dulling of glazed surfaces due to seawater exposure.
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Kangxi Period, Late 17th century AD. A trio of blue and white glazed ceramic meiping vases, each with bell-shaped lid and knop handle, panels of flowers and foliage, chrysanthemum borders. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 1.2 kg total, 22-22.5cm (8 1/2"). [3] Fine condition, some dulling of glazed surfaces due to seawater exposure.
Kangxi Period, Late 17th century AD. A group of blue and white glazed ceramic squat containers, two with chrysanthemum motif and scrolled tendrils, one with blossom motifs. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 728 grams total, 10.5-11cm (4 - 4 1/4"). [3] Fine condition, small chip to one base, some dulling of glazed surfaces due to seawater exposure.
Kangxi Period, Late 17th century AD. A group of blue and white glazed ceramic bell-shaped lids with floral and cloud ornaments. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 234 grams total, 57-68mm [5, No Reserve] Fine condition, on some minor chips and cracks.
Kangxi Period, Late 17th century AD. A group of six blue and white glazed ceramic bowls with running cockerel motifs to the outer face, and six similar saucers. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 689 grams total, 7-12cm (2 3/4 - 4 3/4"). [12] Fine condition, some dulling of glazed surfaces due to seawater exposure.
Kangxi Period, Late 17th century AD. A group of six blue and white glazed ceramic tea bowls with running cockerel motifs, and six similar saucers. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 658 grams total, 7-11.5cm (2 3/4 - 4 1/2"). [12] Fine condition, some dulling of glazed surfaces due to seawater exposure.
Kangxi Period, Late 17th century AD. A hollow-formed grey part-glazed ceramic dog figurine with open mouth, green-glazed collar with tag. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 638 grams, 21.5cm (8 1/2"). Fine condition, chip to spine, some dulling of glazed surfaces due to seawater exposure.
Kangxi Period, Late 17th century AD. A group of blue and white glazed ceramic tableware comprising: a teapot with domed lid, ribbed body with loop handle and short spout, leaf and blossom motifs; six small bowls with bridge and tree motifs; six saucers with bridge, house and tree motifs. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 973 grams total, teapot: 14.5cm overall (5 1/2"). [13] Fine condition, minor abrasions to bases, some dulling of glazed surfaces due to seawater exposure.
Kangxi Period, Late 17th century AD. An opposed pair of olive-glazed ceramic figurines of crouching lions each with the head turned and mouth open. From the 'Blue Chrysanthemum Wreck'; lost in the South China sea, late 17th century AD, recovered 2014. Accompanied by a copy of the initial wreck report plus a DVD on the wreck site and the material recovered. The Early Kangxi Shipwreck & Cargo Analysis of survey material and cargo samples from the wrecksite together indicate that the ship was engaged in exporting very high quality Chinese porcelain made in the 1660s, probably on behalf of the Dutch East India Company (VOC"). The wares are predominately Jingdezhen blue and white porcelain, although multicoloured ceramics and utilitarian wares are also in evidence in the cargo. Some items are display wares while others were intended for use. The cargo included a large 'Gu'-shaped vase - a remarkable piece, illustrating a western square rigged merchant ship, by the flag almost certainly a Dutch Ship, and possibly representing the very ship that was to carry the cargo. Survey results suggested that this find is by far the highest quality Chinese antique shipwreck cargo from this period yet recovered in South East Asian waters. Chinese Early Kangxi Blue and White Porcelain The samples recovered from the shipwrecked cargo are exclusively Chinese ceramics, in the main blue and white porcelain, all assessed by experts to be excellent examples of early Chinese Kangxi in origin of a quality indicating they were manufactured in the famous porcelain centre of Jingdezhen in the Jiangsu Province. Jingdezhen kilns made porcelain over two millenia, since the Han Dynasty period. Jingdezhen kilns supplied the most artistically advanced ceramics to the world for centuries. Blue and white porcelain was the most famous product of Jingdezhen, and reached the height of its technical excellence in the early Ching Dynasty. The best examples of Chinese Kangxi blue and white porcelain are superb and rival any other Chinese blue and white wares produced during other periods. The shipwreck pieces recovered are typical of the highest quality blue and white of the Kangxi period, characterised by charming sophisticated designs. They also demonstrate a great technical expertise in the production of a brilliant under-glaze in sapphire blue, applied in five or six tones to produce a vibrant, dimensionally nuanced effect, together with a fine thin attractive white (or slightly bluish) silky glaze applied to a stark white and finely formed body. The very high quality cobalt blue colouring, distinctive on the early Kangxi period fine porcelains where it is referred to as 'gem blue' or 'kingfisher blue', is much purer and brighter than that of Ming Dynasty wares. The pieces provide an insight to range and quality of the wares carried by the ship, including some charming figurines as well as a delightful variety of vases, plates, bowls, bottles, jars, teapots, cups with saucers, and other items. Large pieces were uncommon during this period, their manufacture being made technically difficult by quality control requirements. Designs were sometimes based on Buddhist and Daoist themes, or sourced from illustrations of Ming stories such as 'The Three Kingdoms' or 'The Romance of the West Chamber', together with the dramas 'Xixiang Ji' and 'Wui Hu Zhuan'. Chinese Kangxi blue and white porcelain was increasingly varied and innovative in its designs. The influence of Dutch and other European shapes and designs were in evidence prior to and during the Kangxi period. The very high standards achieved early in Kangxi’s reign, evident in the samples recovered from the shipwreck, mark the high point of quality for Chinese blue and white ceramics. Quality declined in the later stages of the Kangxi Emperor’s reign, as the huge demand for Chinese blue and white porcelain developed in both overseas and home markets, giving rise to a profusion of unregulated kilns. Quality was diluted by increased production volumes, and as the Ching Dynasty progressed, competition from mass-produced wares and the instability of the political environment debased the traditional fine porcelain industry. A DVD video accompanies each purchase showing many of the items offered in this auction in their initial state after recovery. 91 grams total, 59-61mm (2 1/4"). [2] Fine condition, some dulling of glazed surfaces due to seawater exposure.
