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Lot 273
FINE SATSUMA 'PAINTINGS' VASE MEIJI PERIOD, POSSIBLY SOZAN FOR THE KINKOZAN WORKSHOP 明治 或爲素山畫 錦光山製 薩摩燒錦地十幀畫小瓶 of tapered ovoid form resting on a countersunk foot, rising to high shoulders, small waisted neck and short everted mouth, delicately enamelled around the body with ten scattered rectangular panels as paintings, each finely depicting sea fishes, cat gazing upwards towards flowers and weed, pagoda in dramatic landscape, lilies underneath wisteria tree, a majestic rooster standing on a rock above peony blossoms, a landscape with trees and waterfall afar, a fruit basket containing pomegranates and apples with butterflies in flight, chrysanthemum blossoms on trellis, a hut next to a large tree with double-gourds in its garden, and a dramatic serene landscape, mostly minutely signed in the margin with gilt, seemingly 'Sozan', with either one or two square red seals, all against vertical bands of repeated flowers, key-fret, auspicious clouds, trellis, diapers, coin patterns and so on, the shoulders and above foot with overlapping panels simulating a 'cloth-wrapped' effect, the base inscribed 'Dai Nihon Kinkozan Sei Kyoto Shi' on a red panel with gilt borderDimensions:11.5cm highProvenance:Provenance: Private Scottish collection, AthelstanefordNote: Note: The painter Sozan was one of the most productive and best artists who worked for the Kinkozan workshop. The Kinkozan workshop knew many decorators, most of them worked anonymously and most of the 'products were sold under the firm's name; this is, they bore a workshop stamp or signature.' Only a select group of the very best decorators were allowed to place their signatures on elaborate pieces next to that of Kinkozan. Itozan, Gassan, Keizan and certainly Sozan were among them. 'This may indicate that Sozan was responsible not only for the execution of the decoration, but also for its design.' [1] According to Louis Lawrence, Sozan was working in the Kinkozan workshop when Hebert Ponting visited in 1904 and said '... these artists work in little houses in the gardens where weeks and sometimes months, are spent in the minute embellishment of a single vase.' [2] Sozan was able to produce work of very high quality and refinement, in a manner that was in line with Western painting techniques. Kinkozan items painted by Sozan are very sought after and belong to the best Satsuma style ever made. However, nothing is known about his life itself and even his year of birth and death remains unknown.Compare to a similar fine ovoid vase decorated with scenes of open books, signed Sozan on many books and marked 'Kinkozan' on the base, illustrated in Louis Lawrence. 2011. Satsuma: The Romance of Japan. Tarzana: Meiji Satsuma Publications, pl. 72, details pp. 107-108. A comparable Satsuma four-sided rectangular vase, painted by Sozan for the Kinkozan Company, Meiji period, of which one side of the painting simulates a scroll painting, was sold at Bonham's London, 14 May 2015, lot 363. Another fine Satsuma vase, signed Sozan and Kinkozan, Meiji period, decorated with hanging scrolls with minute signatures and seals, was sold at Christie's London, 18 May 2012, lot 133; Also compare to two fine Satsuma wares, in the form of dishes, with similar overlapping and well-arranged panels each with fine paintings against a key-fret and foliage grounds, were sold at Bonhams New York, 10-20 January 2022, lot 66, and Bonhams New York, 15 March 2017, lot 6271. [1] Jahn, Gisela. 2004. Meiji Ceramics: The Art of Japanese Export Porcelain and Satsuma Ware 1968-1912. Stuttgart: Arnoldsche, pg. 33.[2] Lawrence, Louis. 2011. Satsuma: The Romance of Japan. Tarzana: Meiji Satsuma Publications, pg. 74.
