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A pair of Chinese Kangxi type blue and white arrow vases, decorated in under glazed blue with depictions of warriors on horse-back, four character marks to base of each, 17cm high. (2)

Large Chinese bulbous vessel, the body decorated with fish and foliage, six-character Kangxi mark to the base, H: 26 cm. Not available for in-house P&P

A 19th century Chinese blue and white bowl, decorated with pagodas and figures in a landscape. Four character Kangxi mark, 5.5 x 12cm. Together with a 19th century blue and white tea caddy, 12cm high (2)

A QING DYNASTY KANGXI STYLE BLUE AND WHITE PORCELAIN SHALLOW BOWL - 44 CM DIAMETER

A Chinese porcelain blue and white baluster vase, decorated with figures and Buddhist emblems in an interior, four character Kangxi mark, 36.5cm high. (AF)

A Chinese blue and white vase with traditional decoration of willows etc, a ring around neck for character mark for Kangxi, ht. 30cm.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.  

A pair of 19th/20th century Chinese blue and white porcelain jars and covers each with four character apocryphal Kangxi marks together with a pair of smaller Chinese porcelain vases (one with four character marks) and each with covers, height 27cm and 18cm

Famille verte-Pinselbecher. 19./20. Jh.Von zylindrischer Form mit flachem Boden in der Art einer Bi-Scheibe mit einer runden glasierten Vertiefung. Dekoriert im Kangxi-Stil mit einer Hofdame, die sich vor einem Spiegel sitzend die Haare frisiert, einem Jungen, der mit einem Kätzchen spielt und einem Gedicht mit zwei Siegeln.H 13,5 cm; D 11,3 cm

Puderblaue und famille verte Schale. Kangxi-Ära, ca. 1700Flache Schale auf Fußring, dekoriert mit fünf Kartuschen mit Landschafts- und Gartenszenen in famille verte, umgeben von einer puderblauen Glasur. Gebänderte Rautenmarke in Unterglasurblau. Rest.D 27,2 cmProvenienzPrivatsammlung, Nordrhein-Westfalen

Blau-weiße fünfteilige Garnitur. Kangxi-Ära (1662-1722)Bestehend aus drei Deckelvasen und zwei Balustervasen, alle mit vierfach gelapptenm Körper und dekoriert mit vertikalen Paneelen mit Lotos, Chrysantheme, Prunus und Päonie. Vergoldete Henkel in Form von kui-Drachen. Artimisia-Blattmarken. Rest. (5)H 24 bis 25 cmProvenienzPrivatsammlung, Nordrhein-Westfalen

Wucai-Bechervase. Kangxi-Ära (1662-1722)Gu-förmige Vase mit ausladender Lippe auf unglasiertem, flachem Boden. Dekoriert mit einer Palastszene in der oberen Sektion, auf dem mittleren Wulst verschiedene Antiquitäten und Zweige Buddhahand-Zitronen und Päonienblüten in der unteren Sektion. Apokryphe Wanli-Sechszeichenmarke in Unterglasurblau unter der Lippe.H 26,5 cmProvenienzPrivatsammlung, Rheinland, erworben 1994 auf der TEFAF Maastricht bei Vanderven & Vanderven Antiquairs, ’s-Hertogenbosch (Rechnung vorhanden)

Puderblaue und famille verte Kumme. Kangxi-Ära, ca. 1700Hohe Kumme mit Steiler Wandung, innen dekoriert mit einer rechteckigen Kartusche mit Blumen umgeben von einem puderblauen Grund, die Außenwand im selben Schema mit zwei runden und zwei fächerförmigen Kartuschen. Unterglasurblaue 'ding'-Symbolmarke im Doppelring. Rest. und mit Goldlackreparatur. Holzstand.H 8,7 cm; D 19,5 cmProvenienzPrivatsammlung, Nordrhein-Westfalen

Famille verte-Wandbrunnen. Kangxi-Ära (1662-1722)Birnenförmiger, gelappter Körper mit flacher Rückseite, Ausguss in Form einer Fo-Löwenmaske, dekoriert mit Fischen und Krebsen in einem Lotosteich, die Rückenplatte mit einer gemodelten Muschelschale, die von zwei makara gehalten wird. Holzstand.H 38 cm (ohne Holzstand)ProvenienzSchloss "De Koude Keuken", Sint-Andies, Brügge, seitdem in adeligem FamilienbesitzLiteraturFür einen ähnlichen Wandbrunnen siehe: William R. Sargent, Treasures of Chinese Export Porcelain from the Peabody Essex Museum, New Haven/London 2012, S.178-179

Kleine famille verte-Balustervase. Kangxi-Ära (1662-1722)Vase von Balusterform mit rechteckigem Querschnitt und eingezogenen Ecken, dekoriert in den Farben der famille verte auf den Breitseiten mit Fabeltieren in Landschaft, auf den Schmalseiten Enten am Ufer. Flacher, unglasierter Boden mit alten Inventarnummern in Tusche.H 21,2 cmProvenienzSammlung Johannes Lehmann, LeipzigNachlass Prof. Dr. Hans-Siegfried (1910-2002) und Jutta Schuster, Köln, versteigert bei Lempertz, Köln, 10.6.2008, Lot 689, Privatsammlung, Berlin, erworben auf obiger Auktion

Famille Verte Meiping Vase, China 17./18. Jh. (Kangxi/Qing). Umlaufender, figürlicher Dekor. Der braun staffierte/glasierte Boden mit Chip, Lippenrand mit kl. Chip, Haarrisse, H. 14 cm