Roman Period, 30 BC-323 AD. A mixed group of mainly flat-section glass fragments, each with floral designs in mosaic or millefiori technique. Property of a London lady. Among the first glass wares to appear in significant numbers on Roman sites in Italy are the immediately recognisable and brilliantly coloured mosaic glass bowls, dishes, and cups of the late first century BC. The manufacturing processes for these objects came to Italy with Hellenistic craftsmen from the eastern Mediterranean, and these objects retain stylistic similarities with their Hellenistic counterparts. Mosaic glass objects were manufactured using a laborious and time-consuming technique. Multicoloured canes of mosaic glass were created, then stretched to shrink the patterns and either cut across into small, circular pieces or lengthwise into strips. These were placed together to form a flat circle, heated until they fused, and the resulting disk was then sagged over or into a mould to give the object its shape. Almost all cast objects required polishing on their edges and interiors to smooth the imperfections caused by the manufacturing process; the exteriors usually did not require further polishing because the heat of the annealing furnace would create a shiny, fire polished surface. Despite the labour-intensive nature of the process, cast mosaic bowls were extremely popular and foreshadowed the appeal that blown glass was to have in Roman society. 41 grams, 26-41mm (1 - 1 3/4"). [9] Fine condition.
9th-11th century AD. A gold pendant with coiled filigree conical bottom, flat-section wall and filigree handle, ornamented with granulation and filigree detailing. Property of a German collector; acquired in the 1990s. Cf. Meaney, A. Anglo-saxon Amulets and Curing Stones, Oxford, BAR British Series 96, 1981, p. 166-168. Pendants in the form of miniature buckets have been found in a number of pagan Anglo-Saxon and Viking contexts and are generally made of bronze or iron, with gold examples being rare; three gold examples were found with the hoard from Hoen, Norway. Bronze bucket amulets have been found at Driffield in Yorkshire, and Vimose bog in Denmark, among other places. In form they represent wooden buckets bound with bronze or iron bands which have been found in Anglo-Saxon and Viking graves and are believed to have held mead or ale and were used to replenish the cups from which warriors drank. As amulets they probably represent the ecstatic power of alcoholic drink and the role of women as the dispensers of these precious beverages. 2.55 grams, 16mm (3/4"). [No Reserve] Very fine condition.
6th century BC. A repousse foil appliqué in the form of a bird with spread wings, pierced extensions to the tail, six attachment loops to the reverse. Property of an important Mayfair, London, UK, gentleman, acquired 1980s. See Reeder, E. Scythian Gold, New York, 1999, pages 119-124 for examples and reconstructed clothing with plaques. The Scythians decorated a number of objects with gold plaques, such as clothing, belts, shoes, swords, horse ornamentation and wooden cups. The majority of the animals depicted are felines, birds of prey and stags and which seem to be associated with deities of the Scythian pantheon; the stag was sacred to the mother goddess. A number of rich graves have been excavated which have produced gold plaques and from their position around the bodies reconstructions of the clothes have been possible, and which show the dazzling display of personal adornment of these nomadic peoples. 1.58 grams, 31mm (1 1/4"). Very fine condition.
A large and very fine hand cut glass Drinking Suite, each glass/bowl/decanter cut with lozenges in relief and the Wines etc., with faceted knop stems and terminating in circular star cut feet, comprising twelve Champagnes, twelve Red Wines, twelve White Wines, twelve Port Glasses, twelve Sherry Glasses, twelve Liqueur Glasses, twelve small Glasses with handles (Punch/Custard Cups?), twelve large Tumblers, four smaller Tumblers, twelve Finger Bowls, a pair of Candlesticks, a pair of boat shaped Salts, a pair of mallet shaped Decanters with mushroom style stoppers, two other smaller matching Decanters, six Butter Dishes etc., (some glasses minor extremities etc., although seemingly in very good overall condition), approx. 116 pieces total
A Crown Devon 'Stockholm' pattern part tea and dinner set including meat plates, covered tureens, dinner plates, side plates, egg cups, tea cups and saucers, toast racks, cruets, jugs, teapot, butter dish etc CONDITION REPORT: In overall used condition, some paint loss, some pieces with staining. hairline cracks etc
19TH CENTURY MAHOGANY OVAL CROSS BANDED AND EBONY STRUNG PEDESTAL DINING TABLE, the top with reeded edge on gun barrel shaped turned pedestal with outswept legs having brass cups and casters. 136 x 108 x 74cm. CONDITION REPORT: Well worn and heavily used with scuffs, marks and stains but structurally appearing sound.