Lot 147
BLUE-GLAZED HEXAGONAL VASE QING DYNASTY, DAOGUANG MARK AND POSSIBLY OF THE PERIOD 清 道光款或年代 藍釉六方貫耳瓶 the faceted baluster body standing on a splayed foot and rising to a waisted neck flanked by a pair of tubular handles, applied overall with a dark blue glaze, saved for the foot rim left unglazed, the countersunk base inscribed with the six-character Daoguang mark in underglaze-blueDimensions:24.8cm high
Lot 149
GILT-DECORATED POWDER-BLUE-GLAZED BALUSTER VASE QING DYNASTY, 19TH CENTURY 清 灑藍地描金開光花鳥紋罐 sturdily potted on a gently flared foot, raised to a globular body and short straight mouth, painted in gilt with floral bush with butterfly and bird in two cartouches, all below a floral and ruyi collar, the base painted with a double-circle in underglaze blueDimensions:24.7cm highProvenance:Provenance: Private Scottish collection, Glasgow
Lot 204
FAMILLE ROSE 'PEACH' VASE QING DYNASTY, QIANLONG MARK AND OF THE PERIOD 清乾隆款及年代 粉彩蝙蝠壽桃瓶 the globular body decorated with spreading branches of a peach tree bearing ripe fruit and issuing numerous pink and white blossoms and leaves in different of green, with bats hovering in between, the elongated neck with flared rim painted with lotus on tendrils between a band of ruyi, the base with a six-character Qianlong seal mark in underglaze blueDimensions:19.5cm high
Lot 213
FAMILLE ROSE 'PICKING CHRYSANTHEMUM' VASE 20TH CENTURY 二十世紀 '廷慶樓製'底款 粉彩採菊品茗圖瓶 the exterior painted with a scholar holding up a yellow chrysanthemum, accompanied by his two attendants, one carrying a basket full of chrysanthemums and the other with a teapot and cup on a tray, all standing in front of a river bank, the base inscribed with a four-character Ting Qing Lou Zhi (Made by Tingqinglou) mark in double square in iron-redDimensions:24.6cm high
Lot 142
IRON-RED AND GREEN-ENAMELLED GILT-GROUND VASE QING DYNASTY, KANGXI MARK AND OF THE PERIOD 清康熙款及年代 金地礬紅綠彩荷塘紋小鳳尾尊 of yenyen vase form, painted overall with lotus flowers and leaves in a pond, all against a gilded ground, the base inscribed with a six-character Kangxi mark in underglaze blue in double circleDimensions:20.9cm high
Lot 22
SMALL SILVER-INLAID BRONZE VASE, FANGHU SHISOU MARK, QING DYNASTY, 17TH-18TH CENTURY 清 石叟款 銅錯銀絲饕餮耳方壺 of square baluster form, shoulders flanked by a pair of silver wire-inlaid taotie mask handles over an archaistic zoomorphic design, mouth and foot further inlaid with key-fret, the base inlaid with a two-character 'Shi Sou' markDimensions:10.2cm high; 427gNote: Note: Compare to a slightly bigger (13.3 cm high) silver-inlaid square-section bronze vase, attributed to Shi Sou and dated to the 17th-18th century, in the collection of the Metropolitan Museum of Art, accession number 2015.273. According to the catalogue, vases of this nature would have served as flower vases or for holding tongs and spatulas for the practice of incense burning. Also compare to a similar silver-inlaid bronze vase, fanghu, with Shi Sou mark and dated to the 17th-18th century, sold at Sotheby's Hong Kong, 7 Oct 2014, lot 3361.