Gu Drachenvase, China 17./18. Jh. (Kangxi/Qing). Kobaltblauer Dekor mit affrontierten Drachen und Päonien. Unter dem Boden eine kobaltblaue 4-Zeichen Kangxi-Marke. Lippenrand mit minimalem Chip, H. 26 cm

Kleine Vase, China wohl 19. Jh., kobaltblauer Dekor mit Fo-Löwen zwischen stilisierten Wolkenbändern. Unter dem Boden eine kobaltblaue, geschriebene 6-Zeichen Kangxi-Marke, H. 7 cm

Imari Tea Caddy, China 17./18. Jh. (Kangxi/Qing). Dekor in Kobaltblau, Eisenrot und Gold (leicht ber.), mit Deckel, H. 11 cm

Gu Vase mit Prunus Dekor, China 18. Jh., der ausgestellte Lippenrand mit 2 größeren Chips, unter dem Boden eine kobaltblaue 4-Zeichen Kangxi Marke, H. 30 cm

A Chinese famille verte porcelain plate, Kangxi period, enamel decorated with a vase of flowers, incense burner mark within double rings verso, dia.22cm, together with a collection of five Chinese famille rose porcelain plates, 18th century, enamel decorated with flowers, dia.22.5cmGreen rim – hairline to rim and small repair as it starts.Pair – both enamel slightly rubbed but intact.Two birds – a couple of small chips to rim, enamel slightly rubbed.Leaf – star hairline to reverse, small chip to rim.Figures – chip to rim, enamel lightly rubbed.

A pair of Chinese export blue and white porcelain bowls, each decorated with figures and pagodas within a landscape, four character Kangxi reign mark to the underside, dia.12.5cmBoth appear to be intact.

A Chinese blue and white porcelain bowl, Kangxi period, of klapmuts form, decorated with scrolling flowers, dia.15.5cmHairline crack to the rim.

A Chinese export blue and white porcelain bowl, 19th century, decorated with pagodas within a landscape, four character Kangxi reign mark to the underside, dia.26cmNibbles to the rim.Hairline crack.

Famille rose dish with decor of mandarin ducks and the eight Daoist immortals, Yong Zheng poriod and an Imari plate with decor of deer and cuckoo, Kangxi PeriodFamille rose schotel met decor van mandarijneenden en de acht taoïstische onsterfelijken, Yong Zheng periode en een Imari bord met decor van hert en koekoek, Kangxi periodeDiam. 22.5 cm

Chinese plate decorated with flowers and vases, Kangxi, markedChinees bord versierd met bloemen en vazen, Kangxi, gemerktDiam. 38.5 cm

Pair of porcelain dishes decorated in underglaze blue with centrail precious vase within a foliate wreath., the wide rim decorated with continious floral garlands, Kangxi period, circa 1680-1700, marked to the underside with Artemisia leaf within double circlePaar porseleinen schalen gedecoreerd in onderglazuur blauw met centraal kostbare vaas binnen een bladerkrans, de brede rand gedecoreerd met doorlopende bloemenkransen, Kangxi-periode, circa 1680-1700, aan de onderzijde gemerkt met Artemisia blad binnen dubbele cirkel.Diam. 27 cm Ref: 'Oriantal porcelain, a choice from the Boymans - Van Beuningen collection'. C.J.A. Jorg (1995) p. 37-38

Famille verte deep plate, bird in a peony shrub motif, the rim decorated with shrimp, goldfish and flowers, marked with single character in double circle, Kangxi periodFamille verte diep bord, motief van een vogel in een pioenroos struik, de rand gedecoreerd met garnalen, goudvissen en bloemen, gemerkt met enkel karakter in dubbele cirkel, Kangxi periodeDiam. 21 cm

Große Vase aus Porzellan mit Famille rose - Dekor "100 Antiquitäten", China 19./20. Jh.Vase aus weißem Porzellan in Balusterform mit ausgezogener Lippe. Vorderseite Aufglasur polychrom handbemalt im Famille rose - Dekor mit dem großflächigen Motiv "100 Antiquitäten", Rückseite ein mehrzeiliges Gedicht in schwarzen chinesischen Schriftzeichen. An der Unterseite gestempelt. Maße: Höhe ca. 44,5 cm, Ø Öffnung ca. 18 cm. Sehr guter Erhaltungszustand mit leichten Alters- und Gebrauchsspuren. Famille rose: Chinesisch Yangcai (»fremde Farben«), eine am Ende der Kangxi-Epoche (1662-1722), nach 1720 aufkommende, vor allem unter Qianlong (1736-1795) weit verbreitete chinesische Porzellangattung mit rosa Dekor, die im Gegensatz zu den transparenten Farben der Familie verte mit opaken Schmelzfarben auf glasiertem Grunde bemalt worden ist. Die von dem Holländer Andreas Cassius um 1670 auf der Grundlage von Goldchlorid entwickelte Schmelzfarbe ermöglichte eine Bereicherung der Porzellanmalerei, die mit der Quianlong-Periode zusammenfällt. Unter den gebrochenen Farben herrscht ein Rosa vor, das sich in dem häufigen »Hundert-Blumen-Motiv« sowie in Früchten und Genreszenen findet. Aus "Lexikon der Kunst".

