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Click here to subscribeVictorian or Edwardian ivory parasol handle, carved to simulate bamboo with gilt metal scroll embossed handle, 20.5cm long, also an ivory fan with applied monogram 'E.M'. (2).N.B. Bidders are responsible for arranging all documents relating to CITES and must comply with the relevant regulations of their destination country.We will not post outside the UK.
Collection of 19th century / early 20th century ivory and other items including; Japanese Meiji period ivory bookmark with gilt foliate decoration, 13cm long, small figure of a Japanese fan dancer, 5.5cm high, a pierced bone fan, two others with painted decoration, Indian letter opener and two small carved figures of elephants.N.B. Bidders are responsible for arranging all documents relating to CITES and must comply with the relevant regulations of their destination country.We will not post outside the UK.
19th century / early 20th century Chinese carved ivory medicine doll in the form of a reclining nude female, 16cm long.N.B. Bidders are responsible for arranging all documents relating to CITES and must comply with the relevant regulations of their destination country.We will not post outside the UK.Condition report:Visible fine crack down right front side from neck to mid calf, otherwise good condition.Weight: 87.6g.
Late 19th century / early 20th century Chinese ivory carved and reticulated cylindrical vessel with floral decoration on fine lattice ground and circular unscrewable base, 14.5cm high.N.B. Bidders are responsible for arranging all documents relating to CITES and must comply with the relevant regulations of their destination country.We will not post outside the UK.Condition report:Weight 126g.Good condition, top removable too.
Late 19th century / early 20th century Indian carved ivory figure of the Hindu multi armed goddess Kali standing on a prostrate figure of the demon Raktajava, on hardwood plinth base, 19cm high.N.B. Bidders are responsible for arranging all documents relating to CITES and must comply with the relevant regulations of their destination country.We will not post outside the UK.
λ A JAPANESE BOXWOOD OKIMONO OF A MONKEY MEIJI 1868-1912 The primate depicted seated and examining a small hermit crab through a looking glass, his eyes inlaid with amber-coloured beads and with elements in ivory, signed Saijin (Talented Man) in a rectangular reserve underneath, 8cm. Provenance: from the collection of W B Tapp (d.1992), Bristol. C.f. F Meinertzhagen, The Meinertzhagen Card Index on Netsuke in the Archives of the British Museum, Part B, p.690, where the author mentions another comparable okimono of a monkey examining a sword bearing the same signature.
A JAPANESE WOOD SMOKING SET, KISERUZUTSU AND TONKOTSU MEIJI 1868-1912 The pipecase carved with a branch of fruiting persimmon, a long inscription in cursive to the reverse; the ivory ojime carved as a small shishi with its paw resting on a large brocade ball; the tonkotsu decorated with inlays depicting a blackbird on a fruiting branch to one side, and a bird in flight and a crescent moon to the other; together with a stag antler kiseruzutsu carved as lotus stalks and with a Koku seal, 20.5cm max. (2)
THREE JAPANESE MANJU NETSUKE MEIJI 1868-1912 Two in marine ivory, one depicting a writhing dragon amongst clouds, signed Gasho, the other with an elderly man and a bundled up child, signed Haneka, the third in bone and carved with a monster, bakemono, with a two character signature, together with a fourth netsuke carved from a rectangular section of marine ivory with Hotei and an attendant, unsigned, 5.6cm max. Provenance: from the collection of Frank Robertson (d.2014).
λ FIVE JAPANESE IVORY NETSUKE EDO AND MEIJI PERIOD One a shishi on a triangular base; another a reclining oni with a sake cup in his hand, signed; the third a laughing man carrying a jar on his shoulder; the fourth carved as the monkey King Son Goku; the last depicting a standing man with a boy before him, a two character signature underneath; together with a stag antler netsuke carved as the oil thief Abura Bozu, 5.4cm max. (6) Provenance: from the collection of Frank Robertson (d.2014).