Lot 240
FAMILLE ROSE 'MANDARIN DUCKS' VASE 20TH CENTURY, ATTRIBUTED TO HE XUREN (1882-1941) 二十世紀 何許人款 乾隆底款 粉彩鴛鴦題詩紋瓶 of bottle form with waisted neck and flared mouth, painted on one side with a pair of mandarin ducks in a pond, the reverse inscribed with a poem, dated to the spring of Jia Xu year, corresponding to 1934AD, signed 'Xu Ren', two red seals, the base further inscribed a four-character apocryphal Qianlong markDimensions:14.7cm high
Lot 161
RARE LARGE YELLOW AND RED-ENAMELLED 'DRAGON AND PHEONIX' DOUBLE-GOURD VASE MING DYNASTY, JIAJING MARK AND OF THE PERIOD 明嘉靖 青花「大明嘉靖年製」六字楷書款 黃地紅彩龍鳳呈祥紋葫蘆瓶 sturdily potted on a flared foot rising to a larger globular body, waisted middle section, further with a smaller rounded body topped with a tubular mouth, enamelled in iron-red on a yellow ground to leave the designs in reserve, the black enamel outlining dragons and phoenixes with clouds in roundels separated by floral scrolls and auspicious emblems both on lower and upper bulbs, the mouth and middle section each with a floral scroll band, the base inscribed with a six-character Jiajing mark in underglaze blue Dimensions:43cm highProvenance:Provenance: Formerly in a private English collectionNote: Note: During the Jiajing reign, the range of colour combinations on ceramics was expanded. The red enamel painting onto a yellow glaze was an innovation of that time. First, a yellow overglaze was fired onto the ware, then red enamel was added with the designs reverse; later black enamel was used to add the details. [1]Several related examples with dragon and cloud as the motif can be seen on different wares, mainly jars. See a lidded jar with cloud and dragon decoration in overglaze yellow on red ground, Jiajing mark and period, in the National Palace Museum, Taipei, museum no. Gu Ci 故瓷6090N; Another comparable jar with more rounded lower sides, without a lid, is in the collection of the British Museum, museum no. 1930,0719.48, and illustrated by Jessica Harrison-Hall in Ming Ceramics in the British Museum, London, 2001, no.9:90; Various similar jars were seen in auctions, one sold at Sotheby's Hong Kong, 07 October 2015, lot 3659, another one previously in the collection of the Manno Art Museum, no. 388 and subsequently sold at Christie's Hong Kong, 28 Oct 2002, lot 540.A slightly larger (45.1cm high) and less bulbous double gourd vase, decorated with similar colour scheme and technique, but painted with lotus scroll instead of dragons and phoenixes, previously in the collection of the Qing Court, is now in the collection of the Palace Museum, Beijing. [1] Harrison-Hall, J. Ming Ceramics In the British Museum, London: The British Museum Press, 2001, pg. 254.
Lot 143
GUAN-TYPE FIVE-SPOUT VASE QING DYNASTY, YONGZHENG MARK, 18TH-19TH CENTURY 清 蝸寄款 雍正底款 仿官釉五孔方瓶 of square-section, standing on a flared ring foot, rising to a narrow mouth in the centre enclosed by four smaller tubular mouths, applied overall with a pale celadon glaze with blue tinge suffused with a wide network of russet crackles, one side of the body signed, possibly 'Wo Ji' and a red seal 'Tao', the base inscribed with a four-character apocryphal Yongzheng mark in iron-redDimensions:14cm high
Lot 12
HUANGHUALI TABLE CABINET LATE MING TO QING DYNASTY, 17TH CENTURY 明末清初 黃花梨官皮箱 of rectangular form, with straight sides rising from a slightly larger base to a flat hinged lid, the front of the lid and double doors set with a round metal plate with a vase-shaped hasp, the top lid opening to reveal a tray-like compartment, set with four drawers behind the two panel doorsDimensions:31.5cm wide x 31cm high x 22.5cm deep
Lot 203
FAMILLE ROSE 'PROMOTION AND LONGEVITY' VASE QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代 粉彩加官獻壽圖瓶 finely painted around the body with a continuous scene of a boy presenting an ewer and cup to the God of Rank and Affluence holding a ruyi spectre accompanied by two ladies, the other side with a boy turning back holding a large peach with the God of Longevity, the base inscribed with a six-character Guangxu mark in iron redDimensions:19.2cm high