Deckelvase mit "Famille Rose" Dekor, China späte Qing-Dynastie,19. /20. Jh.Balusterförmige große Vase mit zwei Maskaronen in Form von Drachenköpfen auf der Schulter und einem Deckel mit plastischem Fo-Hund. Aus weißem Porzellan, polychrom und mit Goldfarbe sehr üppig und fein Aufglasur handbemalt. Großflächige Floralmalerei, vorn und hinten zwei große Reserven mit einer Kriegsszene und einer Szene vor einem hohen Beamten oder Herrscher. Höhe mit Deckel ca. 48 cm. Sehr guter Erhaltungszustand mit leichten Alters- und Gebrauchsspuren, Deckel mit Chips. . Famille rose: Chinesisch Yangcai (»fremde Farben«), eine am Ende der Kangxi-Epoche (1662-1722), nach 1720 aufkommende, vor allem unter Qianlong (1736-1795) weit verbreitete chinesische Porzellangattung mit rosa Dekor, die im Gegensatz zu den transparenten Farben der Familie verte mit opaken Schmelzfarben auf glasiertem Grunde bemalt worden ist. Die von dem Holländer Andreas Cassius um 1670 auf der Grundlage von Goldchlorid entwickelte Schmelzfarbe ermöglichte eine Bereicherung der Porzellanmalerei, die mit der Quianlong-Periode zusammenfällt. Unter den gebrochenen Farben herrscht ein Rosa vor, das sich in dem häufigen »Hundert-Blumen-Motiv« sowie in Früchten und Genreszenen findet. Aus "Lexikon der Kunst".

Balustervase, China, 19. Jh., Porzellan, blau-weißer Dekor mit Damen in Palastinterieur, seitlich aufgelegte Ringhenkel an taotie-Masken, am Boden umseitig Sechs-Zeichen-Marke Kangxi in Unterglasurblau, 31 cm hoch

Pair of 20th century Chinese Prunus pattern ginger jars with flat covers, Kangxi six-character mark beneath, H20.5cm (2)

Chinese porcelain dish, Kangxi period, decorated with three shou characters divided by flowers, ribbon tied cash and swastikas, the border with flowerheads in roudels, six character Chenghua mark beneath, D16.5cm Condition Report:Minor nibbles to the rim and some surface wear.

Chinese famille verte porcelain charger, Kangxi period, brightly enamelled with two butterflies in flight above chrysanthemum and peonies issuing from rockwork, the border painted with further butterflies amongst floral sprigs, artemisia leaf mark within double circles beneath, D35cm Provenance: From the Estate of the late Dowager Lady St OswaldCondition Report:Heavy scratching to the face of the plate, with losses and fading to the painted decoration. Various chips and nibbles to the rim and foot rim.

19th century Chinese porcelain vase decorated with dragons and floral sprays, 25cm high, 4 character Kangxi mark to base but 19th century (hairline to rim)

A Chinese blue and white hookah base, Kangxi, 1662-1722. The bell-shaped body painted with stylised flowers, artemisia leaf mark, height 21.5cm, width 11cm.Provenance: The Michael J. Hickman Collection. Bought in Cornwall from the early 1970's to early 1980's.some restoration to the base rim and also the top

A Chinese blue and white porcelain plate, Kangxi period, circa 1700. The centre painted with peony and small flowerheads, within a border of barbed floral vignettes, the base with an artemisia leaf mark, diameter 22.5cm. From the personal collection of the late Graham Pedley who owned an antique shop in Truro, Cornwall from 1964-1983. chips and fritting on the edge of rim

Two similar Chinese blue and white porcelain tea bowls, Kangxi period. Height 3.5cm, diameter 6.5cm. (2)

Blau bemalte BalustervaseChina, wohl Kangxi-Periode 1661-1722. Keramik. H. 17,8 cm, B. ca. 13 cm, D. der Öffnung ca. 3,5 cm. 2 Haarrisse u., je ca. 10 cm. An einer Stelle dickere Glasur. Spuren von Alter und Gebrauch.

Vasenpaar in Gu-Form. Gemarkt Kangxi, in kleinen Schriftzeichen. China. Porzellan mit Untergalsur-Blaumalerei. H 31 cm ohne Holzsockel. Ober- und Unterteil mit figürlichen Szenen, Mittelteil mit Vogeldarstellungen. Glasur mit Ascheanflug. Gleiche Motive, von unterschiedlicher Hand gemalt. Holzsockel ergänzt. Beide Teile mit Chips am unteren und vereinzelt am oberen Rand. Aufrufzeit 13. | Juni 2024 | voraussichtlich 11:37 Uhr (CET)Pair of vases in Gu form. Market Kangxi, in small characters. China. Porcelain with underglaze blue painting. H 31 cm without wooden base. Upper and lower part with figurative scenes, middle part with depictions of birds. Glaze with ash marks. Same motifs, painted by different hands. Wooden base replaced. Both parts with chips to the lower and occasional upper rim. Call time 13 June 2024 | probably 11:37 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

2 schöne Deckelvasen. Beide gemarkt. China. Porzellan. H 15 und 21 cm. Kleinere Vase, gemarkt wohl Kangxi, mit sehr feinen Rankenmustern in Emailfarben und Unterglasurblau. Deckel mit alter Reparaturstelle eines Brandrisses. / Vase mit feinem Krakelee, Schriftzeichen und Musterung in Unterglasurblau. Aufrufzeit 13. | Juni 2024 | voraussichtlich 11:35 Uhr (CET)2 beautiful lidded vases. Both marked. China. Porcelain. H 15 and 21 cm. Smaller vase, probably marked Kangxi, with very fine vine patterns in enamel colors and underglaze blue. Lid with old repair to a firing crack. / Vase with fine craquelure, lettering and pattern in underglaze blue. Call time 13 | June 2024 | presumably 11:35 am (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

A KANGXI Period Chinese blue and white Plate, with shaped rim with floral and scrolled border and two small fish, the centre with scene of Archers on Horseback Hunting Rabbits in mountainous landscape, the underside with floral border and bearing six character marks within two blue circles, (some nibbles/chips to rim), 9, 1/4".