A GROUP OF EARLY 18TH CENTURY STYLE CHINESE BATAVIAN BROWN GLAZED ITEMS to include: a bowl with underglazed blue decorated interior and birds amongst flowers to the incised exterior and two similar cups and saucers. Painted seal and leaf marks to bases. Bowl 15cm diameter. (5) * CONDITION REPORT: Bowl has chips and frits to the rim and is rather grubby, tiny tea bowls and saucers have frits generally to rims and a number of more notable chips.
THREE CHINESE MING STYLE STEM CUPS, the larger in underglaze blue decorated with horses and other animals. 14cm across. Second in blue and white underglazed dash decoration, 12.5cm across and a third smaller in overall Lonquan celadon glaze, 8cm across. (3) * CONDITION REPORT: Celadon cup has significant crazing and some wear. Small blue and white cup has chips and frits, wear and dirty. Larger blue and white cup has frits and chips.
THREE SMALL CHINESE PORCELAIN CUPS comprising polychrome decorated hexagonal flared cup painted with figures in reserve panels, blanc de chine octagonal flared cup relief decorated with immortal figures in reserve panels and a blanc de shine tiny libation cup with relief molded animals. 7cm, 6.5cm and 7cm diameter. (3) * CONDITION REPORT: All have wear and minor frits and chips.
A MINTON BONE CHINA CUP AND SAUCER PAINTED WITH A CONTINUOUS LANDSCAPE, SAUCER 14CM DIAM, IMPRESSED MARK, CIRCA 1870, A CROWN STAFFORDSHIRE POWDER BLUE GROUND BOWL, A 1920'S STAFFORDSHIRE LUSTRE VASE AND A SET OF THREE CHINESE DOUCAI RICE GRAIN PORCELAIN WINE CUPS, 20TH CENTURY, A RIDGWAY STONEWARE BELL SHAPED COVER FOR A CHEESE STAND, MOULDED WITH STRAPWORK AND EARS OF WHEAT AND BARLEY, 24CM H, CIRCA 1860, ON A WOODEN BREAD BOARD and A DERBY COBALT GROUND CUP AND SAUCER PAINTED WITH LANDSCAPES, CIRCA 1830, A COPELAND VASE SHAPED COFFEE CUP AND SAUCER PAINTED WITH FLOWER SPRAYS AND AN EARLY 19TH CENTURY MINTON COFFEE CAN
MIXED LOT - a mixed lot to include a miniature mahogany apprentice piece table, a snakeskin cased toddy cup (3 cups), a Sorrento musical marquetry box, porcelain doll, a celluloid doll, a pair of boar tooth salt and pepper holders (a/f), a miniature mandolin and a ceremonial ebony elephant with semi precious jewels and white metal and a Russian Doll.
A Worcester part tea and coffee service c.1775, decorated in the Hop Trellis pattern with berried swags between trellis panels in gilt and red. Comprising: a sucrier and cover, four coffee cups, two teabowls and eight saucers. (16) Provenance: Diana Keppel, Countess of Albemarle (1909-2013).
A pair of Derby chocolate cups and trembleuse saucers c.1775-80, the flared cups with simple loop handles, all painted in the Sèvres manner with polychrome flower garlands suspended from gilt dentil rims, each saucer set with a deep well, crowned D marks in blue, 12.5cm. (4) Provenance: the Cordwent Collection.
Four Worcester coffee cups and two saucers c.1775, the fluted forms decorated in a version of the Hop Trellis pattern, with berried swags alternating between gilt and red trellis above a turquoise band, one cup handle lacking, another cup cracked, 12.5cm. (6) Provenance: Diana Keppel, Countess of Albemarle (1909-2013).
A Paris porcelain tea service 19th century, decorated with scenes of figures on horseback and in rural settings, the formal borders with gilt lyre and foliate motifs on a white ground, gilt marks for Dagoty of Paris. Comprising: a square tray, a teapot and cover, a milk jug, a sucrier and cover, three cups and three saucers. (12) Provenance: Diana Keppel, Countess of Albemarle (1909-2013).
A Chamberlain Worcester tea and coffee service c.1810, richly decorated in the Imari palette with pattern 544, a formal design of red and gilt flowering plants within shaped blue and gilt foliate panels, painted script mark to some pieces, painted pattern number, minor damages. Comprising: a teapot with cover and stand, a sucrier and cover, a milk jug, a slop bowl, two plates, twelve tea cups, twelve coffee cups and twelve saucers. (45) Cf. Geoffrey Godden, Chamberlain Worcester, p.325 for a record of this pattern listed as 'Scarlet with blue and gold curtains'.
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