Lot 214
FAMILLE ROSE 'BUTTERFLIES' VASE QING DYNASTY, GUANGXU MARK AND OF THE PERIOD 清光緒款及年代 粉彩百蝶圖折肩瓶 the tapered body on a straight short foot rising to wide shoulders, waisted long neck and flared mouth, painted with scattered butterflies overall under a ruyi collar band under mouth and above lappets band above foot, the base inscribed with a six-character Guangxu mark in underglaze blueDimensions:23.5cm high
Lot 121
LARGE BLUE AND WHITE 'MYTHICAL BEASTS' JAR MING DYNASTY, 16TH CENTURY 明 青花瑞獸紋大罐 sturdily potted on a gently concave base, rising to broad shoulders and inverted mouth, painted around the body with a continuous scene of four mythical beasts with slender billowing flames in flight amongst auspicious clouds above a band of undulating waves crashing onto three-pointed rocky hills, a ruyi lappet border decorated the shouldersDimensions:30.5cm diameter Provenance:Provenance: Private Scottish collection, North Berwick, has been collecting Asian ceramics for 25 years.Acquired from Solveig and Anita Gray Oriental Ceramics and Works of Art Gallery, London, on 8 August 1996. With an original receipt no. 561, dated this piece to Ming dynasty, mid-16th century.Note: Note: Compare to a similar but more liberated decoration of mythical beasts in flight amongst flames, clouds, and splashes of water, above crashing waves and rocky hills, painted on a blue and white bottle vase, dated to the Ming dynasty, possibly Wanli period, ca. 1573-1620, in the collection of the British Museum, museum no. Franks.747
Lot 13
CANTON LACQUERED AND PAPER 'COIN' FAN QING DYNASTY, 19TH CENTURY 清 黑漆描金開光花鳥山水人物紋及銅錢紋摺扇 帶漆盒 the fan leaves brightly painted on one side with figures amongst landscape or a bird with flowers in three cartouches with tendril borders, the other side with 'thousand faces' design or a butterfly with flowers in three further cartouches, the guards gilt-lacquer decorated against a black ground with Chinese copper coins with different inscriptions, and each stick similarly adorned with suspending vase, with a lacquer boxDimensions:the fan: 27.2cm high; the box: 30.5cm wideProvenance:Provenance: Private English collection
Lot 169
IRON-RED AND GRISAILLE-DECORATED 'IMMORTALS' VASE QING DYNASTY, 19TH CENTURY 清 花押款 礬紅墨彩仙人圖盤口瓶 the ovoid body resting on an everted foot, rising to trumpet-neck and galleried rim, painted around the body with Daoist immortals, reverse with gnarled pine trees and rockwork, the base painted with a conch borne on ribbonDimensions:41cm high
Lot 252
QIANJIANG ENAMELLED 'WISTERIA' HANDLED VASE QING DYNASTY, GUANGXU MARK AND OF THE PERIOD, SIGNED JIN GAO (ACTIVE 1862-1908) 清光緒款及年代 金誥製 淺絳彩描金紫藤春燕紋瓶 painted with three birds in flight amongst flowering wisteria, signed 'Pin Qin Jin Gao' on one side, the base inscribed with a four Character Guangxu mark in iron-redDimensions:37.6cm high
Lot 136
GUAN-TYPE CRACKLE-GLAZED 'HU' VASE QING DYNASTY, 18TH-19TH CENTURY 清 仿官釉粉青雙耳方瓶 of rectangular section, moulded on the shoulders with slightly raised ridged bands, the neck flanked by two animal-shaped handles, covered overall with a crackled greyish-celadon glazeDimensions:20.5cm highProvenance:Provenance: Formerly in a private collection in South France, Dordogne
Lot 153
FLAMBÉ-GLAZED ARROW VASE, FANGHU QING DYNASTY, TONGZHI MARK, 19TH CENTURY 清 同治款 窯變釉貫耳方壺 of rectangular section with indented corners, the neck flanked by a pair of rectangular lugs, two main sides of the body each with a peach-shaped cartouche, covered overall with thick glaze of dark red tone streaked with lavender, turquoise, and cream, the base incised with a six-character Tongzhi markDimensions:30cm high
Lot 114