RINCE-PINCEAUX EN PORCELAINE À GLAÇURE CLAIR-DE-LUNE, TANGLUOXIMarque et époque Kangxi (1662-1722)A RARE CLAIR-DE-LUNE-GLAZED WASHER, TANGLUOXIKangxi six-character mark and of the period Of compressed circular form with rounded sides and a wide incurved rim, covered overall with an even pale lavender-blue glaze, the base with a six-character mark in underglaze blue. 11.5cm (4 1/2in) diam.Footnotes:清康熙 天藍釉鏜鑼洗 青花「大清康熙年製」款Provenance: Ralph M. Chait Galleries, New YorkA European private collection來源：Ralph M. Chait Galleries，紐約歐洲私人收藏Brushwashers were an integral part of the scholar's accoutrements. Under the Kangxi emperor, small porcelain vessels made for the scholar's table were produced in two new glazes, referred to as peachbloom and clair-de-lune, however, far fewer brush washers with a clair-de-lune glaze appear to have been made. Compare with two similar clair-de-lune brushwashers, bearing Kangxi marks and of the period, the first illustrated by John Ayers, Chinese Ceramics in the Baur Collecion, Geneva, 1999, p.57; the second in The Metropolitan Museum of Art, New York, acc.no.64.279.2. A similar clair-de-lune washer was sold in Sotheby's New York, 13 September 2017, lot 7.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

BOL EN PORCELAINE ÉMAILLÉE VERT SUR FOND BLEUMarque et époque Kangxi (1662-1722)A GREEN-ENAMELLED BLUE-GROUND 'DRAGON' BOWLKangxi six-character mark and of the period With deep rounded sides rising to a flared rim, painted around the exterior in bright green enamels over an underglaze blue ground with two ferocious dragons in pursuit of flaming pearls amidst clusters of cloud and wisps of flames, the dragons each with their fifth claw covered by black enamel, all above two rows of overlapping petals around the base, the interior similarly decorated with a central medallion enclosing a single coiled green dragon on a blue ground, the base with a six-character mark in underglaze blue within a double circle. 13cm (5 1/8in) diam.Footnotes:PROPERTY FROM A SPANISH PRIVATE COLLECTION西班牙私人珍藏清康熙 青花地綠彩趕珠龍紋盌 「大清康熙年製」款Compare this dish with a 'dragon' dish painted with green enamel on an underglaze-blue ground, the dragon's fifth claw similarly blacked out, in the Baur Collection, Geneva, illustrated by John Ayers, Chinese Ceramics in the Baur Collection, vol.2, Geneva, 1999, pp.36-37. Another similar bowl of this design is illustrated by Lu Minghua, Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, p.300, no.194. Compare also with a similar green-enamelled blue-ground bowl, Kangxi mark and period, sold in Sotheby's New York, 23 September 2020, lot 560.For further information on this lot please visit Bonhams.com

VASE EN PORCELAINE À GLAÇURE TURQUOISEÉpoque Kangxi (1662-1722)A TURQUOISE-GLAZED AMPHORA-SHAPED VASEKangxi period The slender tapered body surmounted by a cylindrical neck and bulb-shaped mouth, covered overall with a bright turquoise glaze suffused with a dense network of fine crackles, pooling to a dark band around the neck. 23.5cm (9 1/4in) high.Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價PROPERTY FROM A EUROPEAN PRIVATE COLLECTION歐洲私人珍藏清康熙 孔雀綠釉蒜頭瓶Compare with a turquoise-glazed vase bearing a Kangxi six-character mark and of the period, sold in Bonhams London, 12 May 2016, lot 67.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

RARE BOL EN PORCELAINE MONOCHROME CLAIR-DE-LUNEMarque et probablement de l'époque Yongzheng (1723-1735)A 'CLAIR-DE-LUNE'-GLAZED BOWLYongzheng six-character mark and probably of the periodWith deep rounded sides rising to a gently flared rim, applied all over with a luminous clair-de-lune glaze, the base glazed white and inscribed with a six-character mark within a double circle. 9.3cm (3 5/8 in) diam.Footnotes:清雍正 天藍釉盌 「大清雍正年製」款Provenance: An American Private CollectionAcquired from Ralph M. Chait Galleries, New York, 5 November 2018A European Private Collection來源：美國私人收藏Ralph M. Chait Galleries，紐約，2018年11月5日歐洲私人收藏Clair-de-lune-glazed wares were highly prized during the Qing dynasty. The glaze was first developed during the reign of the Xuande Emperor (r.1426-1435), this luminous-coloured glaze became popular only during the Kangxi period, when it was applied mostly to decorate objects intended for scholarly use. See a pair of Yongzheng clair-de-lune-glazed bowls bearing Yongzheng marks, illustrated in Regina Krahl, Chinese Porcelains from the Meiyintang Collection, London, 1994, vol.2, no.839. Compare also with a similar Yongzheng period clair-de-lune-glazed bowl, sold in Sotheby's Hong Kong, 29 April 2022, lot 3518.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