λ A JAPANESE IVORY NETSUKE MEIJI 1868-1912 Depicting the Twelve Zodiac animals compactly interwoven, with details realistically carved and some with their eyes inlaid, a two character signature in an oval reserve underneath, 4.2cm. Provenance: from the collection of Frank Robertson (d.2014).
λ FIVE JAPANESE IVORY NETSUKE EDO AND MEIJI PERIODS One depicting Achinaga carrying Tenaga on his shoulders, another carved as a man carrying a basket of flowers, the third dressed as a Chinese man and holding a large leaf-shaped fan, another an emaciated rakan and the two last ones depicting sennin, one in bone, all unsigned, 10cm max. (6) Provenance: from the collection of Frank Robertson (d.2014).
λ FOUR JAPANESE IVORY NETSUKE MEIJI 1868-1912 One carved as an elderly woman carrying a child on her shoulders, another as two rakan on clouds, one of them possibly Handaka Sonja, the third with an old man and three boys playing go, all unsigned, the last depicting a man throwing beans on Setsubun, signed Shuosai in a rectangular cartouche to the back, 4.8cm max. (4) Provenance: from the collection of Frank Robertson (d.2014).
λ FIVE JAPANESE IVORY NETSUKE MEIJI 1868-1912 Four of them depicting Gods of Good Fortune (Ebisu and Daikoku), the fifth with Daruma playing the shamisen with two attendants to his side, four with signatures, one for Gyokuzan, 4.2cm max. (5) Provenance: from the collection of Frank Robertson (d.2014).
λ A JAPANESE IVORY CARVING, OKIMONO MEIJI 1868-1912 Carved as a couple opening a large treasure chest, a two character signature underneath, together with three netsuke, one of a fisherman holding a large fish, another of Urashima Taro with a minogame, the third of an elderly fisherman with two boys, 5.2cm max. (4) Provenance: from the collection of Frank Robertson (d.2014).
λ FOUR JAPANESE NETSUKE MEIJI 1868-1912 Three in ivory and variously depicting a reclining monkey, a boy with a drum and an elderly couple with a minogame and a tortoise, the latter two signed; the fourth in wood and carved as a dog and her puppy, signed Sansha, together with a small ivory seal in two parts carved as frogs on a square base, 4cm max. (5) Provenance: from the collection of W B Tapp (d.1992), Bristol.
λ A SMALL JAPANESE IVORY CARVING, OKIMONO MEIJI 1868-1912 Depicting a street vendor, the man carrying his wares on a rope slung over his shoulder, with baskets, drums and other objects hanging around him, some details inlaid in stained ivory and signed Toshimasa in a red cartouche underneath, together with a Shibayama-style card case decorated with birds and flowers in lacquer, mother of pearl and horn, 11.3cm max. (3)
λ A JAPANESE IVORY CARVING, OKIMONO MEIJI 1868-1912 Depicting a long-eared owl perched on a branch of oak, with small acorns to the side, holding a frog in its claw, their eyes inlaid and the feathers naturalistically rendered, a two character signature to the base for Ryubi, together with an associated wood stand, 10.8cm. (2)
λ THREE JAPANESE IVORY CARVINGS OF FRUITS, OKIMONO MEIJI 1868-1912 Carved as an apple, a tangerine and a banana, all with their skins partially peeled to reveal the flesh underneath, stained with naturalistic colours and with details realistically rendered, 14.3cm max. (3) Provenance: the collection of an English gentleman, acquired from Spink.
λ TWO JAPANESE IVORY MODELS OF FRUITS, OKIMONO MEIJI 1868-1912 One depicting an apple with its skin partially peeled, the surface stained in a light blush pink, the other a banana with its skin also peeled back to the stalk, revealing the flesh underneath, with an associated wood stand, the fruits 6cm and 9.5cm respectively. (2) Provenance: from the collection of Sir Thomas Jackson, 1st Baronet (1841-1915). Sir Thomas was involved in the creation of HSBC and was appointed third Chief Manager of the bank in 1876. He lived in Shanghai and Yokohama in the late 19th c. and his statue still stands today in Statue Square, Hong Kong, in front of HSBC's headquarters.