TWO INSCRIBED CIZHOU WARES JIN TO YUAN DYNASTY, 13TH CENTURY 金至元代 磁州窯白釉褐彩'富貴長命'小梅瓶 及 '招財利市'碗 （共兩件） both painted with brown on a white slip, the vase of meiping form, inscribed on the upper body with four Chinese characters reading fugui changming (wish you wealth and long life) between two bands; the bowl with its interior inscribed with four characters reading zhaocai lishi (ushering in wealth and prosperity) within double circlesDimensions:the vase: 17.5cm high; the bowl: 15.6cm diameterProvenance:Provenance: Private Taiwanese collectionNote: Note: A comparable Cizhou red-and-green-enamelled bowl inscribed with the same characters, dated to the Jin dynasty, was offered at Sotheby's Hong Kong, 18 Oct 2022, lot 628; a larger meiping painted with brown on a white slip, inscribed with four-character qinggu meijiu (delicious wine), was sold at Beijing Poly, 18 December 2017, lot 5137
Lot 215
FAMILLE ROSE BALUSTER VASE QING DYNASTY, QIANLONG MARK BUT 19TH CENTURY 清 乾隆款 粉彩鍾馗嫁妹圖瓶 the tapered cylindrical body raising to a waisted neck and flared rim, finely depicted around the body with Zhong Kui, the demon queller, and his attendants accompanying his sister as she sits on a sedan chair for her wedding, the base inscribed with a six-character Qianlong mark in underglaze blue Dimensions:46cm highProvenance:Provenance: Private Scottish collection, Moray
Lot 170
GE-TYPE-GROUND BALUSTER VASE QING DYNASTY, 18TH-19TH CENTURY 清 仿哥釉鐵鏽梅花耳瓶 sturdily potted on high everted foot, raised to a tapered body, long waisted neck and flared mouth, two sides of the neck moulded with flowering prunus, raised branches as loop handles, the decoration covered in bronze glaze, against a creamy white ground suffused with a network of dark and russet cracklesDimensions:45.4cm high
Lot 270
GROUP OF SIX SATSUMA VASES MEIJI PERIOD 明治 寶山、秀山、薩摩款 各式薩摩燒瓶（共六件） comprising: a pair of large vases, the base marked 'Hozan', with wooden stands; a trumpet-form vase, marked 'Shuzan'; a lion-handled hu-form vase; a globular vase; and a spindle-shape vase, marked 'Satsuma'Dimensions:heights: 10.3cm to 24.5cmProvenance:Provenance: Private Scottish collection, Edinburgh. An extensive collection of Japanese ceramics, mostly Satsuma wares, Chinese ceramics and works of art, including works on paper and textiles from the same provenance, was sold in these salerooms on 4 November 2022, lot 16, 18, 227, 239, 262, 282-283, subsequently on 15 March 2023, lot 215-240.
Lot 185
BLUE AND WHITE INSCRIBED SQUARE-SECTION 'ODE TO THE RED CLIFF' VASE 青花題字赤壁故事圖方瓶 sturdily potted with tapering square sides, one side painted with the poet and statesman Su Shi (1037–1101) and two other scholars standing by a riverbank with a figure paddling a sampan boat in the river, the other side with a sampan full of scholars before a cliff, alternating with the Former and Later Odes to the Red CliffDimensions:40.7cm highNote: Note: Compare to a similar blue and white square-form vase, with similar composition of the design and painting, Kangxi mark and period, in the collection of the Metropolitan Museum, accession no. 2015.784.1
Lot 120
An impressive and fine George I/II yew tripod candlestand, circa 1720-50Having a one-piece burr circular top with moulded underside, supported on a turned boss, and a baluster and vase-turned pillar, on three downswept scroll legs, with pad feet, Provenance: Tony Chapman Collection, West Yorkshire. Included in an inventory and assessment by Victor Chinnery, December 2001 (no. 5).
Lot 280
A mixed lot including mother of pearl card case, Chinese carved wooden stand, two Art Glass vases, Royal Copenhagen vase, Chinese style vase, glass figure of Goofy, Crown Derby mug (8).Condition Report: This lot appears to be in fairs condition, the dark blue art glass vase has some small chips to the rim, the glass figure has a large chip to the base but over all the lot appears in fair condition.
Lot 439
MOORCROFT; two small floral decorated vases, and a large blue glazed vase, all from the Connoisseur collection, June 2004, height of largest 14cm.Condition Report: All three of these items appear in good condition, with no losses, chips or cracks. All three of these items are in there original boxes.
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