RARE BRÛLE-PARFUM EN PORCELAINE ÉMAILLÉE BLEU TURQUOISEMarque et époque Yongzheng (1723-1735)A RARE TURQUOISE-GLAZED INCENSE BURNERYongzheng six-character mark and period With a compressed bombé body rising from three short tapering feet to a lipped rim, set with a pair of upright loop handles, covered in a lustrous bright turquoise-blue glaze falling unevenly around the feet, the unglazed base moulded with a reign mark in three columns, concluding with an artemesia leaf, all within a raised double-circle, wood stand. 10cm (4in) diam. (2).Footnotes:清雍正 松石綠釉香爐 「大清雍正年製」款Turquoise-glazed incense burners of this particular form, marked with an impressed Yongzheng reign mark, are very rare. Even more extraordinary is the addition of an artemisia leaf to the mark, a feature seldom seen elsewhere. Typically, artemisia marks are associated with the Kangxi period, predominantly appearing on the bases of porcelain vessels in lieu of reign marks. Raised relief marks are infrequently encountered, though occasionally spotted on biscuit brushpots, see, for example, a Kangxi-period sancai-glazed openwork 'three friends of Winter' brushpot, illustrated in China Without Dragons: Rare Pieces from Oriental Ceramic Society Members, London, 2016, p.68, no.33, later sold in Bonhams London, 2 November 2023, lot 28. Compare also with a turquoise-glazed melon-shaped jar, bearing a Yongzheng seal mark and of the period, in the Qing court collection, illustrated in The Complete Collection of the Treasures of the Palace Museum: Monochrome Porcelain, Beijing, 1999, pl.150. See also a rare and large turquoise-glazed fish bowl, with an incised Yongzheng seal mark, sold in Bonhams London, 11 May 2017, lot 147.This lot is subject to the following lot symbols: * Y* 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.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

MAGNIFIQUE ET RARE PARAVENT À DOUZE FEUILLES EN LAQUE DE COROMANDELÉpoque Kangxi (1662-1722)A MAGNIFICENT LARGE TWELVE-PANEL COROMANDEL LACQUER SCREEN Kangxi periodDecorated on one side with a wide river landscape with lofty hills, craggy rockwork and jagged mountains, pavilions and pagodas scattered on shores and high cliffs, with scholars and their attendants wandering along remote paths, on foot or on mules, others contemplating nature, a monk seated in meditation attended by an acolyte, with fishermen perched in small boats, farmers tending to their crops and animals, a hunting party, and women and children engaged in various chores and activities in a large compound, all within panels of lotus, peony, magnolia and hibiscus sprays, landscapes and leaf panels, the reverse depicting a central figure of a large phoenix perched on a craggy rock and another swooping down from high above, surrounded by a myriad of birds including an egret, doves, mandarin ducks, all in a luscious garden setting and within a border depicting one hundred precious antiquities. Each panel 253cm x 49cm (99 5/8in x 19 1/4in) (12).Footnotes:清康熙 款彩百鳥朝鳳圖十二扇屏風Provenance:Collection of H.R.H. The Prince Henry, Duke of Gloucester KG, KT, KPChristie's London, 26 and 27 January 2006, lot 405來源：格洛斯特公爵亨利王子珍藏倫敦佳士得，2006年1月26至27日，編號405The scene depicted on the reverse of this screen depicts a pair of large and beautifully rendered phoenix among a multitude of different species of birds, all similarly rendered with great attention to detail. This scene alludes to the popular and auspicious design of the 'Hundred Birds Paying Tribute to the Phoenix'. According to Chinese legend, the phoenix was considered the king of all feathered creatures, appearing only in times of prosperity and peace. On this particular screen a pair of phoenix occupies a central position alluding to the wish for marital harmony.Compare with a related twelve-panel coromandel screen, also dated to the Kangxi period, featuring the same subject of birds on one side, but a lengthy inscription on the reverse, sold in Sotheby's London, 8 November 2017, lot 38; compare also with two other twelve-leaf screens with the same decoration of birds surrounding a couple of phoenix, the first sold in Bonhams London, 17 May 2018, lot 75, the second sold in Christie's Paris, 21 and 22 June 2016, lot 399.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

COUPE EN LAQUE BURGAUTÉÉpoque Kangxi (1662-1722)A BURGAUTÉ LACQUER BOWLKangxi periodOf square shape, the straight sides tapering to a flat base, each side decorated with figures in landscape and garden settings inlaid in mother of pearl, the interior and base lined with metal. 11.3cm (4 1/2in) wide.Footnotes:清康熙 黑漆嵌螺鈿方盌Provenance:Formerly in a private collection in the South of France (by repute)來源：法國南部私人舊藏（傳）For further information on this lot please visit Bonhams.com