λ A TALL JAPANESE IVORY TWO-FOLD TABLE SCREEN, TSUITATE MEIJI 1868-1912 Each rectangular panel decorated with a large writhing dragon amongst scrolling clouds and above crashing waves, the lower panels with further undulating waves, all within borders of smaller dragons and clouds, the mythical beasts with their eyes inlaid, the reverse with a troop of monkeys, the younger primates playing with insects, frogs, birds and soap bubbles, one of the older monkeys with pince-nez glasses, a two character signature with red seal mark to one side and another two character signature for Kenshu on the edge, 27.5cm x 33.5cm.
λ A SET OF FOUR JAPANESE SHIBAYAMA-STYLE PANELS MEIJI 1868-1912 Decorated with inlays in ivory, mother of pearl and coral on a gold lacquer ground, two panels depicting boys with toys, puppies and a hobby horse, the other two panels each depicting one of the Seven Gods of Good Fortune, Shichifukujin, one with Ebisu and a carp on a lead, the other with Daikoku playing with his pet rats, all in frames and probably taken from a cabinet, 18.3cm x 10cm max. (4) Provenance: sold by the executors of the late Pamela Spater, d.2018, Amersham, Buckinghamshire.
λ A JAPANESE IVORY CARVING, OKIMONO MEIJI 1868-1912 Depicting a fisherman precariously sitting on a large anchor with his two sons by his side, the man holding a basket of seashells with one hand and grabbing one boy's shoulder with the other as a large crab attacks them, the other boy leaning towards them whilst holding on to a large chain, with baskets full of fish around them, signed Ryugetsu in a red lacquer tablet underneath, 16cm.
λ A GOOD JAPANESE IVORY CARVING, OKIMONO MEIJI 1868-1912 Depicting a street vendor, the man carrying his wares on a bamboo rod over his shoulder, with woven baskets, drums, brushes, a helmet and other objects hanging from ropes, some details inlaid in mother of pearl and coloured ivory, the base signed Shinshu in a red lacquer tablet, 19.5cm. Provenance: a private English collection, purchased from Laura Bordignong on 7th January 2013. A copy of the original invoice is available.
λ A JAPANESE SILVER-MOUNTED AND IVORY SHIBAYAMA TUSK VASE MEIJI 1868-1912 With coral, mother of pearl, horn and stained ivory inlays, decorated to one side with a large hanging basket filled with an assortment of chrysanthemum, prunus blossoms, wisteria and peony flowers, with jewels below, the other side with a small lantern-shaped bird feeder on a rootwood table, with branches of chrysanthemum and wisteria flowers around, four small birds surrounding it, a two character rectangular seal mark to the side for Masamitsu, with silver mounts to the rims, all raised on a hexagonal wood stand with tall cabriole legs, the tusk 34cm, 67cm overall. (2) Provenance: an English private collection. Cf. Bonhams London, 6th November 2012, lot 373 for a pair of comparable tusk vases signed Masamitsu.