STATUETTE D'AMITAYUS EN ALLIAGE DE CUIVRE PARCELLEMENT LAQUÉ DORÉDYNASTIE QING, MARQUE À SEPT CARACTÈRES ET ÉPOQUE QIANLONG (1736-95)An inscription in Chinese around the front rim of the base, translated:  'The Buddha of Infinite Life.';An inscription in Chinese at the reverse of the base, translated:  'Practice and Conduct are Foundational.' Himalayan Art Resources item no. 1812 16.5 cm (6 1/2 in.) high  Footnotes:A PARCEL GILT LACQUER COPPER ALLOY FIGURE OF AMITAYUS    QING DYNASTY, QIANLONG SEVEN-CHARACTER MARK AND OF THE PERIOD (1736-95)  Provenance  American Private Collection, acquired in China prior to 1940, and thence by descent. Seated with the elixir of long life in his lap is Amitayus, the Buddha of Infinite Life, whose gentle countenance reflects his compassion and desire to save all sentient beings. Invoked for his ability to prolong the lifespan of devotees, Amitayus was an especially popular subject of worship for the Manchu rulers of China. Depictions of this deity were often made in groups as celebratory birthday gifts whenever an emperor or a member of the royal family reached a milestone in age. This practice first began with the Kangxi emperor (1662-1722) and continued under the reign of his equally famous grandson, the Qianlong emperor (1736-95), who presented thousands of Buddhist images to his mother on the occasion of her 60th, 70th, and 80th birthday.   As indicated by the seven-character reign mark, 'Made with reverence in the Qianlong era of the Great Qing', this parcel-gilt bronze belongs to an incredible group of works located in one of eight Buddhist halls within various palaces of the empire. Only two of these halls have been documented, both of which are located in the Forbidden City: the Tower of Precious Forms, or Baoxianglou (published in Clark, Two Lamaistic Pantheons, 1937), and the Hall of Buddhist Efflorescence, or Fanhualou (published in, Fanhualou – Statues in the Sanctuary of Buddhist Essence, Vols. I-II, 2013). Each hall originally contained a configuration of 787 sculptures for private imperial use, with the Baoxianglou pantheon completed in 1771, honoring the Empress Dowager's 80th birthday and the Fanhualou pantheon in 1774 which would later become Qianlong's retirement palace. Both iconographic programmes were conceived by Rolpai Dorje (1717-86), the highest-ranking Gelugpa lama in the Qing court as well as Qianlong's personal teacher and childhood friend. Due to the sheer number of images that were required for each location, these bronzes convey differences in artistic training and preference. Some emulated the rounder features of early Ming statuary, whereas in the case of this figure, the beak-like nose and pointed chin draw a connection to Mongolian artists following in the style of Zanabazar (1635-1723). For examples of Qianlong bronzes bearing a seven-character reign mark in past auctions, see two sold at Sotheby's, New York, 17 March 2015, lot 376; and 16 March 2016, lot 371; as well as a third sold at Christie's, New York, 22 March 2007, lot 215. 局部漆金無量壽佛銅像清 乾隆（1736-95年） 「大清乾隆年敬造」款蓮座正面下沿刻「無量壽佛」；背面刻「功行根本」來源美國私人收藏，1940年前得於中國，後由家族傳承此尊雙手持寶瓶之造像為無量壽佛，其溫和面容展現慈悲與拯救一切眾生之大願。由於其延年益壽的能力，無量壽佛在中國滿清統治者中乃是廣為流行的崇拜對象。無量壽佛像通常是在慶祝皇帝或皇室成員大壽時，作為賀禮而成組製作的。這一做法始於康熙皇帝（1662-1722年），並在他同樣著名的孫子——乾隆皇帝（1736-95年）統治時期得以延續，後者為其母六十、七十、八十大壽獻上了數以千計的佛教作品。正如其七字款識「大清乾隆年敬造」所示，這尊局部漆金銅像屬於一組令人驚嘆的作品，它們被供奉於皇宮內的八間佛樓之一。八間中僅有兩間佛樓被記錄成書，二者均位於紫禁城內：寶相樓（見Clark著，《Two Lamaistic Pantheons》，1937年）與梵華樓（見王家鵬主編，《梵華樓藏寶 ‧ 佛像》，全二冊，2013年）。每間佛樓最初都供奉了787尊皇家私用造像。寶相樓眾佛像於1771年完工，以賀太后八十大壽；而梵華樓之神佛殿堂則於1774年完工，後成為乾隆退位寢宮的一部分。此二次造像工程皆由若必多傑（1717-86年）設計，其為清廷最高階格魯派喇嘛、乾隆的私人上師兼童年好友。由於每間佛樓所需作品數量龐大，這些銅像因諸多藝術家們所受訓練或個人偏好不同而呈現不同風格。有些作品效仿明初造像的面目圓潤的特徵，而這尊佛像的尖狀鼻子和下巴則與承襲扎納巴扎爾（1635-1723年）風格的蒙古藝術家們有關。刻乾隆七字年款之銅像，可參見紐約蘇富比於2015年3月17日（拍品376）和2016年3月16日（拍品371）所呈現之兩件拍品，以及紐約佳士得於2007年3月22日（拍品215）拍出之另一例。Lot to be sold without reserve.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

STUPA EN ÉMAUX CLOISONNÉES ET ALLIAGE DE CUIVRE DORÉDYNASTIE QING, XVIIIE SIÈCLE64 cm (25 1/4 in.) high Footnotes:A CLOISONNÉ ENAMEL AND GILT COPPER ALLOY STUPAQING DYNASTY, 18TH CENTURY ProvenanceAn American CollectionChristie's, Paris, 13 June 2018, lot 209 This unusually large gilt-bronze and cloisonné enamel stupa follows the most ancient form of stupa replicating the monumental burial mounds of ancient India that were appropriated into Buddhism as depositories for Buddha's relics. The stupa is dominated at the centre by a large dome and aperture wreathed with gold, resting on a circular stepped base and surmounted by a tall spire consisting of thirteen stacked gold discs telescoping in size from large to small in an upward direction, representing the ten bodhisattva levels and the three stages of a buddha, tapering towards the top and crowned by an ornate parasol suspending strands of beads, and topped by a tapering flame diminishing into the state of luminosity-emptiness, all set on a gilt-metal tiered circular pedestal and entirely decorated with lotus scrolls on a vibrant turquoise ground. The elaborate shape of this stupa evolved over a long time. Originally, burial mounds were erected over the bodies of great teachers who were buried in a seated, meditative position. The basic form of the stupa was adopted by Buddhists who saw the dome of the stupa not just containing a great master seated in meditation, but Buddha seated in padmasana with his legs crossed in a meditative pose when he achieved enlightenment, his upright body represented by the tall spire of stacked discs, and the top of the spire representing his head. As Buddhist doctrine spread from India to Nepal, Tibet and China, the form of the stupa changed while their function remained the same. Stupa were made in large as well as smaller, scaled-down versions, and in many different materials, often containing small relics or a small image of Buddha. This large stupa would also have contained an image of the seated Buddha Amitayus, the Buddha of Infinite Life, within the cavity of the dome, the unmoving center, a space of stillness, peace, and enlightenment. The spire (yasti) symbolizing the axis mundi, centre of the cosmos bisecting sacred Mount Meru, centre of the Buddhist world, surrounded by a harmika and crowned by an umbrella (chattra). This impressive gilt-bronze and cloisonné enamel stupa was made in the 18th century, probably during the reign of the Qianlong emperor (1736-95), a devout practitioner of the Tibetan form of Buddhism. Its unusually large size, attention to detail including the multi-tiered base and stairs recall imperial architecture, suggesting that this stupa was commissioned by the Qing court. The strong imperial patronage of Tibetan Buddhism and the support of the Dalai and Panchen lamas of Tibet was an important point in pacifying the Tibetan-Mongolian subjects. Between the three Qing emperors Kangxi (1662-1722), Yongzheng (1723-35) and Qianlong (1736-95), twenty-five Tibetan Buddhist temples were founded, all three emperors being the dominant financial supporters. Under the Qianlong emperor, Beijing, Chengde and Mount Wutai in Shanxi were transformed into major Tibetan Buddhist centres, the emperor initiating and financing the construction of many monasteries of the dominant Gelugpa order. He similarly initiated the construction of Tibetan Buddhist shrines within his many palaces, dedicating the largest part of religious space within the Forbidden City to Tibetan Buddhist shrines with resident lama, see Chuimei Ho and Bennet Bronson, Splendors of China's Forbidden City. The Glorious Reign of Emperor Qianlong, New York, 2004, pp. 128-130. Six shrines dedicated to Tibetan Buddhism with a distinctive layout were constructed in the imperial residences for the emperor's personal use, three of them in the Forbidden City in Beijing. Each shrine consisted of six double-storied cells flanking a central hall, all furnished with large religious paintings, images, and ritual objects. In the Fanhua Lou, the Building of Buddhist Brilliance, located in the retirement compound of the Qianlong emperor in the Forbidden City, a monumental cloisonné enamel stupa is at the centre of each cell (Fig. 1), see The Complete Collection of Treasures of the Palace Museum, vol. 43, Metal-Bodied Enamel Ware, Hong Kong, 2002, pp. 148-149 and pl. 141; also Chuimei Ho and Bennet Bronson, op.cit., pp. 133-139. A pair of massive stupa can be seen flanking the main altar at the Pu-to-cong-cheng (Temple of the Potalaka Doctrine) at the Imperial Summer Retreat in Chengde, see A Special Exhibition of Buddhist Gilt Votive Object, Taipei, 1995, p. 20, fig. 5. As a sign of filial piety and devotion to Tibetan Buddhism, in 1777, the Qianlong emperor decreed a stupa be made of solid gold to store his mother's hair after her death together with an image of the Buddha Amitayus, see Chuimei Ho and Bennet Bronson, op.cit., pp. 152-153, fig. 181. Several cloisonné enamel stupa of 18th century date are known. Compare, for example, a cloisonné enamel stupa of the same size, also dated to the 18th century, in the collection of the National Museum of Art, Smithsonian Institution, Washington, DC, accession number F1991.6. A slightly smaller, gilt-bronze and cloisonné enamel stupa in the Palace Museum collection, Beijing, is published in The Complete Collection of Treasures of the Palace Museum, vol. 43, Metal-Bodied Enamel Ware, Hong Kong, 2002, pp. 150, p. 142. A smaller example formerly in the Ann and Gordon Getty collection, was sold in Christie's New York, 23 October 2022, lot 524.For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金掐絲琺瑯佛塔清 十八世紀來源美國私人收藏佳士得，巴黎，2018年6月13日，拍品209這座構造龐大的銅鎏金掐絲琺琅佛塔，遵循了古印度存放佛陀舍利的墓丘佛塔的樣式。佛塔中央見大圓頂及開口，圓頂周圍鑲有金絲，底部是一個圓形階梯基座，上面是由十三個金盤組成的高塔尖，金盤由下至上尺寸遞減，代表十個菩薩層次和三個佛陀的階段，頂部是則為華蓋，懸掛串珠，並以逐漸變細的火焰作為頂飾，象徵光明空性的狀態。此構造安置於一個銅鎏金圓形底座上，整體裝飾有捲葉蓮紋，底色為鮮艷的綠松石色。大型佛塔內部成為一個靜止、安寧、和平與令人得開悟之空間，或曾供奉一尊無量壽佛像。尖塔（剎）象徵著世界的軸心，穿過須彌山正中，即佛教世界的中心。佛塔之鑄造工藝精湛，銅鎏金以及掐絲琺琅相映成輝，可能製作於十八世紀，或為乾隆皇帝（1736-95）在位期間。乾隆正是一位虔誠的藏傳佛教修行者。其不尋常的碩大尺寸，以及多層基座及階梯上的精緻細節，讓人聯想到皇家建築，表明這座佛塔可能是由清朝宮廷所委託而造。對藏傳佛教的鼎力資助，以及對西藏達賴和班禪喇嘛的支持，是清廷穩定藏蒙兩族人民的重要方式。在康熙（1662-1722）、雍正（1723-35）和乾隆（1736-95）三位皇帝在位年間，一共建立了二十五座藏傳佛教寺廟，而皇帝都是其主要的財政支持者。在乾隆皇帝統治下，北京承德以及山西五台山皆轉化為主要的藏傳佛教聖地，由皇帝發起並資助了許多當時極盛的格魯派的寺廟。同時，乾隆亦在其諸多宮殿內建立佛堂，將紫禁城內主要的宗教場所變為駐有喇嘛高僧之佛堂（見Chuimei Ho 及 Bennet Bronson，《Splendors of China's Forbidden City ——The Glorious Reign of Emperor Qianlong》，紐約，2004年，頁128-130。已知幾件亦為十八世紀之掐絲琺瑯佛塔可資比較。例如，一件同樣大小的掐絲琺瑯佛塔，收藏於華盛頓特史密森尼學會國家藝術博物館（編號F1991.6）。另一件略小的鎏金掐絲琺瑯佛塔著錄於《故宮博物院藏文物珍品大系43：金屬胎琺瑯器》，香港，2002年，頁150，圖版142。另一較小之例，曾屬於Ann 及 Gordon Getty 收藏，於2022年10月23日在紐約佳士得拍賣，拍品524。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。Lot to be sold without reserve.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