A RARE CHINESE UNDERGLAZE RED 'DRAGON' BOWL 1ST HALF 16TH CENTURY The gently flared body decorated with two scaly dragons chasing flaming pearls of wisdom against an incised wave ground, the centre with a slight recess and painted with two further dragons in pursuit of sacred jewels, with simple red bands to the rim and tapering foot, the slightly convex base with a six character Xuande mark and labels for R H R Palmer, The Oriental Ceramic Society 1950 Exhibition, and F O S & M M Dobell, 21cm. Provenance: Bluett & Sons, 29th September 1944, purchased by R H R Palmer for £30, collection no.584; sold at Sotheby's London, 27th November 1962, lot 21, and again on 24th March 1964, lot 86, purchased by Bluett & Sons for £220 on behalf of F O S and M M Dobell, no.48, and thence by descent. Exhibited: The Oriental Ceramic Society Ming Polychrome Exhibition, 1950, no.133. Illustrated: S Jenyns, Ming Pottery and Porcelain, 1953, pl.49A, and p.55, where this bowl is discussed. Also illustrated in The Transactions of the Oriental Ceramic Society, vol.20, pl.24, and p.49 where it is discussed.. Cf. The Fitzwilliam Museum, Cambridge, museum accession no.C.27-1978 for an almost identical bowl dated to the Ming dynasty donated by Dr Sydney Smith; see also the Asian Art Museum of San Francisco, object no.B60P1220 for another Ming bowl of the same design from the Avery Brundage Collection; another identical bowl sold at Christie's London, 21st March 1966, lot 68 to Sydney L Moss, it sold again at Christie's New York, 16th September 2010, lot 1405, ex Dr William L Corbin Collection, and at Beijing Poly in 2013, lot 1435, where it was catalogued as Ming. THE PALMER DRAGON BOWL This rare, elegantly shaped bowl is striking for is lively painting of striding dragons pursuing flaming pearls amidst anhua waves and above rocks. The designs were first incised, then the dragons were applied with copper colorant and, finally, the bowl was covered with a colourless glaze. The anhua designs are only faintly visible, shadowed by the deep red of the dragons, pearls and flames. The dating of these bowls has been long debated and remains controversial, with opinions differing between a mid Ming and Kangxi attribution. Two smaller bowls, with similar dragons and Kangxi marks but no anhua decoration are in the British Museum, one in the Percival David Collection, the other donated in 1926 by C T Loo. Another smaller bowl, with a typical Lang Tingji (Governor of Jiangxi province, 1705-1712) Kangxi mark, is in the Shanghai Museum. However the larger Xuande marked bowls, such as this Palmer/Dobell piece, differ in several important aspects from the Kangxi examples. All have gentle flared rims, with a single line drawn to the inside edge, central design (usually inward facing double dragons, chasing pearls), and a recessed base. The Kangxi pieces have straighter rims with plain, undecorated interiors, and no base recess. Elements of the dragon designs, such as the elbow hair, and body and tail fins, are executed differently on the Xuande mark pieces when compared to the Kangxi examples. The foot is wide, the inside base is convex and, where the glaze meets the biscuit, the edges have burnt a strong orange. The Kangxi pieces have a narrower foot, the inside bases are usually flat, and the burning to the glaze edges are less pronounced. The Xuande mark was first copied in the Chenghua period and is seen again in the Zhengde period. The style and calligraphic strokes used, size and spacing of the Xuande mark on this bowl is very similar to that seen Imperial Zhengde pieces such as those in the Gugong Museum, Beijing. See for examples ‘Mingdai Hongzhi Zhengde Yuyao Cigi. Jingdezhen Yuyao Yizhi Chutu Yu Gugong Bowuyuan Cang Chuanshi Ciqi Dubiai’ - ‘Imperial Porcelain from the Reign of Hongzhi and Zhengde in the Ming Dynasty. A Comparison of Porcelain from the Imperial Kiln Site at Jingdezhen and the Imperial Collection of the Palace Museum’, Beijing, 2017, vol.2, catalogue numbers 222/223 and 248/249, together with a partiality reconstructed dish with incised dragon amongst waves in green and red glaze, excavated at the Imperial kiln site, Zhushan, in 2014, catalogue numbers 271. The drawing of the mark is very different to that seen on Kangxi period Xuande copies. For examples see two Kangxi period monochrome stem bowls, both with very well written Xuande marks, along with a Kangxi period bowl copying Xuande lotus scrolls in underglazed red, with an apocryphal Xuande mark, all in the Shanghai Museum. Prior to the Dobell Collection, this bowl belonged to a highly important English collector of Chinese art: R H R Palmer (1898-1970), chairmen of Huntley and Palmers who started collecting in 1924, and along with his wife built an outstanding collection consisting Ming and Qing porcelain, jade, ivory and lacquer. 十六世紀 釉里紅趕珠龍紋碗《大明宣德年製》青花楷書款來源：1944年9月29日由R H R Palmer以£30的價格購於Bluett & Son，收藏編號584。蘇富比倫敦1962年11月27日·編號21, 1964年3月24日·編號86 由Bluett & Son代F O S 及M M Dobell以£220，編號48。
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