Chinese blue and white porcelain rice bowl with associated cover on stand, (probably Qing Dynasty), symbols to the border and lower exterior, dragon profile to the interior well within concentric lines, petals on opaque field to the exterior, bears four Kangxi-type character marks to the underside but probably later, approximately 9cm high, and another Kangxi-style antique crackle glaze blue and white tea bowl, the exterior decorated with landscape subjects, with an associated lid, approximately 9cm high.  (2)CONDITION REPORT: There are some small chips to the rim of the main rice bowl and crazing also.  The main bowl also a small chip to the rim of the foot.  There are small repairs and chips to the rim of the stand and age-related staining and minor crazing throughout.  The crackle bowl has a hairline crack to the foot of the bowl and has prominent age-related staining and crazing throughout. 

Group of assorted Chinese porcelain rice bowl stands and covers, (probably Qing Dynasty), various decorations, some bearing Kangxi marks, largest stand 11cm, and a similar tea bowl (much repaired).  (6)CONDITION REPORT: Age-related minor chips and nibbles to the stands and the covers. 

Two near-matching Chinese porcelain rice bowls with associated covers, (probably Qing Dynasty), hand-painted with butterfly love flowers in pastel colours, one example on stand, Kangxi character marks to the underside but probably later, approximately 9cm high.  (2)CONDITION REPORT: Small age-related nibbles and chips to areas and all rims.  No obvious cracks.  There are a couple of old repairs also.  There is age-related staining and crazing also.  Some gilding is lacking and there is fading to the glaze in areas.

Chinese sancai glazed pottery ginger jar/lamp (late Qing Dynasty) in the Kangxi manner, decorated with the eight immortals between palmette and wave motifs, on mustard coloured yellow ground, approximately 30cm high, fixed to a lotus-carved hardwood stand.CONDITION REPORT: Old crack to the top of the jar.  Converted to electricity. 

A Chinese famille noire vase, 20th c, 28cm h Kangxi mark within concentric circles in underglaze blue Undamaged

The porcelain is late Kangxi or early Yongzheng and was made in around 1720, the decoration dates to c.1720-1725 width21 cm height3.5 cm

A late Qing/early Republic period Kangxi revival Chinese blue and white porcelain covered jar decorated with prunus blossoms (double ring mark verso, firing crack to interior, h- 30cm, w- 18cm)

A Chinese Blue and White Porcelain Beaker, painted with flowers and leaves within cells, painted with leaf mark, Kangxi, 5ins (12.7cm), a baluster-shaped vase, Kangxi, painted in blue with flower heads, within horizontal panels, 5.5ins (14cm) and a Chinese Famille Rose teapot, enamelled with standing figures in a garden, and a cover, 5ins (12.7cm)  Blue and white beaker - small area of restoration to the rim. The extent of which cannot be determined because it has been overpainted and sprayed. Blue and white baluster-shaped vase - appears to be in good condition with no obvious damage/loss/restoration.Teapot - the cover is a replacement. Body - very small flat chip to the end of the spout. Some few small scattered areas of wear to the enamel decoration. Cover - firing crack to the lower part of the knop. Some very light scattered wear to the gilt detail.

Imari-Teller, Porzellan, in Unterglasurblau, Eisenrot und Gold dekoriert, Dm 22, im Boden Haarrisse, China, Kangxi